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This is for those who like me and who did not see "Save the Green Planet", the Korean predecessor to Bugonia because I wanted to review the film without giving the plot away. For the plot is a large part of the awesomeness of the thing. This of course is apart from the awesomeness of Emma Stone who has consistently outdone herself as in this time again. With that, her two major counterparts Mr. Jesse Plemons and Mr. Aidan Delbis were also incredible to watch in what was primarily just a three person show. Back on how the plot is incredible, best way to summarize is with the line: "Believing is Seeing". The line is like the mystery of the Schrodinger'cat, but in this case, it is about confirming truth, for is truth just an illusion resulting from blind faith? Or faithful persistency is the only mean to uncover truth? This guessing game is the intrigue behind the plot as you are drawn into the core of the mystery by peeling away layers and layers of scales like the undressing of an onion. You will have to see it to know what I mean. The film is also a black comedy and here is why it is very dark, very funny, very topical, very contemporary and very American. It has to do with Emma Stone character who is subtly a "progressive liberal" and her abductors are portrayed not so subtly as ignoramus hicks. If you get this and insert this back into the story, the black side of the humor begins to make sense and emerges. But this is all tongue in cheek because you can sense the playfulness by the over the top music choices. All in all, my final word for it is "brilliant!"

Started off strong and tight, and aided by a terse and driving music, along with the lingo and all, the show delivers an aura of "authenticity" to a situation which we hope will never happen. Its opening reminded me of "Pine Gap", another Netflix show which I love and is also on a similar topic. (unfortunately, Pine Gap sort of disappeared after season 1). As for "A House of Dynamite", it falls short for me when we get to see the President. The way he was portrayed is more suitable as a good natured primary school teacher. His wallowing and ponderous indecisiveness which I understand to be shown as being "compassionate" and "politically correct", but given that critical moment, that character design came off as a president who is being overwhelmed. A president who wasn't sure what to do. On the other hand, the general, though seen here as a man tanked up with caffeine and sugar had the clearest analytical mind. His assessment and suggestion for decisive action was the right way to go. On the topic of "to retaliate or not to retaliate?" The show cleverly provided an open ending as an attempt to engage the audience to consider. For me the unequivocal choice would be that of the general. Another clever side stepping and a cushioning choice was to suggest North Korea as the possible culprit, for if the show suggested China or Russia, that may come too close to reality and may harness some strong objections. However, in real life, nuclear or not, South Korea would never dare a first strike attack on the US for that would be a stupid, mindless and suicidal attempt akin to a child poking a fierce lion with a twig for fun.

For a person who doesn't know one iota of the art of Kabuki nor any Japanese for that matter, I was mesmerized and engrossed for three hours by KOKUHO, which is a life story about a boy who was taken into the renown Kabuki house of Kamigata, and trained there along with the son of the house owner and master of the craft in the art of Kabuki. Through trial and tribulation of life, he rode the highs and lows of success and misfortune, with tradition and bloodline legacy as obstacles that broke the bond of brotherhood, but which also helped to rejoin that kinship of his later. This boy Kikuo, who is now a man, and because of his talents and devotion to the art, has finally become a "Kokuho", a National Treasure. This is a human story on an epic scale based on a novel by Shuichi Yoshida. The beauty of the film is in the elegance of its storytelling. The distillation of something down to its essence and extract the purity of its beauty is a unique form of Japanese aesthetics. This film has done that masterfully. And you can find that in the unadorned, yet beautifully framed tight camera works. Or in the explosive magic that comes from the formality of the theatrics of Kabuki. However, there is one thing I must mention, and which might have passed unnoticed because it works under the epidermis of consciousness of most and that is the music scoring. The music scoring is sublime. As an example of its power, the music for the scene where Kikuo took to the stage by anointment circumventing the protocol of legitimacy and thus replaced the son and heir to the role he took. The music for that scene underscored the disappointment and the heartbreak of the characters and its subtle power had moved me so very, very deeply. In closing, as I was leaving the theatre, I took one more look at the poster: "KOKUHO" (National Treasure). Yes, the story is about a boy maturing into an artist and becoming a National Treasure, but what is the true National Treasure? The man because of his artistry is only an embodiment of that. In thinking more deeply, I think the true "National Treasure" is the art form itself. It is the tradition, the culture and the essence of the art of Kabuki.