Review: In first two seasons of Fargo—a powerhouse of anthology based on The Coen Brothers’ 1996 film of the same title, Noah Hawley has proven his worth as a hell of most consistently stylist showrunner. Extracting the comedy-of-errors formula from the film and creating hollow modern folklore set in the film’s universe, Hawley also crafts unsympathetically likable characters and throwing them into an awkwardly cunning situation. The result: a pitch black comedy and mayhem at the same time.
As for the third season, Fargo returns with an unpretentious rhythm—smaller in scale, calmer in sense, lesser havoc compared to the first two seasons (the first renders the film quite closely, while the second feels more heavy-metal)—which ends up in a more traumatic result. It’s no longer a rough mix of petty-crime-gone-wrong and wrong-people-in-wrong-place situation, although the shades of it still become this season’s foundation. A stroke of enigmatic evil also presents, this time, in a more contagious fashion. Continue reading A Season with: Fargo (2017) – Season 3
Review: In adapting Neil Gaiman’s American Gods, Bryan Fuller (Hannibal) and Michael Green (Logan), take Gaiman’s vision—for a divine story about immigrants and gods in a land of no god—into a whole new level of occultism. While retaining the novel’s tongue-in-cheek philosophical relevance, the show combines it with current real-world issue—about religion and humanity—and revises the author’s neglects towards minor storylines with a more engaging, intertwined ‘war of gods’ epic.
Same as the novel, American Gods centers on Shadow Moon (Ricky Whittle), a purposeless ex-convict whose wife (Emily Browning) is killed on a car accident a few moment before his release. Upon his despair, Shadow encounters a man-god who calls himself, Wednesday (Ian McShane) and gets recruited as a henchman in war between the Old Gods (Wednesday and comrades) and the New Gods of media, technology et al. Once hired, series of enigmatic events and bands of obscure characters appears, rendering Shadow (and audience’s, too) baffled and puzzled. Yet, as Wednesday said, there’s only one rule among others: Shadow is not paid for asking questions. Continue reading A Season with: American Gods (2017) – Season 1
Review: Johannes Roberts (The Other Side of the Door) uses his penchant to horror to create sharky open-water terror with a premise similar to Jaume Collett-Serra’s last summer cheap thrills The Shallows—involving deeper shallow-beach, more beautiful girls, and more sharks. Set in an exotic Mexican shore, 47 Meters Down sends Mandy Moore and Claire Holt straight to the hungry sharks in, as the title might suggest, 47 meters below the sea surface.
In 47 Meters Down, Kate (Holt), who has just found out that her sister, Lisa (Moore), ditched by her long-time boyfriend before their Mexican getaway, is at full earnestness to orchestrate an unforgettable vacation for her broken sister. Invited by two locals to cage-diving in shark-infested water, the more YOLO-induced Kate successfully persuades the more reluctant Lisa. What seems to be a larger-than-life excitement suddenly becomes a life-threatening moment for the girls when the crane falls, sending them into the bed of the ocean, with only limited oxygen to survive. Continue reading 47 Meters Down (2017) – Review
Review: In Hulu’s adaptation of Margaret Atwood’s novel, The Handmaid’s Tale, the near-future world is depicted as a real horror show, especially for women. A theocratic totalitarian government of Gilead rises from the ashes of what once known as the United States—which has perished in aftermath of a civil war leading to environment contamination and financial crisis. In this dystopian world, stability is built upon sacrifices; but the sacrifice is too tremendous: women’s position in the society.
Gilead—a fascist regime, which lays its foundation upon Biblical inspiration, diabolically confiscates women’s right and subjugates them to the outer realm of society. Those women—who mostly become infertile due to the war—are considered low and no longer allowed to work, even read. Those who are lucky enough to still be fertile aren’t actually lucky. They are enslaved as Handmaids to be legally raped in a ceremony to conceive children for the bourgeois. Continue reading A Season with: The Handmaid’s Tale (2017) – Season 1
Svetlana Dea’s directorial debut, Mantan (trans. ex-lover) is quite an oddball. It’s a dialogue-heavy romcom, which grounds between a social satire and a pure reconciliation game, but never really ends up being any of them. Sometimes it can be very convincing; but some other times, you’ll wish there would be some footnotes to help you understand anything. By the time you finally get an insight, the film abruptly ends its 75-minute run.
In Mantan, a young bachelor, Adi (Gandhi Fernando), is about to become a married man. Yet, before he becomes one, he needs to have a sense of self-fulfillment. He goes on a quest to fly up 5 different cities to encounter his exes, clear the air between them and find out if one of them might be his godknowswhy soul mate. Continue reading Mantan (2017): A Reconciliation Game
I did not anticipate that May was gonna be a quite busy month, but I managed to watch all the biggest spotlights of the month. For my cinematic experience, May gave lots of surprise—fun surprise, which gave me lots of thrills. Alien: Covenant is good and Wonder Woman defied all the expectation! Riverdale wrapped and the third season of Unbreakable Kimmy Schmidt was all fun!
So, here I present you a recap to help readers digest what have been going on Sinekdoks along May 2017! Continue reading May 2017 – A Recap