Review: What The Doll 2 excels in is the fact that it could, at some points, drive a guilt-ridden drama into a full-frontal horror with chance of bloodfest. It had the ingredients right and, at some specific points, had the moment in crafting an atmospheric psycho-horror that plays out with grief and lonesome before drowning into an endless ambition to scare the hell out of people.
This sequel reconstructs the predecessor’s formula—a possessed doll, a small family, and a havoc—into a less original, yet more stable built. It retains only one connection to The Doll (2016) in terms of mother-child bond, which is exploited as the foundation of this new breed. That ‘broken’ bond is what brings horror into the table and, literally, what brings the otherworldly force into the doll. Continue reading The Doll 2 (2017): Clumsy horror with a chance of bloodfest
Review: In Mars Met Venus (divided into two interrelated parts: Part Cewe, the girl’s version, and Part Cowo, the boy’s version), gender differences are heightened in a relationship between completely-opposed couple. Part Cewe encompasses the girl’s point of view in the saccharine-laced rapport, adorning it with gender judgment, principle and trifles.
Pamela Bowie is Mila—the Venus, the girlfriend in the story. She’s a girl of charm and popularity, who dates an unpopular guy, Kelvin (Ge Pamungkas). Mila is open, passionate, talkative, and more controlling in the relationship; meanwhile, Kelvin is more submissive and restricted. After five year in a relationship, the boy invites the girl to make a vlog about their love journey, with a hidden intention to propose her. Yet, conflicts start to embark during the vlog production. Never-been-seen-before details begin to unravel, jeopardizing love they’ve built for the last five years. Continue reading Mars Met Venus: Part Cewe (2017): Are women from real Venus?
Review: Dwayne Johnson and Zac Efron bulk the summer blockbuster up—with feast of abs, boobs, and sea-water—in all-new Baywatch. As another effort to revamp classic telly shows into big-screen (after 21 Jump Street and CHIPs, long after The A-Team), this diary of lifeguards ups its stakes with an infamous R rating. The rating seems imaginable—for a more explicit sexual contents and insensitive banters—at some points; but, it ends up being far-fetched and irrelevant eventually.
Johnson takes up the mantle long left by David Hasselhoff as Mitch Buchannon. He’s a former military who now serves as leader of Emerald Bay’s Baywatch—under fine amalgam of Johnson’s typical character and Hasselhoff’s persona. Meanwhile, Efron is Matt Brody, a former U.S. swimmer and Olympic medalist, sentenced to serve for community service as a lifeguard in Mitch’s domain after committing public embarrassment. Those two names are beacons for Baywatch aside from the team’s ‘babewatch’—Stephanie Holden (Ilfenesh Hadera), Summer Quinn (Alexandra Daddario), and C.J. Parker (Kelly Rohrbach, taking up the mantle from Pamela Anderson) —as well as the comic relief, Ronnie (Jon Bass). Continue reading Baywatch (2017) – Review
Review: Whoever thought that Netflix and its streaming-giant comrades are not part of ‘future of the cinema’ should watch Bong Joon-ho’s (Memories of Murders, Snowpiercer) latest work, Okja—a feat endorsed by Netflix which sparked controversy in the 70th Cannes Film Festival. Joon-ho’s second international feature evidently demonstrates what would happen if an auteur is funded to make a blockbuster with full creative controls.
Working with oddball-specialist Jon Ronson (gonzo journalist who wrote the embryo of Frank and The Men Who Stare at Goat), Joon-ho crafts a prolific blockbuster to wage war against animal cruelty and capitalism of food industry in the weirdest way. Delivered in the auteur’s most original framework—with shades of deadpan humor and bitter satire—in collaboration with Hollywood’s most versatile figures, Okja nests it all in a modest story about a superpig of the titular name. Continue reading Okja (2017) – Review
Summer blockbuster season has begun! Series of blockbusters have been released to market as baits to a lukewarm result. In Indonesia, the annual Eid al-Fitr blockbuster season had passed, too, to lukewarm result as well. And… Netflix had been a powerhouse for the whole month with the most talked film in 2017 and one of the best binge-worthy series up for streaming.
So, here I present you a recap to help readers digest what have been going on Sinekdoks along June 2017! Continue reading June 2017 – A Recap
Review: Netflix’ GLOW is a splendid blend of many things—from campy female wrestling, satire to telly industry, feminism spirit and rage against racial stereotypes—that work fascinatingly. Presented as a period piece which sees L.A. circa 1985, the show radicalizes the era’s fascination towards glazing neon and devotion to day-time soap opera, then mixes them together in an exhilarating, vibrant ‘fake-sport’ drama.
In GLOW, a struggling actress, Ruth Wilder (Alison Brie) is disheartened upon finding out that the industry has suppressed female roles to the brink of marginalization. When she encounters a desperate B-movie director, Sam Sylvia (Marc Maron)—who develops ‘The Gorgeous Lady of Wrestling’ a.k.a. GLOW for a TV channel, she surprisingly finds an absurdly empowering opportunity. From there, the line between pro-wrestling and soap opera begins to blur; and a road to stardom emerges. Continue reading A Season with: GLOW (2017) – Season 1