“I had no regrets until I met you. Now my regrets could kill me!” said Lai Yiu-fai to Ho Po-wing.
Before making In the Mood for Love, which I love most, Wong Kar-wai made another bleak romance story in Happy Together—dubbed after The Turtles’ song played during the end credit. While In the Mood for Love is a bit subtle in depicting a deteriorating love affair; Happy Together is the opposite of it. It’s a violent take of a crumbling gay romance in its finest. Continue reading “BLINDSPOT: Happy Together (1997)”
“Old… but not obsolete,” Pop explained itself.
The Terminator is getting old, but it refuses to get old. Genisys still makes a vast Terminator films although its time-travel narratives mostly undo the original wonder and its excessive nods to the predecessor makes it drown in nostalgia.
James Cameron’s dark, future thriller, The Terminator, has aged, hitting 30 years when Genisys—the fifth installment of the franchise—began production. The aged Terminator, now growing old as a geri-badass called Pop (Arnold Schwarzenegger) has explained himself—also the whole franchise—that he’s “old, but not obsolete,” before he eventually realized that he’s just “not yet obsolete.” It’s just a matter of time.
Time, finally, becomes Terminator’s nemesis. On-screen. Off-screen. Continue reading “Terminator Genisys (2015) – Review”
“It is my destiny,” said Kumiko, the Office Lady.
Kumiko is our guilty pleasure we don’t regret for her atmospheric thrill and Kikuchi’s sympathetic performance.
Kumiko (Rinko Kikuchi—Babel, Pacific Rim, 47 Ronin), a Japanese office lady living in solitude and desperation; she’s a lost soul who seeks for escapes through treasure hunts. She found an old VHS tape of Coen Brothers’ Fargo, which she’s mistaken as a documentary for it fake disclaimer, to trigger her quirky adventure in this overly cold Tokyo-to-Minnesota black comedy. Continue reading “Kumiko, the Treasure Hunter (2015) – Review”
“Bigger. Scarier. Cooler. I remember you wrote that in your note,” explained Henry Wu.
Jurassic World only works as a love-letter and probably the most bad-ass sequel to the original Spielberg’s Jurassic Park in a blockbuster thriller atmosphere.
Started of 22 years following the event in Jurassic Park, the park never really died—instead, reincarnated into a bigger dino-park, Jurassic World. When visitors started to get tired of common dinosaurs, the scientist genetically designed a new breed of dinosaur—bigger, scarier, and cooler than anything previously—which turned out being a backfire. Continue reading “Jurassic World (2015) – Review”
“It could look like someone you know or it could be a stranger in a crowd. Whatever helps it get close to you,” Hugh explains the thing that follows.
It Follows is a gem in modern horror cinema—it has the class and the curse. It might work as an allegory to STDs or else, but mostly, it works as a terrific coming-of-age myth. Pass it to someone else.
The idea was simple (but nothing quite like this was made before): If you have sex with someone and then he/she warns: “It’s going to follow you. Somebody gave it to me, and I’m passing it on to you.” You will realize: the titular “it” is worse than pregnancy or STDs. Continue reading “It Follows (2015) – Review”
“If you’ve created a conscious machine, that’s not the history of man — that’s the history of Gods,” said Caleb.
Ex Machina is an original thought-provoking debut from Alex Garland. It’s a larger-than-life sci-fi drama turns into an old, claustrophobic identity thriller without warnings.
Alex Garland—working behind the screen of the acclaimed 28 Days Later, Sunshine, and Dredd—created an iron-cold artificial intelligence drama in Ex Machina, his beyond-belief directorial debut. Continue reading “Ex Machina (2015) – Review”