“I believe God made me for a purpose, but he also made me fast. And when I run I feel His pleasure,” said Eric Liddell to his pious sister.
Of God and men, of faith and patriotism, for serving God and breaking stereotypes, Hugh Hudson’s Chariots of Fire wraps them all in a biopic about British athletic team’s triumphant victory in the 1924 Olympics. It’s a rare picture which concatenates the urgency of nationalism, ambition, and the evangelism on running tracks, making it one of the strongest Best Picture winners. Continue reading Blindspot: Chariots of Fire (1981)
Review: Let’s start with a little excerpt of what has gone so far in Planet of the Apes reboot universe. As you might have known (in fact, you’ll learn/re-learn about this in 3 opening minutes), simian flu has wiped most of the humanity, leaving few of them stranded on the planet that used to be theirs. Unbeknownst to them, the planet isn’t bound to them anymore. After the fall of men, the ‘Rise’ of apes is the next phase and the new ‘Dawn’ of civilization embarks.
War for the Planet of the Apes begins several years after the event in Dawn, where human wages war against apes. Human military led by The Colonel (Woody Harrelson) conducts man-hunt on ape leader, Caesar (Andy Serkis). The plan gone awry, but humanity has succeeded in killing Caesar’s family and the dream of reconciliation. This event scars the peaceful ape to the extent that he’s driven into waging his war against men, hence the title. CONTINUE READING IN ‘ENGLISH’
Review: In Dunkirk, Christopher Nolan reenacts a pivotal WWII moment dubbed as ‘Operation Dynamo’ a.k.a. ‘Miracle of Dunkirk’ as an epochal non-victorious, non-Americanized spectacle in only 106 minutes—making it his shortest but also most precise and concise tenure among his recent work. It might be a fact-based war film the auteur unlikely to make; yet, Dunkirk is still a Nolan epic through and through—with inventive storytelling, heartfelt tension and Nolan’s math.
It’s 1940 where approximately 400,000 allied soldiers of British Empire and France were cornered in a French beach town, Dunkirk; in a literal “between the Devil and the deep blue sea” circumstance. What separates those defenseless soldiers and home are only Nazis following from the land behind, Nazis bombing from the air above, Nazis torpedoing over the sea and the freezing 100 kilometers of sea. Rescue ships cannot reach the shore; only private boats, yachts and civilian tugboats can reach the ground. On the brink of a colossal loss, miracle only happens when home comes to those men who cannot go home. Continue reading Dunkirk (2017) – Review
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