Review: Taking full resilient force from Justin Simien’s 2014 indie-hit, Dear White People, Netflix’s Dear White People reuses the same force to launch this 10-episode of witty comedy into this year’s most thought-provoking spectacle. This works as an extension of the infamous black-themed white-people party in the feature film, although it starts off with effective reimagining of it; but, it transcends mostly as the aftermath with counter-racism and cross-cultural conversation at its heart.
Set in a fictional Ivy League university, Winchester College, Dear White People follows a tribe of black students living in all-black dorm named Armstrong-Parker house. If the film version combines multiple characters’ arcs in a full-frontal riot, the series presents the story differently. Each pivotal character gets a full 30-minute episode arc in exercising the doomed party’s aftermath. Continue reading A Season with: Dear White People (2017) – Season 1
Review: For starter, Riverdale “borrows” super-likable characters from your childhood Archie comics – from red-haired jock-musician wannabe, Archie Andrews (KJ Apa), the good girl Betty Cooper (Lili Reinhart), smoky hot rich Veronica Lodge (Camila Mendes), quirky Jughead Jones (Cole Sprouse) to the thorn girl, Cheryl Blossom (Madelaine Petsch), throws them into a bleak, neon-bathed YA world, and give them a completely new storyline. While appearing campy and soapy for the whole season, the series has proven to be another guilty pleasure entry from the CW, which surprisingly works.
Set in a fictional town named Riverdale – hence the title – this series practically kicks off with the mysterious murder of Jason Blossom (Trevor Stines), a brother to Cheryl and a lover to Betty’s sister. From there, Riverdale quickly escalates into a provincial-townie, coming-of-age murder whodunit, which is often overshadowed by toned-down Game of Thrones/The Sopranos-esque faux complexities. Stories have never been an aspect this series excels in, but they’re important to make those likable characters shine like cents. Continue reading A Season with: Riverdale (2017) – Season 1
Review: With a title referring to an aviation term, critical eleven – three minutes after taking off and eight minutes before landing, where a plane is at the highest risk of crashing – Critical Eleven is not an actual film about flights; instead, it is a romantic manifestation of those critical minutes in a relationship.
According to the film (adapted from Ika Natassa’s bestseller of the same title), the same term is applicable to a meet cute as well; first three minutes of crafting impression, and final eight of leaving impression. And yet, the very same term is also applicable to enjoying this story, too. If the first three minutes (not exactly) gets you enthralled, you’ll desperately need to get prepared for the final eight minutes. Continue reading Critical Eleven (2017): An Anti-Romance Romance Film
Review: Intriguing how Alien: Covenant opens with a birth, a genesis, in a majestic all-white background contrasts with the franchise’ primal return to its origin. That birth accompanied by Wagner’s Entry of The Gods Into Valhalla is designed to bridge over two worlds – the stark, horror space of Ridley Scott’s Alien (1979) and the odd, philosophy-heavy world of Prometheus (2012) – and continue the cycle. Of gods and men, of gods and monsters, this bleak covenant is more a continuation than a return.
For the flight of Covenant, Mr. Scott amalgamates small dose of Alien’s infernal, frigid space horror with larger dose of Prometheus’ dialogue-laden, existentialism wisdom unevenly, but perfectly, to ignite nostalgia, while at the same time, connect dots. Continue reading Alien: Covenant (2017) – Review
Welcome back to Thursday Movie Picks by Wandering through the Shelves! According to the theme of the week, we pick and share three to five movies are with the reason. Should anyone be interested in joining in, feel free to visit the main page here.
This week’s theme is Desert. For this theme, I’ll go with popular choices and big names. Desert has always been an immense setting for films — whether to mark wastelands, post-apocalyptic, expedition, wars, nature powers… and romance. So, here’s my picks! Continue reading Thursday Movie Pick #19: Deserts
Review: Guy Ritchie injects gallons of his mayhem-infused blockbuster niches to the chivalrous tale of King Arthur and makes this ‘origin story’ an electric celebration of mess. There are giant elephants bigger than Peter Jackson’s Oliphants, giant human-eating snake, and, even, a humanoid octopussy which looks like a fresh cameo from Disney’s Little Mermaid. Apparently, King Arthur: Legend of the Sword is loud, dynamic, gegenpressing-laden, and chaotic – in good way, and bad way.
Arthur (Charlie Hunnam) is depicted as a fallen prince rising as a misfit from the street. His royal parent was usurped by his uncle, Vortigern (Jude Law), after his valiant father (Eric Bana) brought down army of evil mage in the film’s bombastic opening. Orphaned Arthur is then raised by women of a brothel and quickly rises into a legend when he eventually lifts his father’s legendary sword, Excalibur, before David Beckham. Yes, Becks. Continue reading King Arthur: Legend of the Sword (2017) – Review