Review: A college student, Tree (Jessica Rothe), woke up in a random guy’s (Israel Broussard) dorm room before she went on and did what all mean girls should do: screwing everyone she encountered. There’s no stopping for her sinister behavior until she finally got herself into trouble: being killed by a masked killer, only to find herself waking up to the same room she woke up earlier and relived her final day again, again and again.
Continue reading this review in English, click here!
Review: It’s year 2049—30 years following the events in the original Blade Runner (1982). A new story embarks as a next-gen 'Replicant', now working as a ‘Blade Runner’, retires an older 'Replicant' model and unravels a decade-long mystery in the process.
Continue reading the review in English!
Review: Taking up where the first film left, Kingsman: The Golden Circle revolves around the downtown-boy-turned-secret-agent, Eggsy (Taron Egerton), as he finally joins the rank of Kingsman. While the young agent calibrates into his new secret life—including living in his deceased mentor’s (Colin Firth) mansion and secretly dating a Swedish princess he once saved, the secret service is undergoing a massive attack from a colossal crime organization called The Golden Circle. To cope up with the attack, Eggsy must enlist the help of the Statesman a.k.a. Kingsman’s American counterpart.
Matthew Vaughn apparently got highly invested in making Kingsman that he finally made his first sequel. This time, Vaughn—along with his frequent collaborator, Jane Goldman—takes the liberty in expanding this...
Review: In Wind River, Taylor Sheridan again demonstrates a prowess he once showcased on writing tenure for Sicario and Hell or High Water. His painstaking flair for slick and immaculate script—with penchant to coherence and symmetrical storyline—is utterly exquisite. With Sheridan running for both writing and directing gigs, we finally get to see his full-creative-control mode; and, lucky you, it’s taut and clever as you might imagine.
The title refers to a snow-covered Native American reservation in Wyoming, which becomes the setting of this film. It’s the place where a hunter, Cory Lambert (Jeremy Renner), resides. As he tracks a wild mountain lion who preys on local cattles, the all-white-camouflaged hunter accidentally finds a local girl’s body… dead and stark. For the case, FBI sends...
Review: As timely and important than ever, Kathryn Bigelow’s Detroit makes an unsettling yet poignant film about racism-induced Afro-American uprising in Detroit circa 1967. While Bigelow presents downtown Detroit riot in Hurt Locker fashion where smoke soaring high and dusty ruins are practically adorning every corner of the city, it’s not the carnage which is highlighted; but, the root of it all: white’s oppression.
Combining real footage with sharp recreations of the event, Detroit immediately plunges into the warzone, displaying the horror and volatile circumstances. Without warning and proper exposition, pivotal characters—including racist cops, undervalued security guard, white girls among black, black ‘Nam veteran & black musicians—are introduced and lured into the climactic sta...
Review: Teresa Palmer showcases a vigorously bold performance in Cate Shortland’s kidnapping drama, Berlin Syndrome. Adapting Melanie Joosten’s novel of the same title, Shortland creates a placid drama-thriller by devising sense of claustrophobic and two-person dynamic with Palmer as the center.
Portraying an aspiring Brisbane-based photographer named Clare, Palmer’s eyes unravel her character’s passionate spirit to find an adventure as a solo traveler in Berlin. It’s during her tenure in Berlin’s street that she meets a charismatic yet restrained schoolteacher, Andi (Max Riemelt, Sense8). There are some electric touches and reluctance before they finally engage in consent, non-commitment one-night stand. In the morning after, Clare wakes up to find that she is locked in Andi’s apartment, ...
Review: Love is a many-splendored thing again in The Big Sick, a highly relatable rom-com about multi-cultural relationship inspired by real-life story of its writers—Pakistani-American comedian, Kumail Nanjiani (Silicon Valley), and his wife, Emily V. Gordon.
This Judd Apatow-produced delight package grounds closely to reality and is utterly apprehensible in presenting a witty, sweet story. Some of the aspects are more digestible (also debatable) for people of Eastern culture than those of Western; but it’s never alienating. After all, this is a warm and honest cross-culture romance that attempts to bridge the differences. In short, it’s the kind of old loving-you-loving-your-family love story, which works in the heart of ‘modernity.’
CONTINUE READING IN ENGLISH!
Review: New rendition of Stephen King’s 1986 novel, It, scrutinizes half of the 1000-something-page story into an effective two-hour thrilling ride with occasional scarefest. Despite the novel’s unfilmability (due to the richness of its content), this latest adaptation by Argentinian Andy Muschietti (Mama) could live up the expectation as a decent King’s adaptation and as a proper horror.
While It actually feels more like a coming-of-age adventure tale—with nods to classic ventures like The Goonies and other King’s adaptation, Stand by Me—the horror earns its gruesome portion; thanks to its legendary villain, Pennywise the Dancing Clown (oh, hi, coulrophobes!) who is said to always haunt the small town of Derry every 27 years. With intentionally shifted settings (adjusting 30 years from th...
Review: In Midnight Runners, writer-director Johan Kim recycles classic buddy cop tropes into a same-old-brand-new comedy-thriller, which benefits from chemistry of the leads, Park Seo-joon and Kang Ha-neul. It’s indeed a heroic story of two South Korean cop trainees, but, it’s also simply funny, entertaining, action-packed and sweet at the same time.
Gi-joon (Seo-joon) and Hee-yeol (Ha-neul) become unlikely best friends during their horrendous training, despite their completely different background and characters. One day, they witness an assault and kidnapping during their disastrous romance-seeking tenure in Gangnam. Despite the odds against them, they have to implement what they have learned in police academy in a real-life situation with real human life as the risk.
Review: So, why bother remaking a story that feels Japan through and through in a same old brand new American setting? Or, why bother retelling a story that might venture well in nowadays internet-advanced world in a world which feels no different to early internet day? Why bother remaking Death Note in an all-American high school drama?
Those questions keep linger in my head while I watched Adam Wingard’s Death Note, an Americanized version of Japanese manga series written by Tsugumi Oba and Takeshi Obata. In presenting this story, Wingard (The Guest, You’re Next) keeps trying to impress audiences with his eye for stylish visual violence. Without ever losing his touch, there’s practically nothing wrong with the directorial effort; but, judging from the director’s adamant persistence in m...
Review: Who would have thought that It Comes at Night comes not as a template post-apocalyptic story although it looks like one? Trey Edward Shults’ film might look like some survival films like 28 Days Later or, even, 10 Cloverfield Lane, as it suggests the existence of a safe haven in form of a cabin in the woods with strict rules and security. But, it isn’t.
It Comes at Night will mostly lock the central characters—a family consists of a father (Joel Edgerton), a mother (Carmen Ejogo) and a son (Kelvin Harrison Jr.)—in the cabin, before it lures audiences with heaps of questions. There’s no single explanation concerning the apocalypse. There’s no volatile momentum to explain how hazardous the new world is to the plot. There’s not even a slight of sight of what ‘it’ in the title might re...
Review: Ever since the delightfully staged getaway scene in the opening, when Baby (tall, pale Ansel Elgort) hit the gas and The Jon Spencer Blues Explosion’s Bellbottoms burst in stereo, Baby Driver has given the impression that it isn’t an ordinary ‘action film with some cool soundtracks.’ The scene that follows further evidences the same notion as Baby, in a slick tracking shot with Harlem Shuffle played, walks around the blocks buying coffees for his passengers.
Both scenes shows off that highly curated music tracks and stylish action bravura can go hand in hand. Even further, the music dissolves into the core—the cinematography, the choreography, the staging and the editing—unexceptionally. And, only in Edgar Wright’s over-stylized writing-directing feature, his nifty film-making clas...
Review: In case you haven’t heard, Tom Cruise’ latest American Made, is a crazy real-life story of Han Solo the Smuggler. Well, it’s actually a story of a real figure, Barry Seal (portrayed by Cruise), a pilot prodigy who left his delightful life as an airline pilot to pursue ‘careers’ to make, live, and make living out of CIA, Nicaraguan right-wing guerillas, Pablo Escobar’s Medellin Cartel, to the White House. It’s so dirty, so obscene, and so ludicrous that it almost busts out the line between reality and fiction.
Barry Seal’s life, despite everything, feels like it’s been written solely for Cruise. Seal is an adrenaline junkie (which matches up with Cruise’ personality as he insists on doing his own stunt) who gets entangled in an obscure world full of corruption, double-crossings and ...
Review: Stephen King’s famously ‘unadaptable’ genre-mixing novel series get adapted by A Royal Affair’s director, Nikolaj Arcel, into a series of non-understandable events. Missing out the horror elements, missing out the Western elements, and opting for PG-friendly action, The Dark Tower might as well be titled ‘How to Adapt The Dark Tower and Miss Everything.’
There’s nothing special with the story. It apparently borrows elements from King’s novels, starting from the titular tower, the characters, and the conflicts. There’s the Dark Tower, which is said to be center of a multiverse; it is also said that only the mind of a child can destroy it. A dark sorcerer called Man In Black (Matthew McConaughey) seeks to destroy the tower to bring reign of terror. In doing so, he’s abducting childre...
Review: From the director of Expendables 3, Patrick Hughes, a same-old brand new breed of hard-boiled action comes in the shape of The Hitman’s Bodyguard. With classic B-movie influence and dirty chemistry between the leads—Ryan Reynolds and Samuel L. Jackson, this electric summer bonanza stands erect between being exhilarating and annoying.
There’s a hitman, Darius Kincaid (Jackson), a key witness to the legal persecution of a former Belarus tyrant (Gary Oldman).There’s a former Triple-A level bodyguard, Michael Bryce (Reynolds). There’s a past beef between the two. Yet, there’s a mutual purpose between them: to get Kincaid safe from England to Netherland. There’s common enemy: the Belarus mercenary, which infects Interpol.
READ MORE IN ENGLISH!
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
The technical storage or access is required to create user profiles to send advertising, or to track the user on a website or across several websites for similar marketing purposes.