The year is 1968. A massive anti-Vietnam War protest at Democratic National Convention in Chicago has broken into an unprecedented turmoil. In the aftermath, Justice Department charges a group of protest leaders, soon to be called as The Chicago Seven, with conspiracy, inciting the riots, and other deranged charges. Nearly two decades later, it's the time for Aaron Sorkin to bring charges against this legal clownery in his directorial effort, The Trial of the Chicago 7.
Now we are back again to Baker Street with Holmes and another mystery to solve. Sherlock (Henry Cavill) is home; and, so is his brother, Mycroft (Sam Claflin). And yet, this is not his story, not his brother's, not any man's in their universe; this is the story of Holmes' youngest sibling, Enola (Millie Bobby Brown). When Mama Holmes, Eudoria (Helena Bonham Carter) went MIA, the young Holmes sets forth her own sleuthing duty in a quest to find her mother and, most importantly, discover herself.
The devil is cunning and, most harrowingly, resilient. Its whisper can transcend time and space; bend and slip through even the slightest crack in human's soul. It is deceitful and seducing, even in the place illuminated by the lights of heavenly or worldly love. The devil implicitly takes the centerpiece in Donald Ray Pollock's Southern gothic novel, The Devil All the Time—consuming people's soul with godly obsessions and numbing them with an endless cycle of violence. That's where Antonio Campos' (director of Christine and producer of Martha Marcy May Marlene) screen adaptation takes its brutal root—unraveling the devil within even among the people of God.
The Babysitter: Killer Queen, the follow-up to Netflix's 2017 sleeper hit—The Babysitter, brings almost every single element of the first movie in for a supposedly victory lap. Judah Lewis, portraying the protagonist, Cole, has naturally grown into a fully bloom teenager; so does Emily Alyn Lind (Doctor Sleep), who portrays his neighbor. The all-spectacular Samara Weaving does not get into immediate actions as the titular sinister babysitter, Bee; but her presence is felt throughout the movie—fuels the narrative and literally takes the steering wheel.
From the modern-day outbreak in Train to Busan with the prequel, Seoul Station, and the sequel, Peninsula (slated for 2020 release) to the period horror taking place in Joseon era as in Netflix's series, Kingdom, or Rampant, zombie apocalypse suddenly comes in waves in South Korean blockbuster scene.This time, it's Yoo Ah-in's (Burning) turn to star in an almost-claustrophobic zombie survival movie, #Alive. He portrays Jun-u, an eccentric gamer who finds himself trapped inside his family's apartment when a mysterious disease rapidly infects people around his neighborhood in Seoul uptown.
"I'm thinking of ending things," Jessie Buckley's character mutters to open the movie with the titular quote. When her character, referred only as a Young Woman when not going by inconsistently different names throughout the movie, utters the sentence, it radiates ambiguity—not some sort of sinister feeling the title has suggested. A dark sense, however, still looms everywhere in the movie as the young woman and her lover, Jake (brilliantly versatile Jesse Plemons), as they embark on a bizarre road trip.
Will Ferrell returns with another oddball character called Lars Erickssong, an underdog musician from Iceland disillusioned by ABBA's triumph in winning Eurovision Song Contest back in 1974. He's aspired to represent his country in the contest and win it; much to the chagrin of Erick Erickssong (Pierce Brosnan), his father (and allegedly the father of every other kid in town). Working closely with his childhood friend, the talented elf-believing Sigrit (Rachel McAdams), Lars form an electro-pop band, The Fire Saga, and record their own bizarre songs to compete in the titular contest.
There's this kind of electric energy in Safdie Brothers' Uncut Gems that makes us anxious for the whole duration. Everybody yells instead of talking; everybody moves frenetically, violently, and urgently. There's Adam Sandler wearing a striking attire seemingly inspired by Lando Calrissian, complete with a full-frontal display of jewelry. There's NBA star, Kevin Garnett, as himself and there are actual Celtics' match footages. There's The Weeknd portraying his younger, rising-to-stardom self. And yet, the centerpiece of it all is a piece of a rare gemstone—the titular MacGuffin.
The gem is a mysterious African black opal smuggled from a troubled mine in Ethiopia before arriving at Howard Ratner's gem & jewelry store. Sandler at one of his pinnacle-performances (after Punch-Drunk Lo...
Review To All the Boys I’ve Loved Before: “Make Teenage Romcom Great Again” should’ve been a tagline Susan Johnson’s To All the Boys I’ve Loved Before (referred as To All the Boys on later paragraphs) carrying because it indeed does it. Based on a novel of the same title by Jenny Han, this Netflix production is a clichéd, sugary romcom with manipulated yet effective plot that will make audiences smile ear to ear.
Review: The Babysitter, Netflix new original flick, is surprisingly an exhilarating ‘Home Alone’ of teen-slasher thriller. It revolves around a fateful night for a pubescent school guy, Cole (Judah Lewis), who secretly admires his teenage babysitter, Bee (Samara Weaving), who seems to have similar interest to classic films and pop culture. Cole’s parents are out of town for a reconciling ‘honeymoon’, leaving him alone only with Bee. That’s how the crazy night begins.
FYI, the whole gonzo is McG’s new film and it comes like what McG films should be. It’s sexy, adrenaline-charged, over-the-top and stylish; although often coming all over the place and, basically, bland. This time, McG adds some touch of gore and references to classic B-movie slashers in presenting his latest guilty-pleasu...
Review: It takes nearly 7 years for Eli Craig, writer-director of the 2010 horror-comedy sensation, Tucker & Dale vs. Evil, to finally spawn a Netflix-produced sophomore project entitled Little Evil. Similar to what he’s done in his previous feature, Craig once again plays out with horror clichés and extracts a fresh spoof, which would test and tease audience’s references with clear-cut hilarity.
In Little Evil, Eli Craig spoofs clichés from spooky-kid films, incorporating tropes from Rosemary’s Baby and, most obviously, The Omen. Simply look at the poster and you’ll see the alleged prodigal son (striking a pose like Damien in Omen) taking up the axis between his biological mother, Samantha (Evangeline Lilly) and his stepfather, Gary (Adam Scott). That kid (portrayed by Owen Atlas) is,...
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: 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. Fro...
Review: Unbreakable Kimmy Schmidt returns elegantly in aftermath of the second season’s ultimate cliffhanger and sees our titular powerhouse, Kimberly ‘Kimmy’ Schmidt (Ellie Kemper), grown into a more empathetically, complex protagonist. While the cult captive PTSD theme is still revisited for once or twice, season three witnesses Kimmy arises above the ground, literally leaves the underground bunker, and gets integrated into a real world problem of empowerment and feminism.
At first, Kimmy’s got to do something to clinch the cliffhanger, where Reverend Richard Wayne Gary Wayne (Jon Hamm) demands a divorce; then, she’s going to college for education and, eventually, career; later, she’s learning something about herself that makes her different from other people. At the same time, creators ...
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...
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.