Little Joe’s ambiguity wouldn’t fool anyone, except for sheer frustrations over the direction of its intriguing sci-fi horror premise.
With a safe bet and Keanu Reeves, Sponge on the Run makes a familiar friendship story back in Bikini Bottom.
Zu Quirke’s full-feature directorial debut brings sibling rivalry to a popcorn psychological thriller with a satisfying ending for a weak journey.
This ‘Nanti Kita Cerita tentang Hari Ini’ spin-off delivers a tough story about a beloved character who fails to learn his lesson.
Story-wise, Pelukis Hantu is all over the place; but, the audacity to tell a dire story of personal, also collective, trauma is respectful.
Between generational gap, culture clash, and actual superstition, Evil Eye’s goal is only attainable with enough ambiguity which it fails to fully achieve.
This well-intended time-loop rom-com could have been more exhilarating has it not weighed down by irritating jokes and imprecise built-up for its third act.
Nothing particularly new or too old to zombie apocalypse tropes in #Alive except for the power of social media almighty.
Bad Education adeptly narrates the controversial scandal in the US education system with Jackman’s sympathetic performance, but it fails to venture beyond that
Samara Weaving and Daniel Radcliffe battles in this fuckup toxic masculinity bravura which somehow feels electrical.
With Ayat 2, Timo Tjahjanto has made the Sumarian demons from Necronomicon feast over the nastiness of it.
Toko Barang Mantan has all the unique selling points including the memories of exes and Reza Rahadian-Marsha Timothy’s grounded chemistry, which they barely sell.
To All the Boys 2 (2020) is another sweet story that feels more like an extended chapter than a full-fledged sequel.
Abracadabra is indeed a style-over-substance fable. Even the style is style-over-substance; and the substance is style-over-substance.
Retreading some familiar elements with a subversive story from Ainun’s POV, the third Habibie & Ainun movie might be important if only it’s not weighed down with the character’s over-glorification.