Jon Favreau’s photo-realistic remake of Disney Renaissance’s magnum opus, The Lion King, is best described as being nonurgent. As a matter of fact, it’s unquestionably prone to exoticism and aesthetic in terms of visual or musical, even more than Favreau’s […]
With formulaic double-agent trope, Besson delivers another femme fatale flick; sadly, given his recent reputation, it’s uncomfortable to observe the inherent male gaze.
Set in a bizarre Curtis-ian world without The Beatles, Yesterday is surprisingly simplistic, albeit bittersweet.
With moderate yet goofy presentation, MIB: International is surprisingly a warm welcome back for old fans and a fair introduction to new generation of fans.
With plot that works like a series of comedic sketches, The Secret Life of Pets 2 can only entertain with the super-cute characters—the best product of the series.
Raditya Dika finds a better rhythm and theme—for the follow-up of his ‘single’ tour de force—that works warmly even when the symptoms of theme’s fatigue become more apparent.
Si Doel the Movie 2 hits the nostalgia button even harder this time even when the narrative keeps slowly lollygagging with the titular character’s infamous indecisiveness.
Hit & Run is a tonal mess—partly embracing the heyday of Hong Kong cop movies, partly grasping post-Raid actioners and mostly channeling its oddball tendency.
Only the colossal amount of Kaiju Soshingeki visual spectacles and iconic one-perfect-shot moments that could somehow save Godzilla: King of the Monsters from its failing narrative.