When it comes to high-concept modern horror, Leigh Whannell is one of the frontrunners. Together with James Wan, Australian writer-director conceived Saw and engineered several sequels before crafting the sci-fi-tingly horror franchise which "reinvents" long-corridor-and-dark-corner terror in Insidious (with the third chapter marking his directorial debut). When Blumhouse is set to small-sized reboot Universal's now-scrapped Dark Universe, they begin with The Invisible Man; and, when they give him creative credentials, it's a game on.
Whannell's Invisible Man remodels the concept in almost its entirety—leaving only the terror not visible to bare eyes. While based on the character by H.G. Wells, the monster movie elements, which might sound campy, are held minimum. There's no bandage-ma...
The rumor of production fiasco might clearly shape the final outcome of Dolittle—another failing rendition of Hugh Lofting's beloved vet who helps and talks to animals. In the beginning, we learned the dropping of "The Voyage" from the title; then, the rumored extensive reshoots, which might alter a huge portion of the plot and, eventually, explain the altered title. In the end, we somehow learn that the movie doesn't count on the plot anymore. The only important thing that can help the movie salvaging the voyage-wreck are the talking animals.
Even Robert Downey Jr., who takes up a mantle of another typecast character, cannot lift Dolittle's plot up from sinking. His Dolittle is a cocky, occasionally reluctant genius just like his other blockbuster persona, i.e., Tony Stark or Sherlock...
Rebooting a failing remake is maybe the most logical or, otherwise, the most cringe-worthy gig a Hollywood studio would do. While the argument to right the wrong is plausible, the tendency to repeat the same mistake is as imaginable. Sadly, Nicolas Pesce's remake of The Grudge (2004)—Takashi Shimizu's own remake of his own J-Horror classic, Ju-On—tends to take the messed-up path.
While Shimizu's 2004 remake attempted to position itself as close as possible to the source material (the remake went even further to place it in the same geographical map), it's still a messy thread with more questions than actual terrors. One of the most bugging creative decisions is related to the mechanism of the curse, which becomes the franchise's epicenter. Shimizu engineers the curse to work as a super...
Elizabeth Banks' reboot of Charlie's Angels is a bold move for the whole franchise. It starts with an exclamation that "women can do anything." Sometimes, that includes utilizing their charm to get things done—something that Farah Fawcett and co. often did in the TV versions back in the 1970s. Some other time, they'll have to get into full-throttle actions—like Cameron Diaz, Drew Barrymore, and Lucy Liu's angels in McG's 2000 and 2003 tenures excel in. Yet, as the opening conversation continues, Banks' version adds its credo—highlighting that women also "have their own choices."
'Choice' is a positive driving force in this third iteration of Charlie's Angels. Bosley still directs the angels' missions; but, in Banks' world, Bosley is not a mere character, it's a title instead. Several p...
Sausage Party directors—Conrad Vernon and Greg Tiernan—attempt to recreate the transcend the utter absurdity of their R-rated cult animation with a more established material. They think that the creepy, kooky, mysterious, spooky, and ooky Addams Family by Charles Addams might be it. The half-century-old material, which has spawned multiple incarnations—including multiple animated series, long-running television series and the reborn, as well as several movies—might bear the absurdity the directors are looking for; but, The Addams Family's first venture in 3D animation is a banal adaptation.
Portrait of the extended Addams Family in The Addams Family (2019)
The character design combines the over-the-top scale of the 60s cartoon with the characters' look in their recent embodiments—mo...
it that the classic Child's Play
story about a doll possessed by an evil spirit brought in life by voodoo spell
is a thirty-year-old horror story—older than most millennials. After spawning
six sequels and popularizing Chucky as one of the most iconic horror villains, the
franchise finally follows the step of other horror classics into the
remake/reboot zone. Surprisingly enough, Norway director, Lars Klevberg (Polaroid) takes a sharp treatment for
the reboot—leaving the Haitian voodoo elements back in the 80s and goes full
futuristic instead. Call it a fuckup Black
Mirror or Twilight Zone episode
when the AI of a child’s doll gone berserk.
Given the new concept, Child’s Play unarguably becomes a new entity blending tech-horror with the 80s slasher tropes. The only things r...
There is a
common defense for the new Hellboy: it
is truer to the nature and style of the source material, Mike Mignola’s Dark Horse
comics. That argument seems to undermine how imaginative and romantic Guillermo
del Toro’s idyllic 2004 fantasy-adventure, which also spawns a sequel in 2008.
Fact is, the reboot by Neil Marshall is a darker R-rated rendition with more
profanities, more binge-drinking and more blood-gushing moments.
Review: Being lambasted with slimy, cynical criticism even ways before its official release might be a notorious achievement Ghostbusters reboot must atone. It all centers in Paul Feig’s decision to cast an all-female team as the new ghostbusters. Flood of sexist mockeries and Youtube dislikes crowned it as the most hated pre-screened film.
Yet, rest assured, those cynical quips do not rightfully judge the ‘actual film’ at last; at least, majority of it isn’t right. Ghostbusters still manages to be a fun, exciting and hilarious film, although it doesn’t reflect Feig’s best performance.
Ironically, those all-female ghostbusters – Kristen Wiig, Melissa McCarthy, Kate McKinnon, and Leslie Jones – are the best ammo Ghostbusters has, aside from Paul Feig’s expertise in crafting PG-13 humors (...
Review Ghostbusters: Belum juga rilis, reboot Ghostbusters sudah dihujani lendir nyinyiran dahsyat dari netizen. Sumber utamanya adalah keputusan Paul Feig meng-cast 4 pemeran utama perempuan sebagai tim Ghostbusters-nya. Sindiran bernada sexist dan banjiran dislikes sukses membuat reboot ini most hated pre-screened film. Tapi, rest assured, sindiran sinis itu tak benar-benar terbukti; Ghostbusters justru menjadi film yang fun, seru dan cukup lucu, meskipun belum mencapai keseruan film-film Feig lainnya.
Ironisnya, justru para ghostbusters perempuan – Kristen Wiig, Melissa McCarthy, Kate McKinnon, dan Leslie Jones – inilah yang menjadi bagian terbaik Ghostbusters, selain kepiawaian Paul Feig mengkreasi humor-humor PG-13 (yang nyaris berasa R) dalam menghadirkan kisah tim pemburu hantu pa...
"You made it ugly," Reed accused Harvey.
To boldly say, the latest Fantastic Four (the third installment since 2005) is obviously not a good movie.
Getting snubbed by critics before its international release, then 'flop' symptoms at opening box office, then director Josh Trank's self-defense: LEGIT PROOFS.
This is not the first time Fantastic Four failed to shine, but this one is obviously ridiculous. Yet, please notice: IT ISN'T ABOUT THE CASTING! The casting was okay; no problem with Human Torch's being an afro-American, the movie found a fine way to solve that. There are some other points. (more…)
"Old... but not obsolete," Pop explained itself.
The Terminator is getting old, but it refuses to get old. Genisys still makes a vast Terminator films although its time-travel narratives mostly undo the original wonder and its excessive nods to the predecessor makes it drown in nostalgia.
James Cameron's dark, future thriller, The Terminator, has aged, hitting 30 years when Genisys---the fifth installment of the franchise---began production. The aged Terminator, now growing old as a geri-badass called Pop (Arnold Schwarzenegger) has explained himself---also the whole franchise---that he's "old, but not obsolete," before he eventually realized that he's just "not yet obsolete." It's just a matter of time.
Time, finally, becomes Terminator's nemesis. On-screen. Off-screen. (more…)
"It was hard to know who was more crazy, me or everyone else?" asked Max.
Infused with striking visuals and Oz-pera metal riffs, Fury Road was like a 3-minute progressive death metal anthem itself---with excessive drum solo and versatile guitar distortion. It was straight-forward, violent, but philosophically enticing.
"Roar!" Godzilla roars.
Director Gareth Edwards has made a breakthrough in his Hollywood debut by bringing back the monstrous icon, Godzilla, back to the screen with a formidable rampage. In the conjunction with the 60th anniversary of Toho Studios first introducing Gojira to cinema, this "king of kaiju" gets a decent reboot that roots deeply on the original. Godzilla gets a decent clean slate after Roland Emmerich dried attempt in 1998.
Find out more about the monster inside!
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