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-pleasure ride. Continue reading The Babysitter (2017) – Review
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.
In short, Happy Death Day does Groundhog Day with teen-slasher tropes. Director Christopher Landon and writer Scott Lobdell utilize time-loop formula to showcase their references of old-school slasher films in creating tension. But, more to it, they also utilize the same formula to formulate a fun whodunit thriller with the victim as the center. It looks campy and a little generic, but it never stops bringing funride for its whole duration.
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Review: Made by one of Thailand’s horror powerhouses, Sophon Sakdaphisit, The Promise tells a fictional ghost story about the country’s famous Ghost Tower —an abandoned 47-floor skyscraper, a reminder to the country’s downfall during the 1997 Asian financial crisis.
Similarly to Sophon’s other films, The Promise builds the horror on dramatic foundation. Sophon has experimented on family tropes in Ladda Land and friendship tropes inThe Swimmer; in his latest work, he combines them both along with some urban legend and national history. Continue reading The Promise / เพื่อน..ที่ระลึก (2017) – Review
Review: The idea of reliving the same day in a loop a la Groundhog Day gets a South Korean treatment in Cho Sun-ho’s (writer of Killer Toon) directorial debut, A Day (a.k.a. Ha-roo). When I said ‘South Korean treatment’, it means that this film has some touch of melodrama and another shade of revenge thriller wrapped in a moving, time-loop story about life, death and grudge that glues them together.
In A Day, a glorified surgeon Jun-young (Kim Myung-min) keeps living the same day when he loses his daughter in a traffic accident. He’s en route to reconcile with the daughter when a taxi hit the poor girl and instantly killed her. Soon, as the doctor began to get engulfed by sense of helplessness and trauma, he found out that he’s not the only person to suffer the looping fate. Continue reading A Day (2017) – Review
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.
Blade Runner 2049 comes as a genre-bending late follow-up, which appears as a slow-burning detective story to reveal answers to both philosophical and ‘physical’ mystery presented in the premise. Denis Villeneuve’s cyberpunk sequel deliberately yet subtly mirrors Ridley Scott’s original in terms of plot and general elements, but confidently delves into a new territory at the same time. All of those are wrapped exquisitely in one of the most stunning 164 minutes in the history of life.
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Review: It’s difficult to grasp what Daniel Peddle’s Southern coming-of-age drama, Moss, tries to emanate. Shot in the midst of lush Pleasure Island, North Carolina with casts of local people (who mostly have no acting resume), this film remains quiet, restraint, compelling but unfocused in narrating a fateful day for the titular protagonist.
The story only revolves on a single day, which happens to be Moss’ (Mitchell Slaggert) 18th birthday. Moss’ mother died giving birth to him, triggering a rift between the young guy and his father (Billy Ray Suggs). Moss’ birthday only reminds his father to the grief he’s been denying all the time. Moss deals with the boy’s newly responsibility as a young adult to deliver meds to his grandmother; but, he’s drifted between the temptation of immaturity, the search for maternal figure and his responsibility. Continue reading Moss (2017) – BALINALE Review