Review: Michael Bay’s criticproof franchise returns with another Bayhem galore—a non-stop clink-clicketty-clank-bang-boom juggernaut slugfest—in what’s dubbed as Bay’s final Transformers film, The Last Knight. The final result though—after decade with five installments so far—offers no new insight to the storyline but bunch of same day, different spectacles.
Starting off as an expanded myth of Camelot, where ancient transformers assisted King Arthur and his knights of round fighting Saxons, The Last Knight immediately leaps sixteen centuries ahead. While Optimus Prime has left the earth in search of his home-planet, Cybertron, other transformers keep coming to earth and are declared as threat; therefore, a counter-transformer task force called T.R.F is deployed to exterminate them. That’s when Cade Yeager from Age of Extinction encounters a versatile kid, Izabella (Isabella Moner) and ‘get chosen’ to partake in an ancient myth. Continue reading Transformers: The Last Knight (2017) – Review
First, Alex Kurtzman’s The Mummy has nothing to do with Stephen Sommers’ 1999 Brendan Fraser-fueled blockbuster of the same title; let alone Karl Freund’s 1932 Boris Karloff-incited classic. Second, it has nothing to do with Mission Impossible, despite Tom Cruise, Christopher McQuarrie, and David Koepp’s involvement. Third, it, however, is a completely different film to mark a confident opening for Universal’s audacious Dark Universe, which sets to assemble the studio’s classic monster films into a whole new rebooted universe.
The Mummy does not take place in Egypt at all. It only begins in the ancient Egypt where Princess Ahmanet (Sofia Boutella) was mummified alive, before shifts away to both Iraq and England. In England, mysterious catacombs of deceased Templar knights from the Crusade was found underground, inviting Dr. Henry Jekyll’s (Russell Crowe) grave attention. Meanwhile, soldiers Nick Morton (Tom Cruise) and his comrade, Chris Vail (Jake Johnson), along with an archaeologist, Jenny Halsey (Annabelle Wallis) found a mystically guarded ancient tomb of Ahmanet. Continue reading The Mummy (2017) – Review
Review: At one point, we might see Wonder Woman as the real biggest gamble ever in recent superhero film spree. There are myriads of dire reasons that made this DC entry’s stake even bigger than Marvel’s first Guardians of the Galaxy and Dr. Strange combined.
First, DCEU has previously been ill-started with several ill-fated attempts. Second, there are doubts about Gal Gadot’s capability to lead as main character. In addition, Patty Jenkins’ reputation as the first female director to helm a superhero film with female protagonist did not seem to give security, albeit she used to direct Charlize Theron to her Oscar win. But, that’s before Wonder Woman saves the day and brings DCEU back to game. Continue reading Wonder Woman (2017) – Review
Review: For the fifth installment (a.k.a. another comeback), Pirates of the Caribbean franchise decided to use a more narrative-friendly Salazar’s Revenge title over the more occult (and, still, US title) Dead Men Tell No Tales purposively. After all, giving away an obscure name in the title might help convincing audiences that this is a new series, not just a hasty recycle of the original trilogy… or a too-early Force Awakens in the ocean.
In case you forget, ‘original’ Pirates series progressed upon an electric narrative involving an unholy trinity – Jack Sparrow (Johnny Depp), Will Turner (Orlando Bloom) and Elizabeth Swann (Keira Knightley). In surviving a trilogy, the last two names were retired from the narrative in the disjointed fourth installment, which marked Sparrow’s solo-career. And, yet, Salazar’s Revenge, learning from the last lambasted tenure, decides to create a small reunion, assemble a rejuvenated trinity, add some family issue there, and starts a new been-there-done-that voyage. Now you know why I called it a nautical Force Awakens rip-off, don’t you? Continue reading Pirates of the Caribbean: Salazar’s Revenge (2017) – Review
Review: Guy Ritchie injects gallons of his mayhem-infused blockbuster niches to the chivalrous tale of King Arthur and makes this ‘origin story’ an electric celebration of mess. There are giant elephants bigger than Peter Jackson’s Oliphants, giant human-eating snake, and, even, a humanoid octopussy which looks like a fresh cameo from Disney’s Little Mermaid. Apparently, King Arthur: Legend of the Sword is loud, dynamic, gegenpressing-laden, and chaotic – in good way, and bad way.
Arthur (Charlie Hunnam) is depicted as a fallen prince rising as a misfit from the street. His royal parent was usurped by his uncle, Vortigern (Jude Law), after his valiant father (Eric Bana) brought down army of evil mage in the film’s bombastic opening. Orphaned Arthur is then raised by women of a brothel and quickly rises into a legend when he eventually lifts his father’s legendary sword, Excalibur, before David Beckham. Yes, Becks. Continue reading King Arthur: Legend of the Sword (2017) – Review
Review: Ben Wheatley’s Free Fire knows no cease fire in narrating a full-frontal arms deal gone awry chaos. With ten characters introduced upfront, initially dispersed into two opposing factions, before grouping into smaller groups later on, you know that there’s no guarantee that this bullet bonanza will end well… or start well.
Taking time to lead us to the main event – the claustrophobic bullet ballet, but the time Free Fire takes is apparently made into a delightful appetizer. We’re quickly introduced to two Irishmen, Chris (Cillian Murphy) and Frank (Michael Smiley) who, with their henchmen (Enzo Cilenti and Sam Riley), are in full trust to a fixer, Justin (Brie Larson), who works with Ord (Armie Hammer), to buy guns from Vernon (Sharlto Copley) and his men (incl. Jack Reynor and Noah Taylor within). We know from the beginning that something is off in this deal; therefore, when things escalate quickly as past grudge re-embarks, ‘surprise’ is no longer an appropriate vocabulary. Continue reading Free Fire (2017) – Review