With fuzzy narrative and alienating plot-points, Captain Marvel can still deliver a blast along with profound empowering message.
Ever since Thanos wreaking havoc in Infinity War, the wave of expectation about the real ‘avenger’ to avenge The Avengers hasn’t even plummeted down. Audiences seem to take the thing seriously and, since that emotionally relieving post-credit scene of Marvel’s most emotionally draining movie yet, expectations are soaring high. Only if Captain Marvel—the studio’s first solo female movie—could level up to the altitude, will those expectations be quenched.
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Fall in Love at First Kiss could’ve delivered a more heartwarming romance which pays beautiful tribute to the source material, whichever it refers to.
Fall in Love at First Kiss (一吻定情) adds
another entry to the list of Kaoru Tada’s manga, Itazura Na Kiss screen adaptations
(which has spawned various television series in Japan, South Korea, Thailand
and Taiwan). Chen’s version takes a closer approach to the first Taiwanese
incarnation, It Started with a Kiss (惡作劇之吻), especially by using the established character
names and settings. While the plot might sound eerie and unhealthy in deeper observation,
the movie’s sugarcoating—with bubble-gum visuals and comical characters—can, at
times, divert the attention to a distant lesson.
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Bypassing all the character introductory phases, the romance rift in Dilan 1991 is sadly underwhelming even when the chemistry between Iqbaal and Vanesha starts to make sense.
In a decade
or two, Dilan, as a character, might still be remembered as an illustrious Indonesian
teenage boy icon—rising into some cult status along with Lupus and Si Boy. By
that time, it might not be surprising if new incarnations of Dilan will rise
into prominence; while, Iqbaal Ramadhan’s exhilarating performance (which beats
all the odds) will become a solid benchmark. In like manner, Dilan-Milea
romance might also transcend the time, like Galih & Ratna or others (I was
about to write: Rangga & Cinta from Ada
Apa dengan Cinta?, but then I imagined the backlash). However, that’s not
the case for the movies—both Dilan 1990
and Dilan 1991.
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When narrated evenly and smoothly, Antologi Rasa could’ve made itself a ‘When Harry Met Sally’ disciple; and yet, the movie keeps hitting the road bump and takes questionable turns.
Adapted from the best-selling book—from author Ika Natassa—which shares literary universe with Critical Eleven, Antologi Rasa is another adult romance which also delves into the world of career-driven individuals. The story gravitates around the complicated friend-zones comprising of multiple love triangle with multiple unrequited love. In a perfect world, such kind of story might become a thoughtful view of modern day relationship in a way that When Harry Met Sally does back in the 80s. Sadly, this isn’t that perfect world.
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Robert Rodriguez’s latest visual bonanza, Alita: Battle Angel, is a sci-fi epic that immediately sparks immediate déjà vu to James Cameron’s Avatar. Such allegation isn’t without a root or apparent proof. The striking visuals—especially that attention-demanding anime eyes of the titular character and, later, the detailed mo-cap technology (that Cameron has revolutionized back in 2009 along with the CGI-laden world, the complex mythology in back-stories, the larger-than-life action sequences (including the inventive weapons and the fighting styles), and the nature of the protagonist (living someone else’s body) are in a way or another channeling its inner Avatar.
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Wiro Sableng smartly plays out on one of the source material’s finest advantage—exotic world building and exquisite characters—to craft a real blockbuster treat, despite all the flaws.
Review Wiro Sableng 212 Warrior: Wiro Sableng (trans. Crazy Wiro), a character created by Bastian Tito, is one of the most renowned & legendary martial art warriors in Indonesian comic scene—along with Panji Tengkorak (Skull Panji) and Si Buta dari Goa Hantu (Blind Warrior from Ghost Cave). From comic book, Wiro Sableng had been adapted into a several movies and, most notably, long-running television series that had gained cult-following and launched a one-hit wonder status to the star, Ken Ken. In 2018, a latest incarnation of the famous character is brought into existence by Angga D. Sasongko (Filosofi Kopi series, Bukaan 8), backed by Lifelike Pictures and Hollywood mogul, Twentieth Century Fox.
Wiro Sableng: Pendekar Kapak Maut Naga Geni 212 feels special in the development. Penned by Tumpal Tampubolon and Sheila Timothy with senior Indonesian author (and martial-art writer), Seno Gumira Ajidarma, the plot is straight-forward poetic justice action mixed with political turmoil in the background. Partially inspired by classic wuxia stories, the narrative also elaborates a Shakespearian dash and clash that look like Coriolanus and the lots. More enticingly, the fact that Vino G. Bastian, an interesting Indonesian actor who plays the titular role, is Bastian Tito’s son makes a real point as if all stars are aligned for this adaptation. Continue reading “Review Wiro Sableng: Pendekar Kapak Maut Naga Geni 212 (2018)”