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
“My name is Dances with Wolves. I have nothing to say to you. You are not worth talking to,” said John Dunbar.
By today’s standard, Kevin Costner’s Dances with Wolves would’ve been received differently, possibly with praise over the film’s respect to representation – the use of native people and native language to depict native American, Sioux and Pawnee. At the same time, it might also receive terrible backlash over its ‘white savior’-esque narrative by today’s critical audiences. However, it stormed of Academy Award in 1991 – nominated for 12 and win 7, including Best Picture. Continue reading Blindspot: Dances with Wolves (1990)
Review: In terms of visualizing a grandeur story about ambition, passion and destiny, James Gray’s The Lost City of Z might make handful of resemblance with Paul Thomas Anderson’s There Will Be Blood and a smaller scale of it. While the latter is a chronicle of a man’s ambition over oil field for greater goods of one’s self, the former is a spiritual adventure of a man’s ambition dividing the South American jungle to unravel humanity’s biggest secret, an older civilization hidden in the green desert.
Adapted from David Grann’s book, the quest to find Z retold the story of a British man, Percy Fawcett (Charlie Hunnam), who was tasked to map Brazil-Bolivian boundary deep in the Amazon rainforest in order to prevent wars between the two countries. Fawcett teamed up with Henry Costin (Robert Pattinson), an avid explorer of the jungle. During the tenure, Fawcett was consumed by the idea of a lost city he proposed as ‘Z’ after confirming a native’s story upon his findings of pottery. The more he believes and studies the lost city, the more he’s obsessed and the more his ambition to prove its existence emerges, engulfing his own existence. Continue reading The Lost City of Z (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