Review: Let’s start with a little excerpt of what has gone so far in Planet of the Apes reboot universe. As you might have known (in fact, you’ll learn/re-learn about this in 3 opening minutes), simian flu has wiped most of the humanity, leaving few of them stranded on the planet that used to be theirs. Unbeknownst to them, the planet isn’t bound to them anymore. After the fall of men, the ‘Rise’ of apes is the next phase and the new ‘Dawn’ of civilization embarks.
War for the Planet of the Apes begins several years after the event in Dawn, where human wages war against apes. Human military led by The Colonel (Woody Harrelson) conducts man-hunt on ape leader, Caesar (Andy Serkis). The plan gone awry, but humanity has succeeded in killing Caesar’s family and the dream of reconciliation. This event scars the peaceful ape to the extent that he’s driven into waging his war against men, hence the title. CONTINUE READING IN ‘ENGLISH’
Review: In establishing his own ‘Sony’ world, the all-new Spidey (Tom Holland) has to swing across Marvel Cinematic Universe, find a more established mentor in Tony Stark a.k.a. Iron Man (Robert Downey, Jr.) and make an experimental entrance in Sokovian Accords feud—which made it into Spider-Man: Homecoming as Peter Parker’s vlog. Head-started with the Civil War (2016) stunt, director Jon Watts (Cop Car, Clown) along with five other writers deconstruct the web-slinging hero’s origin story, infuse it with coming-of-age gusto and redefine the old formula to make this third cinematic incarnation of Spider-Man a frivolously clumsy one.
As you’ve seen in his Captain America’s hijack, Holland’s Spidey is no more than a high school chap—barely 15 and a member of school’s decathlon team. Homecoming highlights his return to school after that ‘Stark internship’ in Berlin, where his mundane geeking/being bullied/being unpopular life has waited. Tenure with Tony Stark has given him high hopes of big action and great vigilante stunts; but a month has passed and he’s only becoming ‘the friendly neighborhood Spider-Man, as an extracurricular activity. Continue reading Spider-Man: Homecoming (2017) – Review
Review: Whoever thought that Netflix and its streaming-giant comrades are not part of ‘future of the cinema’ should watch Bong Joon-ho’s (Memories of Murders, Snowpiercer) latest work, Okja—a feat endorsed by Netflix which sparked controversy in the 70th Cannes Film Festival. Joon-ho’s second international feature evidently demonstrates what would happen if an auteur is funded to make a blockbuster with full creative controls.
Working with oddball-specialist Jon Ronson (gonzo journalist who wrote the embryo of Frank and The Men Who Stare at Goat), Joon-ho crafts a prolific blockbuster to wage war against animal cruelty and capitalism of food industry in the weirdest way. Delivered in the auteur’s most original framework—with shades of deadpan humor and bitter satire—in collaboration with Hollywood’s most versatile figures, Okja nests it all in a modest story about a superpig of the titular name. Continue reading Okja (2017) – Review
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