The Pool is frustrating (at least for the audiences) and claustrophobic thriller which tries its luck, ironically, on bad luck and ignorance, which probes no sympathy.
A couple is foolishly trapped in an abandoned 6-meter-deep pool… without water, without ladder, without any visible way out. From the premise, Ping Lumpraploeng’s The Pool seems to offer a frustrating, claustrophobic thriller assembling the force of bad luck and the consequence of ignorance. It immediately reminds me to Open Water series (especially the second installment) where sheer stupidity and malaise jeopardize people’s life. While it sounds nonsensical and exaggerating, some of its suspense might work even better if the movie does not give away most of the thrills so easily.
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The premise and production value of The Wandering Earth is otherworldly stunning; while the well-intended movie isn’t without flaw.
Dubbed as the first ever ‘proper’ Chinese interstellar blockbuster, Frant Gwo’s The Wandering Earth flaunts more than just an ambitious spectacle; but, the entire industry’s pride in orchestrating a cinematic milestone. Adapted from Cixin Liu’s award-winning novella, this kind of “cancelling the apocalypse” (borrowing the term from Idris Elba’s character in Pacific Rim) can only be a massive production or nothing at all. And, this adaptation opted to go the former way and, since then, it becomes a mega-hit. Before long, Netflix picked it up and The Wandering Earth really wanders to flaunt its extravagant ambitions.
Continue reading “Review The Wandering Earth / 流浪地球 (2019)”
Raihaanun delivers a stark and raw yet sterling performance to become the soul of this powerful story about sexual trauma.
Director Ravi Bharwani and writer, Rayya Makarim, bring about the face of sexual trauma in the stark yet riveting 27 Steps of May. Released on the same day as Indonesia’s Women’s March, the story trots out an unapologetic study of a tragedy against humanity, especially women, and its aftermath. The message it carries is as timely and timeless as the issue itself; it’s powerful, important and urgent.
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Tetsuya Nakashima’s horror devices a long list of plot twist mechanisms simultaneously and enticingly in one grand, yet campy and long-winded horror that demands full attention.
Tetsuya Nakashima (Confession, The World of Kanako) has always been known as a visual extravagant with flair for narrative overdrive. With portfolio of bleak murder mysteries that always haunt long after the movies end, Mr. Nakashima now steps further into horror territory with It Comes (also known as Kuru), an adaptation of Ichi Sawamura novel, Bogiwan ga Kuru. Similar to his most notable works, even in his horror debut, his movie is outright dark, mysterious, visceral and demanding. At one point, this horror reminds me to the cult-making Korean horror, The Wailing; what makes it different is: it’s campier and bigger in scale.
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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)”
Sebelum Iblis Menjemput is the prodigal cousin of Evil Dead.
Timo Tjahjanto’s (half of The Mo Brothers) May the Devil Take You (originally titled ‘Sebelum Iblis Menjemput‘) is the prodigal cousin of Evil Dead who lives too far abroad that it gets tangled deeper in the hardcore nastiness of occultism. The nightmare it introduces might feel close and yet so far; but then, this bone-chilling and blood-gushing diabolical phantasmagoria is a guaranteed tough watch. It’s definitely not for the fainted heart; but, most definitely, it’s not for the pious heart.
Pedantic resemblances to its influence is inevitable, however, May the Devil Take You is bold enough to differ in all its nightmarish way. While it’s a cabin-in-the-wood story—only the cabin is changed into an abandoned resting villa (well, it’s a holiday cabin for Indonesians after all) with a ridiculously hard locked door to basement and a strange entity’s first-person POV as well, it’s not a groovy ordeal; it’s a pure horror that embraces every notion in Stephen King’s infamous quote, “nightmares exist out of logic.” Continue reading “Review Sebelum Iblis Menjemput / May the Devil Take You (2018)”
Kafir is a well-crafted horror of local occultism culminating in visceral, over-the-top payback.
Review Kafir (2018): After the gruesome death of the father, a family is plagued by mysterious atrocities in amidst of overwhelming grieves and senses of isolation. Simple as it may sound, Kafir (subtitled ‘Bersekutu dengan Setan’, trans. ‘selling one’s soul to the devil’) is surprisingly delivering an above-average performance among Indonesian new-wave horrors.
In Kafir, the terror comes when the recently widowed Sri (Putri Ayudya, delivering one of the best horror performances in the recent years) begins to believe that an insidious force is preying on her family. Starting off with her husband (Teddy Syah), the malicious energy she allegedly guesses as a result of ‘santet’—a form of evil spell in local occultism—gets enraged in endangering her and her two children (Rangga Azof and Nadya Karina). From there, Kafir presents downright (while not consistently) terrors in whatever forms it can have (including in its tackiest form, to be honestly speaking). Continue reading “Review Kafir (2018)”