Review: Taking full resilient force from Justin Simien’s 2014 indie-hit, Dear White People, Netflix’s Dear White People reuses the same force to launch this 10-episode of witty comedy into this year’s most thought-provoking spectacle. This works as an extension of the infamous black-themed white-people party in the feature film, although it starts off with effective reimagining of it; but, it transcends mostly as the aftermath with counter-racism and cross-cultural conversation at its heart.
Set in a fictional Ivy League university, Winchester College, Dear White People follows a tribe of black students living in all-black dorm named Armstrong-Parker house. If the film version combines multiple characters’ arcs in a full-frontal riot, the series presents the story differently. Each pivotal character gets a full 30-minute episode arc in exercising the doomed party’s aftermath. Continue reading A Season with: Dear White People (2017) – Season 1
Review: For starter, Riverdale “borrows” super-likable characters from your childhood Archie comics – from red-haired jock-musician wannabe, Archie Andrews (KJ Apa), the good girl Betty Cooper (Lili Reinhart), smoky hot rich Veronica Lodge (Camila Mendes), quirky Jughead Jones (Cole Sprouse) to the thorn girl, Cheryl Blossom (Madelaine Petsch), throws them into a bleak, neon-bathed YA world, and give them a completely new storyline. While appearing campy and soapy for the whole season, the series has proven to be another guilty pleasure entry from the CW, which surprisingly works.
Set in a fictional town named Riverdale – hence the title – this series practically kicks off with the mysterious murder of Jason Blossom (Trevor Stines), a brother to Cheryl and a lover to Betty’s sister. From there, Riverdale quickly escalates into a provincial-townie, coming-of-age murder whodunit, which is often overshadowed by toned-down Game of Thrones/The Sopranos-esque faux complexities. Stories have never been an aspect this series excels in, but they’re important to make those likable characters shine like cents. Continue reading A Season with: Riverdale (2017) – Season 1
Review: With a title referring to an aviation term, critical eleven – three minutes after taking off and eight minutes before landing, where a plane is at the highest risk of crashing – Critical Eleven is not an actual film about flights; instead, it is a romantic manifestation of those critical minutes in a relationship.
According to the film (adapted from Ika Natassa’s bestseller of the same title), the same term is applicable to a meet cute as well; first three minutes of crafting impression, and final eight of leaving impression. And yet, the very same term is also applicable to enjoying this story, too. If the first three minutes (not exactly) gets you enthralled, you’ll desperately need to get prepared for the final eight minutes. Continue reading Critical Eleven (2017): An Anti-Romance Romance Film
Review: In its 130-min duration, Koe no Katachi a.k.a. A Silent Voice tackles a complex coming-of-age drama of consequences, self-alienation and reconciliation. Sometimes it staggers, sometimes it falls into melodrama; but, in the end, it passes a meandering way with subtlety and grounded intricacy.
Naoko Yamada’s first feature is adapted from a manga series by Yoshitoki Oima. The story orbits on a bittersweet connection between Shoya Ishida (voiced by Miyu Irino) and Shoko Nishimiya (Saori Hayami). As a kid, Shoya, not knowing the consequences of his deeds, bullies and abuses hearing-impaired Shoko. When consequences finally catch him up, all he has done to Shoko return to haunt him – excommunication, persecution, and all. Since then, he decides to prefer solitary, avoid contacts with people, and alienate himself from society. Continue reading A Silent Voice / 聲の形 / Koe no Katachi (2017) – Review
Review: In The Circle, James Ponsoldt – a promising director with sympathetic character-driven dramas (Smashed, The Spectacular Now, and The End of the Tour) – attempts to create a Dr. Strangelove of the 21st century while substituting ‘The Bomb’ with ‘The Internet.’ Based on Dave Eggers’ 2013 novel, this is projected as a poignant satire to criticize how internet has taken over real life and, especially, threatened privacy. And yet, Ponsoldt ends up making a star-studded mess with mostly underused idea and, more, superfluous subject.
What happened was, by the time Eggers published the novel, the subject matter became highly relevant with global circumstances IN REAL TIME. Yet, one click later, three years have passed and, ironically, Eggers’ fears had some surfaced, emerged, and made real life stranger than fiction; and that’s how The Circle becomes irrelevant and, as I mentioned previously, superfluous. Continue reading The Circle (2017) – Review
“I’ve killed women and children. I’ve killed just about everything that walks or crawled at one time or another,” said William Munny explaining who he was.
Clint Eastwood dedicated his final Western film as a director and an actor, Unforgiven, to the sub-genre that has made great name out of him. More, he specifically dedicated it to people whom he’ll be forever in debt with, Sergio Leone and Don Siegel. And, who knows that a devoted tribute would end up being a milestone to the modern-day Western film. And, who knows that this tribute would be Eastwood’s legacy. Continue reading Blindspot: Unforgiven (1992)