“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)
Review: Ryan Murphy, an anthology specialist (yes, we’re talking about American Horror Story and American Crime Story), further expands his repertoire to another real life shenanigan, peeling legendary feud – a clash of titan – in his new series, Feud. Digging up classic feud between two classic Hollywood stars, Bette Davis and Joan Crawford during the production of psycho-biddy What Ever Happened to Baby Jane?, Murphy has reserved two award seats for his stars, Susan Sarandon and Jessica Lange.
Sarandon and Lange respectively portray Davis and Crawford remarkably, in the sense that the feud pervades to the present-time stars. The heat of the conflicts has ingrained so profoundly that we might see Sarandon as a manifestation of Bette Davis and Lange as Joan Crawford. Continue reading A Season with: Feud: Bette and Joan (2017)
Review: A teenage girl, Hannah Baker (Katherine Langford) committed suicide. Instead of leaving suicide notes, she left seven double-sided cassette tapes – in which she stated a reason and tagged a person ‘responsible’ for her demise in each side of the tape but one; hence, 13 Reasons Why. Ever since the first episode, the show is narrated by a dead girl pointing out who share the responsibility of killing her, as listened by a clumsy school boy, Clay Jensen (Dylan Minnette), who is eager to find out his school’s dirty little secrets.
This series is adapted from Jay Asher’s best-selling young-adult fiction which defies the convention of YA tropes. As much as it is accessible and binge-worthy, this somber, grim teen-angst ridden series is surprisingly taut and thought-provoking, despite revolving around coming-of-age tropes. So, here’s 13 points compiled to review 13 Reasons Why. Continue reading A Season with: 13 Reasons Why (2017)
Review: In my bare thought, Stip & Pensil – eraser and pencil – might be A Copy of My Mind v2.0 written but not directed by Joko Anwar. Helmed by Ardy Octaviand, this film is projecting the writer’s exasperation towards suburban sh*ts in metropolitan – from blooming population, social gap, education awareness et al – in a lighter mode, making it more urban than Mr. Anwar’s political-heavy feature. It’s no surprise if this story feels timely and relevant to today’s situation through and through.
In presenting its serious theme, Stip & Pensil points out that the core of those suburban problems is: illiteracy – literally and figuratively. Illiteracy leads to low education and poverty, which force children to work instead of studying. People are unaware of these unfortunate chains, resulting in tremendous social gap. At the opposite edge, educated wealthy people are judged to have been prone to exclusiveness, promoting larger gaps. Mr. Anwar’s script proposes a thought, a different perception as a tool to mend the gap. Continue reading Stip & Pensil (2017): Slumdogs & Millionaires
Review: While Raden Ajeng Kartini, hailed as the symbol of women emancipation and empowerment in Indonesia, has always been a timeless subject; Hanung Bramantyo’s Kartini surprisingly comes at the most relevant moment – when feminism movement is on the wild run; when rift between the conservative and the progressive is on the edge; when discrimination and patriarchal superiority suddenly awaken from their dormant state – clinching its factual relevance to modern day audiences as more than just a ‘glorified depiction’ of a real-life figure.
Kartini revolves around specific period of the titular character’s life: during her ‘pingitan’ or glorified seclusion. Kartini (Dian Sastrowardoyo), an aristocrat by birth, is bound to be a ‘raden ayu’ – glorified wife/concubine of aristocrats – when she has grown enough. To become one, she must enter ‘pingitan’ ever since her coming of age; she must get secluded from outside world to prepare her to be a perfect woman. Continue reading Kartini (2017): A timely, exquisite story about women
Review: For a film titled The Guys, Raditya Dika’s quick follow-up to his star-studded, box office making Hangout, it ‘almost’ lives up to the title; had some more dominating sub-plot not overtaken the spotlight. Dika, as writing-and-starring director, displays more maturity in his ‘usual romantic comedy’ trope, but who knows that this film isn’t about that at all.
In The Guys, Raditya Dika stars as Alfi, an employee in an agency, who shares a flat with his co-workers, Rene (Marthino Lio), Aryo (Indra Jegel), and a Thai expat, Sukun (Phongsiree Bunluewong). Alfi is a straight Dika’s typical character – a loser in love; that before his chivalrous act enchant Amira (Pevita Pearce). Things go south when Amira’s widowed father (Tarzan) also starts developing feeling towads Alfi’s widowed mother (Widyawati). With aids from his BFF – Best Flatmate Forever – Alfi sets up a plan to mess with the older generation’s relationship to secure his own. Continue reading The Guys (2017): When ‘The Guys’ become the other guy