DC has found its fun serum that does no justice
Review: Let’s break down Justice League into good news and bad news first. The good news is Justice League shows that DC has actually learned how to concoct a story out of their metahumans (yes, for them, the word ‘superhero’ is overrated) extensively since Batman v Superman: Dawn of Justice, and how to sweeten up their preferably dark universe with proper humors, too, ever since Suicide Squad. While the bad news: the good news only slightly helps the film from being a total mess.
Following rave reviews showering Patty Jenkins’ Wonder Woman and news of reshoots along with post-production galore to Avengers’ helmer, Joss Whedon, expectation flown high on how Justice League would finally do the justice to DC. At some points, it might live up the expectation; thanks to balance between Zack Snyder’s grim visions and Whedon’s holly jolly. Snyder, who left during post-production, still gets the sole director billing for his extensive work; but, we know that it’s Whedon who invents and injects the fun-serum. The cahoots result in a fun, energetic, light and more accessible crowdpleaser using DC’s properties. Regardless, Justice League apparently not a back-to-back victory. Continue reading “Justice League (2017) – Review”
Review: Stephen King’s famously ‘unadaptable’ genre-mixing novel series get adapted by A Royal Affair’s director, Nikolaj Arcel, into a series of non-understandable events. Missing out the horror elements, missing out the Western elements, and opting for PG-friendly action, The Dark Tower might as well be titled ‘How to Adapt The Dark Tower and Miss Everything.’
There’s nothing special with the story. It apparently borrows elements from King’s novels, starting from the titular tower, the characters, and the conflicts. There’s the Dark Tower, which is said to be center of a multiverse; it is also said that only the mind of a child can destroy it. A dark sorcerer called Man In Black (Matthew McConaughey) seeks to destroy the tower to bring reign of terror. In doing so, he’s abducting children from all universes and exploiting their mind to blast the tower down. On the path of light, there’s a Gunslinger, Roland of Gilead (Idris Elba), a loner from a devastated world, who seeks for revenge. Standing between them is a child from Earth, Jake Chambers (Tom Taylor), who is haunted by nightmare of the tower.
Continue reading “The Dark Tower (2017) – Review”
Review: After nearly two decades, Luc Besson finally materializes Valerian and the City of a Thousand Planets, a space adventure adapted from his childhood favorite comic ‘Valérian and Laureline’—which he’s been craving to make ever since The Fifth Element (1997).
With visual endeavors the size of Cameron’s Avatar and vibrant universe to rival Star Wars (if not Wachowskis’ Jupiter Ascending) also with largest budget in French cinema history, it is exactly the size of Besson’s ambition on full creative control mode. The result is an elegant (borderline to over-the-top) space odyssey if not a style-over-substance one by any measure. What Valerian doesn’t have is a compelling script to cover the whole duration.
CONTINUE READING IN ‘ENGLISH’
Review: In adapting Neil Gaiman’s American Gods, Bryan Fuller (Hannibal) and Michael Green (Logan), take Gaiman’s vision—for a divine story about immigrants and gods in a land of no god—into a whole new level of occultism. While retaining the novel’s tongue-in-cheek philosophical relevance, the show combines it with current real-world issue—about religion and humanity—and revises the author’s neglects towards minor storylines with a more engaging, intertwined ‘war of gods’ epic.
Same as the novel, American Gods centers on Shadow Moon (Ricky Whittle), a purposeless ex-convict whose wife (Emily Browning) is killed on a car accident a few moment before his release. Upon his despair, Shadow encounters a man-god who calls himself, Wednesday (Ian McShane) and gets recruited as a henchman in war between the Old Gods (Wednesday and comrades) and the New Gods of media, technology et al. Once hired, series of enigmatic events and bands of obscure characters appears, rendering Shadow (and audience’s, too) baffled and puzzled. Yet, as Wednesday said, there’s only one rule among others: Shadow is not paid for asking questions. Continue reading “A Season with: American Gods (2017) – Season 1”
Review: In Hulu’s adaptation of Margaret Atwood’s novel, The Handmaid’s Tale, the near-future world is depicted as a real horror show, especially for women. A theocratic totalitarian government of Gilead rises from the ashes of what once known as the United States—which has perished in aftermath of a civil war leading to environment contamination and financial crisis. In this dystopian world, stability is built upon sacrifices; but the sacrifice is too tremendous: women’s position in the society.
Gilead—a fascist regime, which lays its foundation upon Biblical inspiration, diabolically confiscates women’s right and subjugates them to the outer realm of society. Those women—who mostly become infertile due to the war—are considered low and no longer allowed to work, even read. Those who are lucky enough to still be fertile aren’t actually lucky. They are enslaved as Handmaids to be legally raped in a ceremony to conceive children for the bourgeois. Continue reading “A Season with: The Handmaid’s Tale (2017) – Season 1”
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”