Review: Netflix drops another binge-watch-worthy Drew Barrymore-starred sitcom, Santa Clarita Diet, a while ago. The premise is kinda offbeat: mixing “zombie” story with family sitcom set in a Californian town with ‘diet’ in the title. One thing to keep in mind is: it is not your kind of diet.
If you’re thinking of zom-bombastic actioners like The Walking Dead or gory-zombie bonanzas, you’d better save your thought. You won’t find no ‘real zombie’ in this 10-episode half-hour series. What you will find is a couple of married realtors (Drew Barrymore and Timothy Olyphant), who after a gut-spilling accident in the first episode, must deal with the fact that Sheila – the wife – is undergoing her turning into an undead. Continue reading A Season with: Santa Clarita Diet (2017) – Season 1
Review: British colossus, Tom Hardy, teamed up with his Locke’s director, Steven Knight, for a period revenge-thriller, Taboo. Same as the title, the whole episode of this FX/BBC collaboration is often being too dark, too gritty, and too grim; hence, taboo.
Tom Hardy stars in this complicated 18th century London, where worlds’ biggest colonial trading companies compete. Hardy is James Delaney, a prodigal son of a wealthy man who owned a sacred land called Nootka. Presumed dead for years in aftermath of a boating accident in Africa, James returns for his father’s funeral – just in time to ruin some plans to claim the late Mr. Delaney’s land. Continue reading A Season with: Taboo (2017)
Review: In Arrival, 12 extraterrestrial saucers mysteriously appear and float above 12 different places around the Earth. Clueless of what they may encounter, humanity quickly falls into fears and turmoil. A linguistic professor, Dr. Louise Banks (Amy Adams) is summoned into an alien site nearby to decipher the alien’s alleged language, to prevent mass hysteria that might lead to a war of the world.
David Villeneuve, director of acclaimed grim thrillers (from Incendies to Sicario), picks up where other ‘first-contact’ predecessors (i.e., The Day the Earth Stood Still or Independence Day) have established and neutralizes it, making it more ambiguous in terms of the hazard. Arrival is presented as a new non-patronizing and non-preachy cerebral sci-fi detailing an mind-bending approach to allegedly alien invasion. Continue reading Arrival (2016) – Review
Review: In Raditya Dika’s Hangout, a mysterious host invites 9 Indonesian foremost celebrities to a lush resort in a remote island for three days with no definite reason. Thinking it is as a secret casting invitation, those 9 brats are coming around.
Among those 9 stars, versatile Indonesian director/poker-faced actor/writer/stand-up comedian/YouTube personality, Raditya Dika lurks around after being financially indebted. Along with Dika, Soleh Solihun, a stand-up comedian turned disastrous reality show presenter, also came while holding grudge to Dika for making him losing a role for box office hit called Korea Forever. Aside from the frenemy, other celebs i.e, veteran Mathias Muchus, flamboyant Surya Saputra, adventurousTiti Kamal, filthy Dinda Kanya Dewi, Gading Marten, YouTube vlogger Bayu Skak and teenage star Prilly Latuconsina, are coming for the invitation.
What started off as a tropical dream and a little inner circle reunion suddenly turns into massacre when body counts start to rise. A mysterious killer is targeting those Indonesian stars, one by one, for a reason nobody bloody knows. Continue reading Hangout (2016): Hanging out with Death
Review: Paula Hawkins’ The Girl on the Train is reasonably dubbed as Gone Girl of 2015 when it became a bestselling phenomena awhile ago for sharing some mutual qualities with Gillian Flynn’s. Both are being written by former-journalist female authors, describing specific girls on the title, involving missing girls, devising unreliable narrators, and being bestselling thrillers.
When Gone Girl results in a compelling adaptation by David Fincher, the odds are high for Paula Hawkins’ to be adapted into silver screen. Yet, this time, The Girl on the Train adaptation simply is not the Gone Girl of 2016 if you might expect. Continue reading The Girl on the Train (2016) – Review
Review: Glad to witness writer-director Shane Black returns to genre which made his name. While Iron Man 3 becomes his breakthrough, his name really was made during the 80s and the 90s as screenwriter of cruchiest hardboiled action flicks, i.e., Lethal Weapon, The Last Boy Scout or Last Action Hero.
In 2005, Black directed his debut with LA neo-noir, Kiss Kiss Bang Bang. His new feature, The Nice Guys, works as a resume to sum the best of his filmography. Besides, it marks his return to the jungle of LA glams – now in the 70s. Also, he returns to his imbalance buddy formula as in Lethal Weapon. Only this one is much more lite, neater and more hilarious. Continue reading The Nice Guys (2016) – Review