With catchy tunes, heartfelt fan-service treatment and juxtaposed narrative, the uplifting prequel not only completes (even, exceeds) the original Mamma Mia, but it also works delicately as a standalone story
Movie Review Mamma Mia! Here We Go Again (2018): Several years have passed since the kitschy Mamma Mia! (2018), where Meryl Streep teams up with all-star casts of all generations (including Pierce Brosnan, Colin Firth, Stellan Skarsgard plus younger generation casts, such as Amanda Seyfried and Dominic Cooper) creating a campy—and tacky—musical drama about family and dream. Mamma Mia! Here We Go Again (2018) brings audiences back to the Greek island, Kalokairi, where the first film commenced, for an (sadly) incomplete reunion.
Ol Parker (The Best Exotic Marigold Hotel and the sequel) pens and treats Mamma Mia! Here We Go Again as if it is the Godfather II with Streep as Brando and Seyfried as Pacino. To complete the Godfather manifestation, they even have Lily James as De Niro of Mamma Mia!. Even further, this second movie also serves as both prequel and sequel with stories that juxtapose into each other and into the original story. Wherefore, it makes a better movie in terms of presentation—‘correcting’ the flimsiness of the original. Continue reading “Movie Review Mamma Mia! Here We Go Again (2018)”
Review: Cast Lulu Wilson in a prequel to critically lambasted horror film and you might get a decent horror. That statement might sound silly, but if you look closely, there’s something virtuous to deduce that a ‘bad horror’ isn’t the end. Annabelle: Creation, an origin story to John Leonetti’s Conjuring spin-off, Annabelle (2014), along with Ouija: Origin of Evil—also casting Wilson, has proven that horror franchise might still have a second chance if done properly.
Creation goes further before the titular demonic doll came into The Warrens’ possession, even further before the haunting of The Forms. The title itself has pre-explained what this horror is about: the genesis on how a ‘seemingly lovable’ child-friendly (which I myself doubt) doll turns into an evil carrier. Question is: would knowing how things will turn out make this film scary-less or, say, obsolete?
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Review: Intriguing how Alien: Covenant opens with a birth, a genesis, in a majestic all-white background contrasts with the franchise’ primal return to its origin. That birth accompanied by Wagner’s Entry of The Gods Into Valhalla is designed to bridge over two worlds – the stark, horror space of Ridley Scott’s Alien (1979) and the odd, philosophy-heavy world of Prometheus (2012) – and continue the cycle. Of gods and men, of gods and monsters, this bleak covenant is more a continuation than a return.
For the flight of Covenant, Mr. Scott amalgamates small dose of Alien’s infernal, frigid space horror with larger dose of Prometheus’ dialogue-laden, existentialism wisdom unevenly, but perfectly, to ignite nostalgia, while at the same time, connect dots. Continue reading “Alien: Covenant (2017) – Review”
Review: Ouija’s reputation might drown in the pit-bottom of the 2014 worst, but even so, grossing out 103 million USD from a 3-million production budget is an achievement. Consequently, skeptical thoughts are floating around when the news that this Hasbro-based horror gets a sequel (technically prequel) hits the ground. The only thing that keeps hope high for this installment is the helmer, Mike Flanagan.
Breaking the ground with Absentia and refusing to get found-footage treatment to his acclaimed Oculus, Flanagan is already on track in 2016 with other two films at gunshots: a poignant home-invasion Hush and an underwhelmed fantasy horror Before I Wake. As the third entry to his filmography this year, Ouija: Origin of Evil bears a great burden to turn down skeptical thought about the predecessor and to prove that, if done correctly, this boardgame can be frightening as hell. Continue reading “Ouija: Origin of Evil (2016) – Review”
“Not today!” Elise shouted.
In 2010, Leigh Whannell and James Wan teamed up to rejuvenate horror genre in Insidious (2010)—a sleeper hit that makes horror films something people always wait for. Since then, Insidious grew as a franchise with Chapter 2 (2013) continuing the original and, finally, Chapter 3 serving as a prequel to its predecessors. Continue reading “Insidious: Chapter 3 (2015) – Review”
Sin City: A Dame To Kill For is only half as fun as the predecessor… and so much less brutal than the first. If this is how Rodriguez tries to make another fun of his ‘legendary’ masterpiece, he’s completely fucked up.