Acknowledge it that the classic Child’s Play story about a doll possessed by an evil spirit brought in life by voodoo spell is a thirty-year-old horror story—older than most millennials. After spawning six sequels and popularizing Chucky as one of the most iconic horror villains, the franchise finally follows the step of other horror classics […]
Jon Favreau’s photo-realistic remake of Disney Renaissance’s magnum opus, The Lion King, is best described as being nonurgent. As a matter of fact, it’s unquestionably prone to exoticism and aesthetic in terms of visual or musical, even more than Favreau’s vibrant rendition of The Jungle Book in 2016. Notwithstanding the artistic breakthrough, the redux, which […]
With formulaic double-agent trope, Besson delivers another femme fatale flick; sadly, given his recent reputation, it’s uncomfortable to observe the inherent male gaze.
Set in a bizarre Curtis-ian world without The Beatles, Yesterday is surprisingly simplistic, albeit bittersweet.
With moderate yet goofy presentation, MIB: International is surprisingly a warm welcome back for old fans and a fair introduction to new generation of fans.
With plot that works like a series of comedic sketches, The Secret Life of Pets 2 can only entertain with the super-cute characters—the best product of the series.
Raditya Dika finds a better rhythm and theme—for the follow-up of his ‘single’ tour de force—that works warmly even when the symptoms of theme’s fatigue become more apparent.
Si Doel the Movie 2 hits the nostalgia button even harder this time even when the narrative keeps slowly lollygagging with the titular character’s infamous indecisiveness.
Hit & Run is a tonal mess—partly embracing the heyday of Hong Kong cop movies, partly grasping post-Raid actioners and mostly channeling its oddball tendency.
Only the colossal amount of Kaiju Soshingeki visual spectacles and iconic one-perfect-shot moments that could somehow save Godzilla: King of the Monsters from its failing narrative.