Kafir is a well-crafted horror of local occultism culminating in visceral, over-the-top payback.
Review Kafir (2018): After the gruesome death of the father, a family is plagued by mysterious atrocities in amidst of overwhelming grieves and senses of isolation. Simple as it may sound, Kafir (subtitled ‘Bersekutu dengan Setan’, trans. ‘selling one’s soul to the devil’) is surprisingly delivering an above-average performance among Indonesian new-wave horrors.
In Kafir, the terror comes when the recently widowed Sri (Putri Ayudya, delivering one of the best horror performances in the recent years) begins to believe that an insidious force is preying on her family. Starting off with her husband (Teddy Syah), the malicious energy she allegedly guesses as a result of ‘santet’—a form of evil spell in local occultism—gets enraged in endangering her and her two children (Rangga Azof and Nadya Karina). From there, Kafir presents downright (while not consistently) terrors in whatever forms it can have (including in its tackiest form, to be honestly speaking). Continue reading “Review Kafir (2018)”
‘Welcome to the Jungle’ is a lighter and more carefree Jumanji, even compared to the predecessor and Zathura.
Review: There’s a lot of joy in the superfluous sequel/spin-off of Robin Williams’ 1995 boardgame comedy, Jumanji. The legendary boardgame is no longer; it’s morphed into a 1980s’ videogame console. The predecessor’s heart, the talk about responsibility, is also stripped off—substituted with non-stop merriment and teen-angst. The result is a feel-good blockbuster packed with tons of fun and joyride carrying the best of the holiday vibes.
Jumanji: Welcome to the Jungle starts off by absurdly channeling The Breakfast Club before sucking out the four protagonists into the heart of the artificial jungle in a whole new action RPG. We have the nerd (Alex Wolff), the jock (Ser’Darius Blain), the recluse (Morgan Turner) and Molly Ringwald of Instagram era (Madison Iseman) playing the game. Inside the game, the teens also morphs into the avatar they’re choosing. The nerd turns into the all-muscle Dwayne Johnson with smoldering eyes; the jock shrinks into the cake-intolerant Kevin Hart, the sidekick; the recluse turns into the smoky hot Lara Croft-esque Karen Gillan; and the pretty girl turns into… Jack Black. And, they are all trapped inside the game which won’t let them go unless they finish it. Continue reading “Jumanji: Welcome to the Jungle (2017)”
Kenneth Branagh crafts a Poirot-laden blockbuster for Orient Express redux to secure his future gigs.
Review: Kenneth Branagh knows that modern viewers don’t fancy over-exposition in crime-mystery story as in Agatha Christie’s original whodunit classic, Murder on the Orient Express. Therefore, the actor/director adjusts the premise and crafts a more energetic, carefree version of the story which focuses more on the main protagonist, Hercule Poirot, more than anything else in the story.
Details are altered; but, the basic things are intact. The titular Orient Express still leaves from Istanbul to London during a cold winter; and, Poirot boards in the train along with dozen strangers. As the title might suggest, there’s a murder on board. The detective must solve the case by interrogating other passengers of the train before the train stops on the nearby station. Staged within limited area with limited access, Branagh presents a non-stop series of investigation that goes back and forth at full-speed. At that speed, we might get the illusion that the train (and the case) is going somewhere enticing; while it hasn’t actually moved a bit. Continue reading “Murder on the Orient Express (2017) – Review”
Andy Serkis’ directorial debut is a flawed but breathtaking love story saved by its powerful leads.
Review: Breathe, directorial debut from Andy Serkis—the man who should’ve gotten lifetime achievement for dedication to performance capture, is surprisingly a grounded, imperfect but breathtaking love story inspired by Robin Cavendish, a responaut who survived from paralyzing polio, and his loving wife, Diana.
Andrew Garfield, as per his recent standard, is astonishing as Robin, an energetic British tea-broker who ventures in Africa. His social fluidness helps him winning over Diana Blacker’s (Claire Foy, The Crown) heart, despite her reputation as a professional heartbreaker. Love blooms quickly and, before long, Robin marries Diana before his tenure in Kenya began. Yet, life gives as quickly as it takes. During Diana’s pregnancy with Jonathan Cavendish (who apparently becomes the film’s executive producer), Robin falls sick as he inhales polio virus and was paralyzed from the neck down. With three months to live—according to doctor’s initial diagnosis—and weak will to live, only Diana’s love nurtures him back to life Continue reading “Breathe (2017) – Review”
The story of four Marrowbone siblings conceals a sentimental twist under piles of familiarity.
Review: Writer of The Orphanage and The Impossible, Sergio G. Sánchez crafts an overly solid yet convoluted story—about four Marrowbone siblings—which conceals deeply sentimental twist under piles of familiar elements.
In his directorial debut, Marrowbone, Sánchez again utilizes supernatural elements within emotional family drama frame as in his previous works. Set in seaside America of the 1960s, this period drama revolves around the lives of four siblings who recently move to the States from England, to the childhood house of their mother, Rose Fairbairn—nee Marrowbone (Nicola Harrison). Starting over their lives in a foreign land, the siblings—Jack (Captain Fantastic’s George Mackay), Billy (Stranger Things’ Charlie Heaton), Jane (Mia Goth), and Sam (Matthew Stagg)—bear their mother’s maiden name to disguise from something that has been haunting them all along. Continue reading “Marrowbone (2017) – Review”
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”