Bypassing all the character introductory phases, the romance rift in Dilan 1991 is sadly underwhelming even when the chemistry between Iqbaal and Vanesha starts to make sense.
In a decade
or two, Dilan, as a character, might still be remembered as an illustrious Indonesian
teenage boy icon—rising into some cult status along with Lupus and Si Boy. By
that time, it might not be surprising if new incarnations of Dilan will rise
into prominence; while, Iqbaal Ramadhan’s exhilarating performance (which beats
all the odds) will become a solid benchmark. In like manner, Dilan-Milea
romance might also transcend the time, like Galih & Ratna or others (I was
about to write: Rangga & Cinta from Ada
Apa dengan Cinta?, but then I imagined the backlash). However, that’s not
the case for the movies—both Dilan 1990
and Dilan 1991.
Continue reading “Review Dilan 1991 (2019)”
Injected with exuberant energy (especially with Iko Uwais’ relentlessly slick action sequences), Mile 22 wasted it off with inconvenient hip-hop montage, bad writings, bad narrative-structures and ridiculous dialogues.
Review Mile 22: It’s disheartening that, unlike Peter Berg’s previous three works (Lone Survivor, Deepwater Horizon and Patriots Day) which shows his craftsmanship in authentically reenacting tragedy with blatant details but smooth side for sympathy, Mile 22 is more like a mess here and there. The blatant details are mostly missed; the sympathy are stripped off completely; sadly, the heart of the narrative that excels in his previous movies is non-existent.
Bringing back his favorite collaborator, Mark Wahlberg, to team up with hottest action stars, such as Ronda Rousey and Iko Uwais (The Raid, The Raid 2, Beyond Skyline), Mile 22 seems to promise relentless spectacles. At least, the premise might look enticing as we are lured to the movie’s opening raid sequence which shows us a lot of explosions, blood and bullets. From there, it’s apparent that Berg tries to showcase style-over-substance action machismo with exuberant energy. However, as the story progress, it’s clearly seen that the energy isn’t channeled properly. Continue reading “Review Mile 22 (2018)”
As if bringing Statham diving back to the depth isn’t enough, The Meg plunges him into a mediocre B-movie party.
Movie review The Meg (2018): The Meg should be okay if it sticks for two purposes only. To highlight Jason Statham—recently has made quite a name as an action hero—in his diving tenure reunion is the first. To see that same Statham fights a colossal, prehistoric shark in the open ocean, both sides’ home ground, should be the second. The rest should be history. Alas it’s not a history we expect it to be. A series of historical meme is what it eventually deserves.
Fashioned as a pseudo sci-fi blockbuster (if there’s another sky above the sky, there should be another ocean under the ocean), The Meg unravels the beast right from the start to f*ck Jonas’ (Statham) rescue mission. There’s a few years gap between the opening and the ‘real story’; however, the focus gets back to Statham almost immediately when a deep sea research team is trapped in the bed of the ocean-under-ocean. The rescue mission apparently unleashes the Megalodon to the open water. For that, Statham’s Jonas must fight it before everybody on a tourist-laden beach becomes easy prey. Continue reading “Review The Meg (2018)”
The ABCD of Love is muddled with convoluted plot and loose threads.
Review: Salman Aristo’s directorial effort, Satu Hari Nanti, is a complicated story about four Indonesian folks tangled in a love rectangle on a foreign land. Dubbed on-screen as “the ABCD of Love” (a coined term which somehow foreshadows the whole conflict) with wide references ranging from Hamlet to Woody Allen, and from Anthony Bourdain to Franz Kafka, the film is well-intentioned; but, when it comes to presentation, only one thing comes up to mind: muddled.
Set under the elegant sky of Switzerland, Satu Hari Nanti is like a box of interaction between the film’s four main characters only. Alya (Adinia Wirasti), a chocolatier student, is in the midst of desperate romance with Bima (Deva Mahenra), a musician bumping from one café to another. While Chorina (Ayushita), a hotelier, is trying to survive in a bumpy relationship with a tour guide, Din (Ringgo Agus Rahman). Four friends, two couples in a foreign land; two broken relationships try to make amend; there’s where each of them begins to cross the line between friendship and romance. Alya begins to find solace in Din; and Bima begins to find one in Chorina; hence, the fore-mentioned “ABCD of Love.” Notice that each character’s name starts with letters that make the reference to understandable, plot-wise. Continue reading “Satu Hari Nanti (2017) – Review”
Review: Despite being critically lambasted, The Brothers Strause’ 2010 alien invasion flick, Skyline, is a legit B-movie success—grossing USD 79 million from USD 20 million budgets—locking the possibility of a sequel, hence Beyond Skyline. Helmed by the first film’s writer and producer, Liam O’Donnell, this sequel (or spin-off) seems to have learned a lot from the predecessor’s a-tad-too-serious execution of the campy material.
Beyond Skyline doesn’t bother to take things seriously. The result is an anachronistic B-movie feast which offers tons of fun if not weighed down by its gawkish, untidy execution and convoluted plot. The best thing about it: it can actually bring something even Star Wars failed to do—combining The Raid-esque action with alien invasion tropes. Continue reading “Beyond Skyline (2017) – Review”
Review: Gerbang Neraka a.k.a. Firegate (literally ‘Hell Gate’) combines an urban legend about Gunung Padang in West Java with sci-fi bravura and horror apparition into making a rare genre-bending Indonesian film. The film focuses on an excavation process of the allegedly oldest pyramid structure in the world (said to be older than Giza in Egypt and Mayan in Mexico), which lies underneath a mountain. Like in other ‘pyramid films’, the excavation was plagued from beginning to end, with body counts start to rise from day to day.
There came the film’s trinity: a young archeologist who believes in no supernatural power, Arni (Julie Estelle), a struggling heresy-laden tabloid reporter, Tomo (Reza Rahadian), and a celebrity ‘demon hunter’ Guntur Samudera (Dwi Sasono). Intertwined by their own ambition in regards to Gunung Padang pyramid, those three protagonists began to intersect each other’s life and unravel a hideous secret about the mega-structure. Continue reading “Gerbang Neraka (2017): Genre-defying mess”