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: In Mars Met Venus: Part Cowo, a boy and a girl in a relationship is analogized as water and oil that naturally cannot mix. However, both can somehow blend into perfection if mixed with noodle, spices, broth, vegetables, and minced chicken meat and made into chicken noodle soup. Good news is that blend is delicious. That kind of parable—that kind of absurd, wacky jive—is what distances Part Cowo from Part Cewe.
Nataya Bagya’s script still over-heightens stereotypes about gender roles in relationship. Yet, Part Cowo is presented in a more devil-may-care and more independent fashion, provoking an unpredictable sentimental moments. While Part Cewe feels a little restricted in portraying its gleeful, saccharine-heavy endeavor, Part Cowo breaks the romance boundary and, as the chicken noodle soup, calls out more elements in adorning Kelvin and Mila’s (Ge Pamungkas and Pamela Bowie) relationship. Continue reading Mars Met Venus: Part Cowo (2017): A chicken noodle parable at best
Review: In establishing his own ‘Sony’ world, the all-new Spidey (Tom Holland) has to swing across Marvel Cinematic Universe, find a more established mentor in Tony Stark a.k.a. Iron Man (Robert Downey, Jr.) and make an experimental entrance in Sokovian Accords feud—which made it into Spider-Man: Homecoming as Peter Parker’s vlog. Head-started with the Civil War (2016) stunt, director Jon Watts (Cop Car, Clown) along with five other writers deconstruct the web-slinging hero’s origin story, infuse it with coming-of-age gusto and redefine the old formula to make this third cinematic incarnation of Spider-Man a frivolously clumsy one.
As you’ve seen in his Captain America’s hijack, Holland’s Spidey is no more than a high school chap—barely 15 and a member of school’s decathlon team. Homecoming highlights his return to school after that ‘Stark internship’ in Berlin, where his mundane geeking/being bullied/being unpopular life has waited. Tenure with Tony Stark has given him high hopes of big action and great vigilante stunts; but a month has passed and he’s only becoming ‘the friendly neighborhood Spider-Man, as an extracurricular activity. Continue reading Spider-Man: Homecoming (2017) – Review
Review: In the toughest time of her life, a fussy 70-year-old hag gets a second chance to compensate her lost youth and cheat aging when she is mysteriously transformed into her 20-year-old self. That’s the premise of Hwang Dong-hyuk’s mega-hit Miss Granny (2014), which has inspired series of overseas remakes, including the Indonesian version, Sweet 20, helmed by Ody C. Harahap (Me vs. Mami, Kapan Kawin?).
Transliterated from its South Korean roots by Upi (My Stupid Boss, Belenggu), Sweet 20 adeptly administers a profound adaptation into Indonesian culture and social value. Upi’s adapted script isn’t only changing the film’s geographical setting; it instead induces local view of family in Indonesia’s urban society. Even, the film’s Eid al-Fitr release adds up to the foundation of the story—underlying its ode to the motherhood, lost dream, and family’s worth. Continue reading Sweet 20 (2017): Ode to the youth not wasted on the young
“Charlie Babbitt made a joke,” said Raymond, without expression, to Charlie Babbitt.
Back to the days when Tom Cruise hasn’t been that top-billed “film star”, he was once an actor when portraying Charlie Babbitt, a selfish chap who, upon learning about his estranged father’s death, finds out that he has a long-lost brother. Thing is, his way older brother, Raymond (Dustin Hoffman) is an autistic savant, who inherits most of their father’s wealth. There’s pure quality in young Cruise to encounter Hoffman, the powerhouse who went and brought home Best Actor prize in Oscars completing the film’s triumph (with Best Director, Best Original Screenplay and Best Picture victory). Continue reading Blindspot: Rain Man (1988)
Review: In first two seasons of Fargo—a powerhouse of anthology based on The Coen Brothers’ 1996 film of the same title, Noah Hawley has proven his worth as a hell of most consistently stylist showrunner. Extracting the comedy-of-errors formula from the film and creating hollow modern folklore set in the film’s universe, Hawley also crafts unsympathetically likable characters and throwing them into an awkwardly cunning situation. The result: a pitch black comedy and mayhem at the same time.
As for the third season, Fargo returns with an unpretentious rhythm—smaller in scale, calmer in sense, lesser havoc compared to the first two seasons (the first renders the film quite closely, while the second feels more heavy-metal)—which ends up in a more traumatic result. It’s no longer a rough mix of petty-crime-gone-wrong and wrong-people-in-wrong-place situation, although the shades of it still become this season’s foundation. A stroke of enigmatic evil also presents, this time, in a more contagious fashion. Continue reading A Season with: Fargo (2017) – Season 3