Chandor pulls some grim, emotional twist in what looked a gonzo celebration of machismo the size of Expendables but not.
In paper, Triple Frontier feels like a deviation from the director, J.C. Chandor’s filmography so far. Often presenting gritty, thought-provoking thrillers about the descend of men without hand-on action sequences, Chandor takes a radical premise when he collaborates with writer of The Hurt Locker and Zero Dark Thirty, Mark Boal. There are stand-offs here, but Chandor’s gripping signature lies around in this star-studded machismo celebration.
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With fuzzy narrative and alienating plot-points, Captain Marvel can still deliver a blast along with profound empowering message.
Ever since Thanos wreaking havoc in Infinity War, the wave of expectation about the real ‘avenger’ to avenge The Avengers hasn’t even plummeted down. Audiences seem to take the thing seriously and, since that emotionally relieving post-credit scene of Marvel’s most emotionally draining movie yet, expectations are soaring high. Only if Captain Marvel—the studio’s first solo female movie—could level up to the altitude, will those expectations be quenched.
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Even when Isn’t It Romantic? fell into the subject it tries to criticize, it’s still uplifting. Thanks to Rebel Wilson.
At the beginning of Isn’t It Romantic, young Natalie was smitten into Pretty Woman when her mother scolded her and indoctrinated her to despise romcoms of any kind. To her, life isn’t like romcom; to her, all the happy endings in romcoms are merely a start of an unhappy life. She grows up being a love cynic (portrayed by Rebel Wilson, all-in with the Australian accent) making a living in New York as an architect who constantly bashes romcom premises until some sh*t happens. She hit her head during a confrontation with a mugger and she wakes up in a romcom… a PG-13 romcom.
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Crawling slowly when finding the focus in the beginning, Extreme Job cooks up exhilarating Korean buddy-cop tropes with an absurd plot of fried chicken detective.
Upon the return of a Korean drug kingpin, a team of narcs led by Captain Ko (Ryu Seung-ryong) needs to devise a new M.O. in order to catch the big fish. After a series of failed, silly attempts, the team finally finds their secret plan—a full stakeout mission by going undercover in an obsolete fried chicken joint. In an unexpected twist of fate, the revamped fried chicken joint ends up being a national phenomenon. With a risk of compromising the whole mission, Ko and his happy-go-lucky team goes into a comedic adventure full of deadpan moments.
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With crowded word-play, iconic comedic moments and stop-motion details as in the predecessor, The LEGO Movie 2: The Second Part is a solid proof that Phil Lord and Christopher Miller are the new kings of FUN.
not awesome…,” half-way through the second act of The LEGO Movie 2: The Second Part, some characters join forces in a
choir to sing this bleak rendition of Oscar-nominated ‘Everything Is Awesome.’ At
some points, the chant admits what might have gone wrong with the direct sequel
of Christopher Miller & Phil Lord’s 2014 masterwork. However, the lyrics that
follows—“…doesn’t mean we shouldn’t try… to make everything awesome…”—confidently
shows how this sequel acknowledges its weakness and making a leap out of it,
then moves on with its awesomeness that hasn’t rusted off.
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John Cho’s absorbing performance helps Searching crafting an emotional rendition of Gone Girl with internet era look.
Review Searching (2018): While the presentation using only electronic device screens is a gimmick we’ve seen in Blumhouse horror, Unfriended (2015), Searching is always a Gone Girl as viewed through screen with sense of limitation the size of Rear Window (instead the window is an artificial window—be it browser window or chat window).
It opens with a montage of Kim family’s history as seen via a Windows XP PC from the moment that Margot (Michelle La) was born to a happy Korean-American couple, David (John Cho) and Pam (Sara Sohn). There goes a happy growing-up together montage that kind of reminding me to Up (2009). Yet, it wasn’t long until the tragedy comes. After a series of unanswered phone and FaceTime calls, Margot never shows up. She’s gone, technically missing (soon to be presumed dead?). Through projected screens of iPhones, PC and MacBooks, David browses through social media, search engine and every resource he can find on the web to find his missing child. Continue reading “Review Searching (2018)”