Neil Marshall’s Hellboy is truer to the nature and style of the source materials compared to the versions it reboots; however, that doesn’t make it a better movie.
There is a
common defense for the new Hellboy: it
is truer to the nature and style of the source material, Mike Mignola’s Dark Horse
comics. That argument seems to undermine how imaginative and romantic Guillermo
del Toro’s idyllic 2004 fantasy-adventure, which also spawns a sequel in 2008.
Fact is, the reboot by Neil Marshall is a darker R-rated rendition with more
profanities, more binge-drinking and more blood-gushing moments.
Continue reading “Review Hellboy (2019)”
Review: Being lambasted with slimy, cynical criticism even ways before its official release might be a notorious achievement Ghostbusters reboot must atone. It all centers in Paul Feig’s decision to cast an all-female team as the new ghostbusters. Flood of sexist mockeries and Youtube dislikes crowned it as the most hated pre-screened film.
Yet, rest assured, those cynical quips do not rightfully judge the ‘actual film’ at last; at least, majority of it isn’t right. Ghostbusters still manages to be a fun, exciting and hilarious film, although it doesn’t reflect Feig’s best performance.
Ironically, those all-female ghostbusters – Kristen Wiig, Melissa McCarthy, Kate McKinnon, and Leslie Jones – are the best ammo Ghostbusters has, aside from Paul Feig’s expertise in crafting PG-13 humors (which almost always tip R-rating) under this most famous ghost hunter’s scheme. Continue reading “Ghostbusters (2016) – Review”
Review Ghostbusters: Belum juga rilis, reboot Ghostbusters sudah dihujani lendir nyinyiran dahsyat dari netizen. Sumber utamanya adalah keputusan Paul Feig meng-cast 4 pemeran utama perempuan sebagai tim Ghostbusters-nya. Sindiran bernada sexist dan banjiran dislikes sukses membuat reboot ini most hated pre-screened film. Tapi, rest assured, sindiran sinis itu tak benar-benar terbukti; Ghostbusters justru menjadi film yang fun, seru dan cukup lucu, meskipun belum mencapai keseruan film-film Feig lainnya.
Ironisnya, justru para ghostbusters perempuan – Kristen Wiig, Melissa McCarthy, Kate McKinnon, dan Leslie Jones – inilah yang menjadi bagian terbaik Ghostbusters, selain kepiawaian Paul Feig mengkreasi humor-humor PG-13 (yang nyaris berasa R) dalam menghadirkan kisah tim pemburu hantu paling terkenal ini. Continue reading “Ghostbusters (2016): Gender-reversed reboot yang tetap seru dan slimy”
“You made it ugly,” Reed accused Harvey.
To boldly say, the latest Fantastic Four (the third installment since 2005) is obviously not a good movie.
Getting snubbed by critics before its international release, then ‘flop’ symptoms at opening box office, then director Josh Trank’s self-defense: LEGIT PROOFS.
This is not the first time Fantastic Four failed to shine, but this one is obviously ridiculous. Yet, please notice: IT ISN’T ABOUT THE CASTING! The casting was okay; no problem with Human Torch’s being an afro-American, the movie found a fine way to solve that. There are some other points. Continue reading “Fantastic Four (2015) – Review”
“Old… but not obsolete,” Pop explained itself.
The Terminator is getting old, but it refuses to get old. Genisys still makes a vast Terminator films although its time-travel narratives mostly undo the original wonder and its excessive nods to the predecessor makes it drown in nostalgia.
James Cameron’s dark, future thriller, The Terminator, has aged, hitting 30 years when Genisys—the fifth installment of the franchise—began production. The aged Terminator, now growing old as a geri-badass called Pop (Arnold Schwarzenegger) has explained himself—also the whole franchise—that he’s “old, but not obsolete,” before he eventually realized that he’s just “not yet obsolete.” It’s just a matter of time.
Time, finally, becomes Terminator’s nemesis. On-screen. Off-screen. Continue reading “Terminator Genisys (2015) – Review”
“It was hard to know who was more crazy, me or everyone else?” asked Max.
Infused with striking visuals and Oz-pera metal riffs, Fury Road was like a 3-minute progressive death metal anthem itself—with excessive drum solo and versatile guitar distortion. It was straight-forward, violent, but philosophically enticing.
Continue reading “Mad Max: Fury Road (2015) – Review”
They’re ninjas. They’re teenagers. They’re mutants. And they’re turtles. They’re lost in coherence of plots and depth of characters; as they bear lots of plot holes. But, they still have hyper-energy in humour and action. Another “guilty-pleasure” films, produced by another guilty-pleasure film.