Sunyi showcases most of the director’s style and jump-scares without ever worrying about the story. It’s pretty basic—in terms of story and scares, after all.
Awi Suryadi has become a legit name in Indonesian horror cinema. His three recent horrors (Danur, Danur 2: Maddah, Asih; dubbed as Danur universe) were all blockbuster hits with mixed to negative reviews condemning his over-abuse of cinematic style (including the never-ending Duch tilts) that borrows from famous horror auteurs, jump-scares with blatant sound effects, and, mostly, weak scripts. His recent venture, Sunyi, is a loose adaptation of the 1998 South Korean horror blockbuster, Whispering Corridors—a horror which isn’t necessarily needing an adaptation.
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The new Pet Sematary turns the dead into a whole new creepy entity compared to the 1989 adaptation.
There’s one famous Stephen King’s quote that works to dive in to most of his works. “Nightmares exist outside of logic,” he said before clinching his statement with an exclamation that adding explanation is no fun. That quote also works to delve into the new Pet Sematary, an adaptation of a novel which King himself always claimed to be one of the toughest even for him. Duo directors, Kevin Kölsch and Dennis Widmyer, seem to hold the creed too well: gone beyond the logic and giving little to no explanation for it.
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With surprisingly bleak comedy of errors and revenge-is-a-dish-better-served-cold tropes, Cold Pursuit (2019) paints the blizzard red in what could’ve been an episode of Fargo’s latest season.
Set in the cold, white ski city of Kehoe (fictionally located in Colorado), Cold Pursuit sees an angry, old Liam Neeson in another quest for revenge. It’s barely surprising if skeptical viewers might mistake it for another cousin of Taken (along with Non-Stop, Run All Night, and The Commuter) given the premise. Yet, give it a go and you’ll find out that Hans Petter Moland’s remake of his own Norwegian thriller is more like Fargo (Noah Hawley’s rendition over Coen Brothers’): stark, slick and ambiguous.
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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”
Review: It’s sad to finally learn that Niels Arden Oplev’s (The original Girl with the Dragon Tattoo) Flatliners is neither a sequel nor a blood-related spin-off of Joel Schumacher’s Flatliners (1990) as previously rumored. It turns out to be mundane and redundant remake, which brings back Kiefer Sutherland (not for reprising the same role he played back then but) for a merely prominent cameo.
Flatliners basically is an ‘on-point’ remake which offers nothing new. It goes by the same preposterous premise around near-death experience and exploration to after-life. Revolving around similar groups of med school students with their ‘pseudo-science’ experiment of less-than-5-minutes dying, the remake might look enticing for those who haven’t seen the 1990 flat blockbuster, at least until the film goes all over the place. Continue reading “Flatliners (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”
Review: I once wrote an abridged history of Beauty and the Beast roots on my review of Christophe Gans’ La Belle et La Bête. How this beautiful French lore has evolved, added more insight and backstories, and represented social issues from time to time alone has already made an intriguing tale. While adaptations and re-imaginings have altered it from the root, there’s one thing that never fades: the magic.
I can’t still see ‘the whys’ of Disney’s decision to remake their Renaissance animation with a live-action feature; yet, I can put aside that concerns. They’ve done it well with Cinderella (2014) by having courage and being kind and staying true to its root; and The Jungle Book (2016) by fulfilling the bare necessities. And for Beauty and the Beast, I can say that this live-action re-telling is not a must, but it’s necessary. Continue reading “Beauty and the Beast (2017) – Review”