While overstaying the welcome a bit too long, Brightburn still delivers its visionary premise of a superhero origin story turning into a visceral horror.
A visionary horror director turned into one of the most sought after superhero director, James Gunn (with gigs ranging from self-defining Slither and Super to Marvel’s space-misfits, Guardians of the Galaxy and further forward to DC’s second attempt to prolong the live of Suicide Squad), produced a visionary genre-bending superhero origin movie deep rooted into horror core in Brightburn. Directed by a little known horror director, David Yarovesky based on the screenplay written by James’ brother and cousin, Brian Gunn and Mark Gunn, this horror superhero story throws a very enticing premise: what if some kind of Superman figure was actually sent to Earth as an evil offspring as in The Omen?
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The premise and production value of The Wandering Earth is otherworldly stunning; while the well-intended movie isn’t without flaw.
Dubbed as the first ever ‘proper’ Chinese interstellar blockbuster, Frant Gwo’s The Wandering Earth flaunts more than just an ambitious spectacle; but, the entire industry’s pride in orchestrating a cinematic milestone. Adapted from Cixin Liu’s award-winning novella, this kind of “cancelling the apocalypse” (borrowing the term from Idris Elba’s character in Pacific Rim) can only be a massive production or nothing at all. And, this adaptation opted to go the former way and, since then, it becomes a mega-hit. Before long, Netflix picked it up and The Wandering Earth really wanders to flaunt its extravagant ambitions.
Continue reading “Review The Wandering Earth / 流浪地球 (2019)”
Christopher Landon’s teen-slasher Groundhog Day a.k.a. Happy Death Day exploits the familiar time-loop trope into an inspiring comedy with Jessica Rothe delivering a literally wide-ranging performance. Some people found it cleverly revamping the trope; while, some others hated it for even trying. When the loop is closed by the end of the first movie, the biggest question has always been: what can make a working follow-up to it?
Continue reading “Review Happy Death Day 2U (2019)”
Robert Rodriguez’s latest visual bonanza, Alita: Battle Angel, is a sci-fi epic that immediately sparks immediate déjà vu to James Cameron’s Avatar. Such allegation isn’t without a root or apparent proof. The striking visuals—especially that attention-demanding anime eyes of the titular character and, later, the detailed mo-cap technology (that Cameron has revolutionized back in 2009 along with the CGI-laden world, the complex mythology in back-stories, the larger-than-life action sequences (including the inventive weapons and the fighting styles), and the nature of the protagonist (living someone else’s body) are in a way or another channeling its inner Avatar.
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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)”
Review Ant-Man and the Wasp. To clean the palette after the devastating Infinity Wars, Marvel presents an all-round fun and funny family comedy.
Movie review Ant-Man and the Wasp: Back in 2015, a small-scale, lesser-known superhero named ‘Ant-Man’ carrying heavy-scale burden to follow up the Marvel’s ambitious (yet convoluted) assemble, Avengers: Age of Ultron was almost unimaginable. Stormed with production issue—when the appointed director, Edgar Wright, left due to creative difference and get replaced by Yes Man director, Peyton Reed—Ant-Man was, again, almost an expected trainwreck. Only, it did not end up becoming one; it instead becomes one of Marvel’s most prominent standalone movies which blends superhero action, unapologetic comedy and warm family drama.
In 2018, Ant-Man makes a come-back in a similar role to the previous film—to clean the palette after the devastating Avengers: Infinity War. In doing so, Ant-Man and the Wasp, still helmed by Reed, stays a small movie that completes the grand image of a bigger one. Effective proportion is what it takes to do the role. It stays minuscule and distant from the recent event, but it paves a way to be an important addition (or even key-point) in the next grand event, which as we may expect is the untitled fourth Avengers movie. Continue reading “Review Ant-Man and the Wasp (2018)”
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”