Review: Let’s start with a little excerpt of what has gone so far in Planet of the Apes reboot universe. As you might have known (in fact, you’ll learn/re-learn about this in 3 opening minutes), simian flu has wiped most of the humanity, leaving few of them stranded on the planet that used to be theirs. Unbeknownst to them, the planet isn’t bound to them anymore. After the fall of men, the ‘Rise’ of apes is the next phase and the new ‘Dawn’ of civilization embarks.
War for the Planet of the Apes begins several years after the event in Dawn, where human wages war against apes. Human military led by The Colonel (Woody Harrelson) conducts man-hunt on ape leader, Caesar (Andy Serkis). The plan gone awry, but humanity has succeeded in killing Caesar’s family and the dream of reconciliation. This event scars the peaceful ape to the extent that he’s driven into waging his war against men, hence the title. CONTINUE READING IN ‘ENGLISH’
Review: Started up as a road film, where two titular celebrated hipsters’ coffee shop, Filosofi Kopi, roams around cities and islands of Indonesia, yet Filosofi Kopi 2 (subtitled Ben & Jody) only officially starts when life happens to strike the collective dream. Wandering around as a vagabond coffee shop isn’t a choice anymore; therefore, Ben (Chicco Jerikho) and Jody (Rio Dewanto) decide to return to Jakarta in a homecoming to start over, to start fresh; in a homecoming that leads to other homecomings.
In starting over, Ben and Jody encounter Tarra (Luna Maya), an entrepreneur who is eager to invest for Filosofi Kopi’s rebirth. During the same period, a young, austere barista named Brie (Nadine Alexandra) is recruited by Jody to assist behind the bar. The reawakening, orchestrated by those four central figures along with their old comrades, turns out bringing more challenges not only to the idealism of the coffee shop, but also to Ben and Jody’s almost immortal bromance. Continue reading Filosofi Kopi 2 (2017): A homecoming
Review: Michael Bay’s criticproof franchise returns with another Bayhem galore—a non-stop clink-clicketty-clank-bang-boom juggernaut slugfest—in what’s dubbed as Bay’s final Transformers film, The Last Knight. The final result though—after decade with five installments so far—offers no new insight to the storyline but bunch of same day, different spectacles.
Starting off as an expanded myth of Camelot, where ancient transformers assisted King Arthur and his knights of round fighting Saxons, The Last Knight immediately leaps sixteen centuries ahead. While Optimus Prime has left the earth in search of his home-planet, Cybertron, other transformers keep coming to earth and are declared as threat; therefore, a counter-transformer task force called T.R.F is deployed to exterminate them. That’s when Cade Yeager from Age of Extinction encounters a versatile kid, Izabella (Isabella Moner) and ‘get chosen’ to partake in an ancient myth. Continue reading Transformers: The Last Knight (2017) – Review
Review: For the fifth installment (a.k.a. another comeback), Pirates of the Caribbean franchise decided to use a more narrative-friendly Salazar’s Revenge title over the more occult (and, still, US title) Dead Men Tell No Tales purposively. After all, giving away an obscure name in the title might help convincing audiences that this is a new series, not just a hasty recycle of the original trilogy… or a too-early Force Awakens in the ocean.
In case you forget, ‘original’ Pirates series progressed upon an electric narrative involving an unholy trinity – Jack Sparrow (Johnny Depp), Will Turner (Orlando Bloom) and Elizabeth Swann (Keira Knightley). In surviving a trilogy, the last two names were retired from the narrative in the disjointed fourth installment, which marked Sparrow’s solo-career. And, yet, Salazar’s Revenge, learning from the last lambasted tenure, decides to create a small reunion, assemble a rejuvenated trinity, add some family issue there, and starts a new been-there-done-that voyage. Now you know why I called it a nautical Force Awakens rip-off, don’t you? Continue reading Pirates of the Caribbean: Salazar’s Revenge (2017) – Review
Review: Intriguing how Alien: Covenant opens with a birth, a genesis, in a majestic all-white background contrasts with the franchise’ primal return to its origin. That birth accompanied by Wagner’s Entry of The Gods Into Valhalla is designed to bridge over two worlds – the stark, horror space of Ridley Scott’s Alien (1979) and the odd, philosophy-heavy world of Prometheus (2012) – and continue the cycle. Of gods and men, of gods and monsters, this bleak covenant is more a continuation than a return.
For the flight of Covenant, Mr. Scott amalgamates small dose of Alien’s infernal, frigid space horror with larger dose of Prometheus’ dialogue-laden, existentialism wisdom unevenly, but perfectly, to ignite nostalgia, while at the same time, connect dots. Continue reading Alien: Covenant (2017) – Review
Review: Recapturing the magic of the original/first film is often an arduous quest, even by Marvel standards. Let’s forget not about how Joss Whedon’s misery, in crafting Age of Ultron to follow up the groundbreaking Avengers assemble, could not live up to the expectation. Given that record, it’s not a big surprise that Guardians of the Galaxy Vol. 2 falls flat in its attempt to live up the virtuoso of Marvel’s biggest gamble; what’s surprising: it still makes an awesome fun-tertaining space bravura centering on galaxy’s most favorite dysfunctional ‘family.’
Element of surprise is what’s missed in Guardians of the Galaxy Vol. 2. The Guardians – along with their closest relatives – aren’t unfamiliar faces anymore; same goes to Awesome Mix, the intergalactic vistas, and the typical jokes and banters they’re throwing. During their tenure in Guardians of the Galaxy, they’ve shared spotlight to finally form this band of misfits into a sort of universe protectors. Now, some must relegate into supporting roles and some must go upfront in not so typical disbanding-after-assembling sequel trope. Continue reading Guardians of the Galaxy Vol. 2 (2017) – Review