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)”
Injected with exuberant energy (especially with Iko Uwais’ relentlessly slick action sequences), Mile 22 wasted it off with inconvenient hip-hop montage, bad writings, bad narrative-structures and ridiculous dialogues.
Review Mile 22: It’s disheartening that, unlike Peter Berg’s previous three works (Lone Survivor, Deepwater Horizon and Patriots Day) which shows his craftsmanship in authentically reenacting tragedy with blatant details but smooth side for sympathy, Mile 22 is more like a mess here and there. The blatant details are mostly missed; the sympathy are stripped off completely; sadly, the heart of the narrative that excels in his previous movies is non-existent.
Bringing back his favorite collaborator, Mark Wahlberg, to team up with hottest action stars, such as Ronda Rousey and Iko Uwais (The Raid, The Raid 2, Beyond Skyline), Mile 22 seems to promise relentless spectacles. At least, the premise might look enticing as we are lured to the movie’s opening raid sequence which shows us a lot of explosions, blood and bullets. From there, it’s apparent that Berg tries to showcase style-over-substance action machismo with exuberant energy. However, as the story progress, it’s clearly seen that the energy isn’t channeled properly. Continue reading “Review Mile 22 (2018)”
Movie Review Mission Impossible Fallout (2018). It’s a taut and highly energized action extravaganza whose energy is abundantly channeled even in the slower first half.
Movie Review Mission Impossible Fallout (2018): Previous five Mission: Impossible movies have all showcased different flairs of action spectacles under five different directors. All five movies have made quite a reputation to be that action franchise with consistently fresh and innovative death-defying stunts (ever so often done by the franchise’s face—Tom Cruise). Now, with Fallout, this franchise finally makes another reputation—to be one of the rarest franchises in which each installment is technically overdoing the predecessors.
Tom Cruise reprises his role both as Ethan Hunt and as the death-defying stunt performer (this time he did a highly-choreographed HALO jump and he even piloted a helicopter), that renowned IMF agent who has been accomplishing impossible missions since around 2 decades ago. As the title might suggest, Fallout is about dramatic chaos as a result of a dramatic event; but, look closely, you might also find a clue about the sheer hazard the protagonist might be facing should they fail this time—fallout of nuclear explosion. One thing for sure, Fallout is a globe-trotting action bravura which highlights Tom Cruise ‘dedicated’ stardom in all the decent way. Continue reading “Review Mission: Impossible – Fallout (2018)”
The story of four Marrowbone siblings conceals a sentimental twist under piles of familiarity.
Review: Writer of The Orphanage and The Impossible, Sergio G. Sánchez crafts an overly solid yet convoluted story—about four Marrowbone siblings—which conceals deeply sentimental twist under piles of familiar elements.
In his directorial debut, Marrowbone, Sánchez again utilizes supernatural elements within emotional family drama frame as in his previous works. Set in seaside America of the 1960s, this period drama revolves around the lives of four siblings who recently move to the States from England, to the childhood house of their mother, Rose Fairbairn—nee Marrowbone (Nicola Harrison). Starting over their lives in a foreign land, the siblings—Jack (Captain Fantastic’s George Mackay), Billy (Stranger Things’ Charlie Heaton), Jane (Mia Goth), and Sam (Matthew Stagg)—bear their mother’s maiden name to disguise from something that has been haunting them all along. Continue reading “Marrowbone (2017) – Review”
In a cruel world, a widow refuses to surrender & decides to fight back against patriarchal tyranny in a four-act-structure story.
Review: In a cruel world without favor for women, Marlina (Marsha Timothy) refuses to surrender and be a victim; she, instead, embraces her inner strength and decides to fight back against patriarchal tyranny.
Exquisite, powerful and poignant, Marlina the Murderer in Four Acts (Marlina si Pembunuh dalam Empat Babak), is a tale of empowerment wrapped as a Far-East ‘Western’ revenge thriller with strong femme fatale to root for. It’s a quintessential work for Indonesian female director, Mouly Surya, whose previous works (fiksi. and What They Don’t Talk about When They Talk about Love) revolves around determined female characters, too. Continue reading “Marlina the Murderer in Four Acts / Marlina si Pembunuh dalam Empat Babak (2017) – Review”
Review: This is Lala’s first love; yet, Yudhis wants it to be their forever. That’s how Posesif abridges its powerful content. It’s a high-school meet-cute that blossoms, escalates, grows as quickly as it spirals out of control. It’s a portrayal of how love is addressed as a tool to possess and how immaturity is outdoing the typical puppy love tropes and ending up in a chain of abusive relationship.
Even in his most mainstream tenure, Edwin (Blind Pigs Who Wants to Fly, Postcards from Zoo) can still channel his arthouse virtuoso and turn a sub-genre considered as ‘cheesy’ to a poignant, insightful observation of toxic teenage relationship. Under his direction upon Gina S. Noer’s script, coming-of-age relationship is depicted as an acrimonious force, which haunts both parties, in the name of love. Continue reading “Posesif (2017) – Review: A juggernaut of teenage romance”