Twivortiare – Review
Movie Review

Twivortiare – Review

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Twivortiare. The film adaptation of the novel with the same title, tells the story of a husband and wife couple, Beno and Alexandra. The two married for the second time. Have a second marriage with the same person. Will their household journey be different from the first? Top Movie Site

With the background of a failed marriage and wanting to try again with the same person, you will be made irritated by Ben (Reza Rahadian) and Lex (Raihaanun) who still like to fuss over small things.

From the beginning of the film, you are already stirred by emotions. When Lex turns out to have a new lover, but on the one hand Lex and Beno still love each other. You can see this from the trailer.

In this film, apart from the actors who played well, you also have to appreciate director Benni Setiawan. He managed to create an atmosphere that awakens each scene.

You will feel annoyed with the behavior of the Lex and Ben couple. To the extent, for those whose feelings are sensitive will be made to cry, because it turns out that the love of these two couples is very strong.

He has been well-known as a director of romantic genre films since 2009. Benni Setiawan admitted that he had no difficulty working on the Twivortiare film.

“For the production of this Twivortiare film, I didn’t feel any difficulties, starting from the reading process between Reza and Raihaanun which immediately built up the chemistry, to the performance of the cast and crew who always created a pleasant atmosphere,” said Benni at a press conference in Jakarta (26/26/2020).

With the support of competent cast and crew, the process of making the Twivortiare film did not experience any major problems. Seen from the results of the film that can make the audience baper. Best Movie

No less important than the director, the scriptwriter of the film Twivortiare, Alim Sudio (99 Cahaya di Langit Europe), is also the key to the success of this film. Ika Natassa’s novel, which is well known for its heart-touching sentences, can be mixed sweetly but doesn’t feel too overwhelming. Working with Ika Natassa, who according to Alim is a perfectionist, made Alim try his best to produce a script that fits the novel.

The setting in this film is the modern life of Jakarta. So visually, nothing special. Just a panoramic view of the city of Jakarta with a touch of retro effect in some parts.

Meanwhile, it was silenced by its scoring that managed to build the atmosphere of the Twivortiare film. You will feel sad too, especially during the part when Lex fights with Ben, then Lex chooses to go home.

Even though the scoring is good, your ears will be spoiled even more with the soundtrack sung by a sweet black singer who is already famous for his troubled song, Glenn Fredly. With the title “Back to the Beginning” makes your heart cool listening to this song.

It’s not complete, when you watch a movie, you don’t take the positive values ​​from the story. In Twivortiare, there are many lessons to be learned. Especially for those of you who are married or still in a relationship, but want to take it to a more serious level.

For those of you who are bored or feel your partner doesn’t care, you must see how Ben’s attitude is in this film. Different people express affection in different ways. All you need is to look at it from a different point of view.

You can’t be selfish like Lex at the beginning of the story. One of the most important things in being in love is not comparing. Because when you start comparing your relationship with other people, you always feel lacking.

Broadly speaking, this Twivortiare film will win your heart. Especially those who really like the romantic drama genre. Movie Review

The Disciple – Review
Movie Review

The Disciple – Review

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The first Indian film since Monsoon Wedding (2001) to pass the main competition selection at the Venice International Film Festival, The Disciple invites audiences to enter the world of Indian classical music. One of the cultures, which according to this film, is likened to an “eternal quest” that requires sacrifice and suffering, in order to fully master it. Not just music, but a spiritual process. Top Movie Site

At least, that’s what Chaitanya Tamhane (Court)’s latest work has to say, because I’m not going to pretend to know the intricacies of Indian classical music. I’m still groping about the sport (improvisation-based melodic framework) that plays an important role in it. Still a mystery. The protagonist, Sharad Nerulkar (Aditya Modak), is also trying to solve the mystery. It’s not about the technicalities of the music, but about the question, “Is he really talented?”.

Since childhood, he was guided by his father (Kiran Yadnyopabit), for years he studied from his teacher (Arun Dravid), also listened to recordings of music lectures belonging to Maai (Sumitra Bhave), a mysterious and legendary musician who is reluctant to publish his works or performances. All of that makes Sharad ambition to be in the top ranks of classical musicians. He regularly trains, runs all disciplines, even putting aside many things, such as making money and a partner (for the second, Sharad replaces it by masturbating in front of the computer).

But is all that enough? Because no matter how hard Sharad tried, he felt he was still far from perfect. The defeat in a competition, to criticism from the teacher (including in the middle of the show), sparked his doubts. For some artists, especially young ones, the realization that he is not a maestro often brings a crushing blow. I was once in Sharad’s position. When the turmoil of work is smoldering, colliding with something called “reality” is indeed terrible. From (feeling at) the top of the world, one can instantly fall into the deepest trough. Best Movie

I was lucky enough to only be in that phase for a short time. Sharad is not like that. In the second half, the film even takes more than a decade to jump in time, showing Sharad, who is 36 years old, still struggling with similar, if not worse, concerns. But as Maai says, classical music is a perpetual quest. In theory, Sharad knew that, but in practice, endless quests weren’t easy.

Sharad goes through the process of seeking the truth, both regarding himself and others, especially the figures he admires and plays an important role in his musical life. In addition, Tamhane, who co-wrote the script, also discussed “tradition vs modernization”. Sharad adheres to the principles of classical music which is full of tradition. But on the other hand, he makes money by transferring the cassette tapes to CDs. So to what extent is modernization acceptable? Tamhane offers a satisfactory middle ground as a conclusion.

Tamhane spent a year as a protégé of Alfonso Cuarón (co-executive producer of the film), during which he observed the making of Roma (2018). The influence of the mentor was felt. If you find the film’s musical elements hypnotizing, it’s because Tamhane spends a lot of time mixing Roma’s sound. Likewise in the visual department. The cinematography, directed by Michał Sobociński (based on the recommendations of Cuarón and Emmanuel Lubezki), uses a lot of minimally interrupted landscapes, which invites the viewer to observe.

Similar to Rome, The Disciple has a slow tempo, and often uses slow motion, which seems to match the atmospheric nuances of the music. Therefore, this film is not a journey that can be passed by all audiences. I myself admire all the advantages above. Admire how the director has become more solid even though he has only just reached the second film, admire his story which is able to neatly draw many branches from one idea of ​​quest, admire Aditya Modak’s acting, who even though words come out of his mouth full of confidence, his face conveys fear and doubt. I admire The Disciple, but don’t love it. Maybe like Sharad, I went on a journey that wasn’t meant for me, even though I admit it was a good one. Movie Review

THE DAY I DIED: UNCLOSED CASE – Review
Movie Review

THE DAY I DIED: UNCLOSED CASE – Review

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In a remote village when a storm hits, a girl named Se-jin (Roh Jeong-eui) disappears. A letter was found at his residence, while the girl’s shoes lay on the edge of a cliff. All findings lead to one conclusion: Se-jin committed suicide due to mental stress. All parties are reasonable, because the fate of this teenager is unfortunate. He is brought to the village by the police, as Se-jin is a key witness in his father’s major smuggling case. Living alone in a foreign place while bearing sadness is certainly not easy, especially for a child his age. Top Movie Site

Is it really that simple? If the answer is “yes”, of course Park Ji-wan’s debut as a director and scriptwriter will not be made. But don’t be fooled by the cover. The Day I Died: Unclosed Case does offer a mystery-style investigation, but rather than the case itself, more emphasis is placed on the victim. Victims who will be forgotten once the case is closed. Victims are only considered as one part of the case, like inanimate objects, instead of humans with all their complexities.

Then we are introduced to the main character. Kim Hyeon-soo (Kim Hye-soo), a police officer who has just returned from his recess. Hyeon-soo’s psychic condition is not good. Divorce triggered by the husband’s infidelity, until accusations of disciplinary action continue to haunt. Before officially returning to duty, he is asked to investigate Se-jin’s death. Not to dig up the truth or find out his whereabouts (whether he is alive or not), but a form of formality, so that the case can be closed immediately.

As a mystery dish, The Day I Died: Unclosed Case still has a basic problem, namely making simple things seem convoluted. For example, the names that continue to be thrown, without giving the audience a chance to digest, whose name is meant. This practice is commonly used in investigative-themed films, because basically, investigation is a matter of connecting a common thread (which is often tangled up) between many individuals. Understandable enough. We are required to pay extra attention.

It’s different about Park Ji-wan’s efforts to apply fast-paced storytelling, by refusing to linger at one point. On the plus side, the plot doesn’t feel draggy. But without neatness of speech, there is no need for complexities to be present, including from poor editing. Flashbacks appear several times, and there is often confusion as to whether the plot is in the present, or has entered flashbacks. Best Movie

But as already stated, The Day I Died: Unclosed Case emphasizes character studies rather than cases. Hyeon-soo’s investigation leads him to meet witnesses, the detective who used to help Se-jin, to Sooncheon Daek (if Lee Jung-eun terrorized us before in Parasite, this time on the contrary, he was able to steal hearts), a mute woman who lent her house to be lived in by Se -genie. As the process progresses, the detective begins to realize that his condition and that of Se-jin have similarities.

That’s where the drama aspect of the film comes from, and Park Ji-wan’s script finds its strength. A heartbreaking parallel is presented between the detective and the victim, making the protagonist (as well as the audience) question the essence of the police investigation. What is the true meaning of the term “case closed”? Is it when the case is officially declared over? Is that enough? If not, how far should the truth be sought?

Instead of “just” solving cases, Hyeon-soo tries to get to know Se-jin’s figure, which actually brings him closer to the truth. The truth about individuals who are suffering, injured, even exiled, due to the faults of others. Park Ji-wan presents a different perspective (which feels hopeful even though the feel of the film is dark and sometimes depressive) about suffering. When someone suffers to the point of being destructive, he doesn’t necessarily want to die. Maybe that’s how it survives. That’s the way to maintain “feel”, because losing taste is tantamount to death. Movie Review

Sweet & Sour – Review
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Sweet & Sour – Review

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Sweet & Sour, directed by Lee Gye-byeok (formerly Park Chan-wook’s director at Oldboy) offers more. His first act appears like the embodiment of many men’s fantasies, when Jang-hyuk (Lee Woo-je) must be hospitalized due to hepatitis. A nurse named Jung Da-eun (Chae Soo-bin) is in charge of taking care of her. This nurse is not only kind, but also shows signs of interest in Jang-hyuk. Always spreading a smile, kissing the patient’s infusion bottle sweetly, even sleeping soundly beside his bed. Engaged in romance with a beautiful nurse while being hospitalized. It seems almost all men have imagined it. Top Movie Site

At first Jang-hyuk couldn’t believe it. So did his friends. Because Jang-hyuk is not the type to fall into the “attractive” category for some people. He is not a female idol handsome man, and his chubby body makes Jang-hyuk’s self-confidence often shrink. But over time, their relationship grew even closer, until they were officially dating after Jang-hyuk was discharged from the hospital. Woo-je and Soo-bin gave birth to a sweet and adorable romance through their chemistry, and I also hope that this romance will never fade.

Jang-hyuk is a lover with a lot of attention. Things like making food and changing the lights at Da-eun’s house are out, willing to do. He also promised to take care of their bodies, so they could wear couple shirts. This is where the turning point occurs.

The plot jumps and now Jang-hyuk (Jang Ki-yong) seems to have succeeded in making that promise. His weight dropped drastically, while his career soared. He was assigned to work as a contract employee of a large company in Seoul. It’s a big challenge, as it means, Jang-hyuk has to commute to Incheon-Seoul every day (a distance of about 27 km). Leaving early in the morning, passing through extraordinary traffic jams, then returning late at night after working overtime for endless overtime. Movie Review

Overwhelmed by fatigue plus the declining quantity (and quality) of encounters, Jang-hyuk and Da-eun’s romance slowly fades. Moreover, in his new office, Jang-hyuk meets Han Bo-yeong (Krystal Jung), a fellow contract employee. Even though they hated each other at the beginning, because they continued to interact as partners in various projects, the seeds of love began to grow. Jang-hyuk’s loyalty is tested. As the title suggests, this is the phase when sweet romance turns sour when faced with real-world realities.

Of course, Jang-hyuk is at fault, but the script the director co-wrote with Sung Da-som doesn’t make it that simple. The reason for Jang-hyuk and Bo-yeong’s closeness is understandable. Both are contract employees who are not considered by permanent employees, while the demands of work force them to continue together. The audience is made to understand without having to justify.

Moreover, the chemistry of Ki-yong and Krystal almost matched the combination of Woo-je and Soo-bin in the first half. Krystal completed her transformation, from idol to screen actress, and is now a talented screen actress, having made her debut in More Than Family last year. Krystal with all her “antiquity” is a major factor in the success of Sweet & Sour comedy seasoning.

The second half was a bit repetitive, but at least not without reason. Because this is where the protagonist’s tiring routine is presented, although it must be admitted, the presentation is longer than the narrative needs. Luckily there are other points that try to convey. In addition to the test of love, and the difficulty of dividing work and personal life equally, Sweet & Sour is also a drama in the world of work, which also discusses the exploitation of labor, especially those who are contract employees. Not too deep, but enough to add variety and complexity to the storytelling.

I’m sure the conversation about this film will be dominated by one element: twist. Surprising twist with awesome presentation. Neat, smart, not impressed by cheating the audience. Various “signs” have actually been spread, even from the first minutes through a visual clue. This twist changes the entire face of the film, from a spectacle that is potentially considered problematic, to empowering. From stories surrounding the test of loyalty, to touching illustrations of how the little things can make or break a relationship. How kindness is based on sincere affection is the key. Best Movie

Chaos Walking – Reviewo
Movie Review

Chaos Walking – Reviewo

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The Chaos Walking film can be said to be one of the adrenaline-pumping spectacles. Starring Tom Holland and Daisy Ridley, this film is the first book adaptation of Patrick Ness’ Chaos Walking trilogy. The book series alone won the Guardian Award, James Tiptree Jr. Award, and the Costa Children’s Book Award. So, do not be surprised if this film is one of the most awaited this year.

Synopsis Chaos Walking tells the story of the New World, which is set in 2257. From Earth, it takes 64 years to reach the planet. The first batch to arrive in New World formed a community called Prentisstown. Uniquely, the men who were present in New World could not hide their thoughts and feelings in the form of voices. The form of their mind is called Noise. Top Movie Site

Chaos Walking
Chaos Walking

Todd Hewitt (Tom Holland) becomes a Prentisstown resident who has a hard time hiding his thoughts. His mind was even more confused when he met the wreckage of the starship that had crashed close to his village. Moreover, it is the first time he meets a woman, namely Viola (Daisy Ridley) in his life. Remember, all the women residents of Prentisstown were killed for mysterious reasons.

Actually, the choice of Holland in this film is like two sides of a coin. On the one hand, the role of Todd and the concept of Noise are suitable for Holland, who is expressive. But on the other hand, his role is less iconic because that’s Holland’s persona in several of his popular films.

The interesting thing, Tom Holland in fact exerted his totality for the Chaos Walking film. She was asked to grow as much facial hair as she could for her role. Unfortunately, in the span of five weeks, all he was able to grow was a thin mustache that was barely visible on camera.

Then, he had a broken nose after being punched in the face by a stuntman during a fight scene. He also fainted when he had to hold his breath underwater. In fact, he missed the premiere of Avengers: Endgame (2019) because he was busy reshooting Chaos Walking.

Bearing in mind, this film was originally scheduled for release on March 1, 2019 but was pushed back to 2020, due to a massive reshoot, and was pushed back to 2021. For your information, from the reshoot that took place in April 2019, it cost 15 million dollars (approximately Rp219 billion). .

Tom Holland’s acting shone even more when he co-starred with Daisy Ridley as Viola, a new Earth girl he met. The acting competition between the two makes the atmosphere of this 129 minute film feel like British films, because of their thick and sexy British accents. Indeed, both were born and raised in England. Best Movie

Daisy Ridley is equally stunning. She wore a blonde wig for her character. Her ferocious expression of distrust of Prentisstown’s men was on her face until the very end. This role reminds KINCIR of the figure of Rey Skywalker in the Star Wars Saga, which he also stars. As Viola, she is also equipped with a strong physique, resilient, good at using weapons, and unfortunately can’t swim.

Reading the synopsis of the Chaos Walking film and watching the trailer, it’s already made me curious about the storyline. How not, the premise of a dystopian world where men can hear each other’s thoughts becomes mysterious and interesting to explore.

Unfortunately, this film only focuses on the two main characters, and does more than just survive. Especially on Todd Hewitt who tried to protect the girl he just met. In fact, there are many mysteries that can be told, such as Spackle or about the stereotype that men shouldn’t cry, and so on.

Broadly speaking, the Chaos Walking film can satisfy Tom Holland fans, lovers of young adult novel adaptations, and fans of dystopian stories. The visuals and scoring are almost impeccable, because they manage to bring suspense and mystery about another world. Movie Review

The Conjuring: The Devil Made Me Do It – Review
Movie Review

The Conjuring: The Devil Made Me Do It – Review

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The Conjuring: The Devil Made Me Do It really has a story. There is a mystery that is able to keep the audience’s attention, although then, the further you roll, the more the plot loses its way. Regarding proving that Arne’s innocence seems to be forgotten, it completely turns to the generic pattern of “defeating evil forces to save one’s life”.

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Lifting one of the mystical experiences of Ed Warren (Patrick Wilson) and Lorraine Warren (Vera Farmiga). Precisely the murder known as the “Devil Made Me Do It” case that occurred in 1981, where the suspect, Arne Cheyenne Johnson (Ruairi O’Connor), claimed to be under the control of the devil when he killed. History records that this is the first time in a US court that the suspect “possessed with a demon” has used the excuse to deny all charges.

The Conjuring: The Devil Made Me Do It
The Conjuring: The Devil Made Me Do It

At the beginning, we learn that the possessed is David (Julian Hilliard), the sister of Arne’s lover, Debbie (Sarah Catherine Hook). Ed and Lorraine perform an exorcism, which ends in chaos, when the demon moves into Arne’s body. Next as already written above, Arne commits murder, denies on the grounds of possession, while Ed and Lorraine carry out an investigation to prove the existence of demons in court.

Although the film doesn’t apply more courtroom drama elements (the process of proving mystical things in front of a judge and jury sounds interesting), the Johnson-McGoldrick script still has enough ammunition in the form of the Warren husband and wife investigation, so that the 112 minute duration is not limited to a jump scare compilation.

The biggest change in this film compared to its two predecessors lies in the way it throws terror. As usual, each series of The Conjuring always labels itself as “the scariest and/or most dangerous case that Ed and Lorraine have ever faced”. This time, the statement is not mere hyperbole, because in essence, it is true. Because here, their main opponents are humans, and human evil can be more dangerous than any demon. Best Movie

That’s also why the iconic ghost figure doesn’t appear like before. The terror prioritizes “what is done” over “who”. Was the result more terrible? Unfortunately no. Chaves’ level was still far below Wan’s. Some jump scares are quite surprising, but not to the point of really pounding the heart. The reason is none other than the messy set piece design. Either it’s too dark, the camera shakes too fast, or it’s a mess in the continuity of a sequence. Instead of being afraid, I am more often confused about an event. The same goes for build-ups. Chaves has not been very good at building audience anticipation.

At least Chaves presents the exorcism scene solidly (although Ed and Lorraine’s recorded real exorcism, which is played in the credits, is more sinister). The intensity can be maintained, while the characters perform “inhuman” movements, which is a characteristic of exorcist-themed films. Not to forget, Chaves slipped some nodes for The Exorcist (1973).

The Conjuring: The Devil Made Me Do It retains the spirit that laid the groundwork for the second film (and continues in Annabelle Comes Home), namely the romance of Ed and Lorraine. Both the motivation and the resolution taken are based on their love. The quality of terror may decline, but the success of maintaining that basic spirit, keeps this third film from being completely destroyed. Even without Wan in the director’s chair, we must be anxiously awaiting the continuation of this series. Movie Review

Cruella – Review
Movie Review

Cruella – Review

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Set in London in the 1970s in the midst of the punk rock movement, Cruella also carries a similar spirit. Talking about freedom by opposing the establishment, also shares an aesthetic that is in line with that culture. The result is eye-catching, although unfortunately, the script by Dana Fox and Tony McNamara speaks like a pop musician who is just trying out the punk genre for fun. Quick origin, slash origin, negligent that punk is “carelessly without origin”. Top Movie Site

The storytelling pattern feels right at many points, including the hasty prologue, so that some important points just pass away. At least now we have more understanding, why Cruella de Vil (Emma Stone), hates Dalmatian dogs. It all started when he was 12 years old and still bears the name Estella (Tipper Seifert-Cleveland in an appearance that will take him to the ranks of the top child actors).

Estella witnesses the death of her mother, Catherine (Emily Beecham), and feels responsible. Alone, Estella chooses to live as a thief with Jasper (Joel Fry) and Horace (Paul Walter Hauser), while still dreaming of becoming a designer. The opportunity arrives, when Baroness (Emma Thompson), a well-known designer, recruits Estella after accidentally witnessing her talent. Of course Estella was happy, at least to know the secret about Baroness, who awakened Cruella side in her. Best Movie

A little backwards, little Estella often caused trouble at school. Not without reason, because other children see her differently, because Estella was born with a unique hair color (half white, half black). Each time his anger ignited, his more violent personality came to the surface. The mother named that side “Cruella”. The script itself never takes a clear stance on the two personalities. Is it realist (multiple personalities), or fantasy.

There are many dramatic points, but hasty narrative without sensitivity, takes away the emotional impact, even if Stone does not treat the character with a superficial interpretation of “eccentric origin”, it makes Estella / Cruella a complex character. A lonely figure who takes extreme steps to free himself, feeling that it is time to stop being hurt. Stone performed Cruella like an explosive, anarchist rock star, but once he got off the stage, he was actually fragile.

As her opponent is Emma Thompson as the cold tough boss. The Baroness reminded Meryl Streep’s Miranda Priestly, except that there was no hidden warmth behind that cold attitude. Only cruelty, narcissism and ambition. If the Estella / Baroness dynamic reminds Andrea / Miranda, it is reasonable, considering the original draft was made by Aline Brosh McKenna as the scriptwriter of The Devil Wears Prada (2006), before being revised by Fox and McNamara.

Although weak in terms of taste, at least Cruella is able to entertain. Imagine The Devil Wears Prada is transformed into a mix of heist and revenge movie. The protagonists launch an act of revenge while infiltrating then stealing, all in style. The highlight was when Cruella started to ignite what her haters would call “vandalism”. Not through scuffles or chases (although there are still), but “battle of fashion”. Like a punk rock figure who makes a stern statement without nonsense to the public, Cruella has shocked and amazed the whole of London through exhibitions of unique clothing that reflect DIY ethics in punk.

I was amazed. Jenny Beavan, who previously won an Oscar for her work on Mad Max: Fury Road (2015), designs costumes that feel worthy of the word “breathtaking”. Beautiful, glamorous, character. The costume itself voiced a statement with a tone of resistance to norms and wrongdoing.

If dramas are often limited to passing by, not with the presentation of the costumes. The directing of Craig Gillespie (Lars and the Real Girl, I, Tonya) made the audience feel as if they were watching a unique and magnificent show, each Cruella showing the latest outfits. Gillespie’s only weakness is in trying to make Cruella as fun as possible, using iconic songs from the 1960s and 1970s to accompany almost everything. Of course numbers like Feeling Good, Should I Stay or Should I Go, to Come Together encourage us to hum along, but the overuse makes the film look like a jukebox that lasts more than two hours. Movie Review

PG: Psycho Goreman – Review
Movie Review

PG: Psycho Goreman – Review

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PG: Psycho Goreman tells of a strange friendship between a boy and an alien. Yes, like E.T. the Extra-Terrestrial (1982). It’s just that, because it was made by people who love b-movies from decades ago, instead of friendly little creatures, the alien figure that we will meet is a killer monster who wants to destroy the entire galaxy, with a form like a Guyver mix (one of our favorite shows). Steven Kostanski as director of this film) and the enemies of the Power Rangers. Best Movie

Our protagonists are Mimi (Nita-Josee Hanna) and her younger brother, Luke (Owen Myre). Luke has always been obedient to the, well, “eccentric” Mimi. The word “naughty” doesn’t really describe this little girl, who wants to bury her sister’s life as punishment for losing to Crazy Ball (a ball game with unique rules that will play a big role in the plot later), as well as calling their late grandmother “tormented in hell. forever”.

So the attitude that Mimi takes after finding a glowing rock buried in the backyard, which turns out to have the power to control a deadly alien figure (voiced by Steven Vlahos, while Matthew Ninaber is behind a costume), is not surprising. Instead of being afraid, the alien he named Psycho Goreman alias “PG” was actually made a friend (read: slave), forced to do all his will, including turning the boy Mimi liked into a disgusting monster in the shape of a giant brain, so he could follow his wishes. Movie Review

Based on the crawling text at the beginning of the film, which reminds us of the narratives of fantasy stories from the medieval era, we know that PG has been locked up for a long time because it threatens the safety of the universe. His nemesis is the Templars, soldiers who look like robots from tokusatsu treats. The Templars member we meet is named Pandora (Christian MacCulloch), who along with a group of aliens called the “Planetary Alliance”, learn about the resurrection of PG and begin to make plans to destroy it.

But Kostanski, who co-wrote the script, was not a devotee of virtue. And indeed for some people, the evil monsters in titles like Power Rangers or Japanese tokusatsu, are far more interesting and cool than the heroes, especially in terms of appearance. Based on this love of monsters, Kostanski did not portray the Templars as holy heroes. They are no different from the invaders. The despot who used goodness as a mask, as an excuse to invade (Oh, that sounds familiar).

Of course, Kostanski doesn’t prioritize the quality of the storytelling. The plot moves at its own pace, including the early minutes that seem to completely ignore the structure and neatness of the story. Even attempts to shift the absurd and sci-fi towards family comedy dramas in the latter half tend to create tone inconsistencies rather than warmth.

How Kostanski turned his low budget ($ 850,000) into a large-scale spectacle, which spanned the wings of conflict between planets, was his biggest advantage. Assisted by an extraordinary artistic team, Kostanski has had full experience as a make-up artist in films such as Crimson Peak (2015), Suicide Squad (2016), and It (2017), as well as the Hannibal series (2013-2014) and Star Trek: Discovery ( 2017-2018), gave birth to a line of aliens with unique and creative designs, which will make any monster lover experience eyegasm. Example? The monster has the body of a washing machine, which does not contain clothes and detergent inside, but pieces of a body full of blood.

Surely gore dominates, where Kostanski mastered how to present over-the-top violence in the style of b-class films, in order to appear crazy, fun, often surprising or sometimes disgusting. Supported by humor, which, although hit-and-miss, is thick and addictive (although some may be bothered by the portrayal of all female characters as “tyrant masters”) that will make viewers often say, “Wait, what ???”, PG: Psycho Goreman becomes a “cheap” but brilliant spectacle, and once it ends, you immediately expect a sequel to see more of PG’s journey to destroy the entire universe. Top Movie Site

Night of the Kings – Review
Movie Review

Night of the Kings – Review

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As the MACA prison gates open, the protagonist of the Ivorian representative at the 2021 Academy Awards (breaking into the top 15) is setting foot in a new world. So did the audience, who soon discovered that Night of the Kings offered one of the year’s most unique storytelling methods. A heightened realism that raises the power of the storytelling process.

Written by the director himself, Philippe Lacôte, Night of the Kings designed MACA as a place, which, despite its appearance no different from most prisons, operates like a fairy tale. The prisoner is in control, with one figure having the title Dangôro, ruling like a king. Blackbeard (Steve Tientcheu) is the current Dangôro. There was a rule, if Dangôro fell ill and was deemed too weak to lead, he had to commit suicide so that the throne could be given to the successor. Top Movie Site

Although at first glance it seems intimidating, Blackbeard’s health condition has deteriorated, including having to carry oxygen cylinders wherever he goes. But he refused to give up. In a final attempt to maintain power, Blackbeard appoints our protagonist, a new prisoner (Bakary Koné) to become Roman, who is tasked with telling the story in front of all the prisoners, as the red moon lights up the night. Not even one day in prison, the moment arrives, forcing Roman to form a story suddenly.

Of course, Roman can’t just talk, especially after Silence, the only white resident who always carries a chicken (Denis Lavant plays the role of … Denis Lavant), reveals secrets, which makes this storytelling activity like a death-defying battle. Put simply, Lacôte conveyed how powerful “telling” (or “the sharpness of the tongue”) can determine a person’s life and death. Best Movie

Although at first it halted, Roman finally found the foundation of his story, which is about Zama King, a famous criminal and chairman of the Microbes gang where Roman joins. He recently died due to the anger of the masses, but Roman’s story is not only about Zama’s death, it also penetrates his childhood, since he grew up in the era of the kingdom.

Filled with fantasy elements, Roman fairy tales sound the most interesting when the magic is left to the imagination of the audience, rather than actually showing the action of witchcraft battles like the third act, which appears rather ridiculous, including the consequences of perfunctory CGI. On the other hand, when we see a scene similar to reality but narrated hyperbolically like a fable, that’s where the film is able to hypnotize.

Especially when the occasional story is interrupted by prisoners singing, speaking like an actor playing a Shakespearean play on stage, or theatrical dances visualizing a Roman narrative. Through these elements Lacôte’s directing manages to establish a magical, once again, hypnotic tone. As if, that night the prisoners did not just gather to hear stories, but carried out rituals. The world of Night of the Kings is so unique and interesting, that viewers may complain about the lack of exploration of the mythology of the setting. Why did Roman have to tell stories during the Red Moon? Why was it considered important in maintaining the Dangôro’s power?

Time passed, and Roman was required to continue the story, so he was confused about how to close it. Ironically, Lacôte experienced a similar condition. Reaching the final point, as if Lacôte ran out of ideas, then chose generic conclusions that seemed to be easy. But even that feeble ending can’t afford to weaken the power behind the uniqueness of Night of the Kings. One of the freshest forms of storytelling in recent times. Movie Review

Those Who Wish Me Dead – Review
Movie Review

Those Who Wish Me Dead – Review

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Those Who Wish Me Dead are like a throwback to 90s releases, which feature a simple chase, with an equally dangerous setting that occasionally also threatens. Top Movie Site

But there is something interesting behind the structure of the story. The protagonist named Hannah (Angelina Jolie), a smokejumper who finds it difficult to let go of guilt, shows signs of suicidal, due to the death of three young people in a forest fire. But the word “me” in the title refers to Connor (Finn Little), whose life is in danger, being chased by two assassins who are after his father’s secret. The two killers are Jack (Aidan Gillen) and Patrick (Nicholas Hoult), who get the most screen time, especially in the first half.

If the majority of 90s action thrillers were star vehicle status for the main star, then Sheridan wanted to create an ensemble that shared the spotlight equally. The story of a boy who is forced to survive even though he has just lost his father, the story of a woman’s penance, and the story of two murderers on a mission. While Jack and Patrick are clearly ruthless criminals, there is a dynamic that keeps the character from being one-dimensional. They are not cold-blooded obedient robots. For Jack, it’s all business. Meanwhile, Patrick occasionally implies that killing lives is not an easy job. Best Movie

But it cannot be denied, Those Who Wish Me Dead’s class are below Sheridan’s previous works. This is not the first time he has presented a psychically shaken protagonist, but only here is his presentation generic. Hannah’s background ended as a patch, even though her process of dealing with trauma through penance was filled with clichédness, which also oversimplifies the psychic dynamics of humans.

At least Jolie appeared believable as a firefighter who refused to be helpless, even though he had fallen from the observation tower, was hit by a lightning strike, was beaten up, until he was trapped in a fierce flames. But the attention-stealing woman isn’t just Jolie. Despite having Jon Bernthal alias Punisher as Ethan the cop, the film puts aside machismo and makes room for his pregnant wife, Allison (Medina Senghore) to take up arms.

Regarding the execution of the action, assisted by CGI, who was quite convincing in starting forest fires as the climax stage (Jack and Patrick lit a fire to create distraction), Sheridan is in fact still good at building intensity, even though his scale has increased compared to his debut. But the best point in the action of Those Who Whis Me Dead is when at some point, the character, who works as a firefighter to a survival school teacher, shows off several survival methods for various situations (using distress words, to avoiding lightning strikes and flames). Movie Review

Oxygen – Review
Movie Review

Oxygen – Review

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Similar to Devil (2010) and Buried (2010), Oxygen confines the protagonist in a narrow space. The script was written by promising debutant Christie LeBlanc, but in the directing chair sits an experienced figure: Alexandre Aja. This is not the first time Aja has handled a similar film. Finally, he created Crawl (2019) which trapped his character in the middle of a flood with a crocodile, and he also wrote a script and produced P2 (2007), about a woman trapped in an underground parking lot. Top Movie Site

But compared to the two, Oxygen clearly has a more difficult level. The setting is much narrower, i.e. a cryogenic capsule. A woman (Mélanie Laurent) awakens from hypersleep in the capsule, alone, panicking, memory loss, with only 35% oxygen remaining. The only source of information is a sophisticated AI named M.I.L.O. (voiced by Mathieu Amalric). Served almost in real time, we are treated to an attempt to save ourselves before running out of oxygen.

The less information you know, the more satisfying the film will be, so I won’t go into the plot further. But in contrast to the “one location film” examples above, Oxygen has a lot more variety, given that the setting is an advanced cryogenic capsule. Threats do not only come from depletion of oxygen, but also systems in it that run security protocols (for example, robotic injections).

Cinematography by Maxime Alexandre, which Aja has subscribed to since High Tension (2003), is also able to take advantage of various visual options as a way to remove monotony, such as panning out to take the audience out of the capsule (a technique also used in Buried), to shots. 360 degrees that increase the intensity, as well as mark the turning point of the groove. Through a twist, both the audience and the characters realize that the situation is far more dangerous than expected. Best Movie

This twist is a clever step to expand the scale, increase the choice of conflict, and also enrich the storytelling, which has previously been built through a series of flashbacks. Through flashback (which also aims to keep the monotony away), our protagonist periodically retrieves fragment after fragment of his memory, although unfortunately, some of the ways to restore the memory seem forced, only fulfilling the need for the story to continue, rather than a natural progression.

Not so with Mélanie Laurent’s acting. Nothing was forced from her superior appearance, which repeatedly jumped from anxiety, calm, then back to anxiety. We can also understand when the character makes inappropriate decisions, or is less cooperative with those who want to provide assistance. For additional information, previously this role would be given to Anne Hathaway, then moved to Noomi Rapace, before being obtained by Laurent. Rapace eventually became executive producer, while Hathaway voiced the English version.

Entering the last 25 minutes, another twist appeared, which was not like a turning point in the middle of the duration, this time it felt cheating. Referring to what the main character previously did, this twist should be impossible. But Aja, as one of the best “genre film” directors today, builds a spectacle that makes the audience forget, or even not realize the flaws of logic. The dynamics are consistent, through the presence of jump scares, several painful moments, and the intensity that is maintained. As a parade of terror and suspense, Oxygen is a complete package, because the makers clearly understand and love the genre they are making. Movie Review

Spiral – Review
Movie Review

Spiral – Review

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Spiral (full title Spiral: From the Book of Saw) is opened by a crushed body, scattered in the underground tunnels including the tongue left in a trap. Following that is a 180 degree situation where our protagonist discusses the absence of a Forrest Gump sequel because the main character has AIDS. Brutal death and intriguing chatter. The Saw and Chris Rock series have always had two things, but who would have thought that both of them would be combined in one film. Top Movie Site

Four years after the toothless tiger named Jigsaw, this series no longer has many options. Completely stop, or take a new direction. Spiral shows how the old faces of this series, namely director Darren Lynn Bousman (Saw II – IV) and Jigsaw scriptwriters, Josh Stolberg and Pete Goldfinger, take new directions that tend to be unpredictable. Chris Rock starring in horror as the son of Samuel L. Jackson? Sounds bold, even extreme.

However, the outline of the story still follows the formula of the previous films, with minor modifications to add relevance. Rock plays Detective Ezekiel “Zeke” Banks who many cops hate. Not (only) because he often acts on his own, but because of his honesty. Honesty that made him a traitor. Even though his father, Marcus Banks (Samuel L. Jackson), is an honorable retiree.

At one point, the police are excited by the appearance of a killer who imitates the modus operandi of John Kramer aka Jigsaw (Tobin Bell). There is a slight difference. The voice recording changes, the doll as its alter ego changes, the victim changes. This time the killer was not just targeting the sinners, but more specifically: the sinner cop. Together with his new partner, William Schenk (Max Minghella) the novice detective, Zeke must race against time before any of his colleagues are victims.

Spiral is probably the first Saw film, where the reason for the perpetrator to do the action, can be understood personally by many people. The script does not provide deep enough exploration to sympathize viewers, but certainly many share the wounds, and think that corrupt cops who use uniforms and badges to do whatever they want (some are not much different from murderers), more deserving of death penalty than con wives or photographers. problem from the previous installment. Best Movie

Let’s put the identity of the victim aside first, because the Saw series is still a dish of torture porn, which prioritizes torture using a variety of traps. Related to that, Spiral deserves to be called “return to form”. The traps are brutal, as well as creative enough to present different horrible deaths. I will not discuss the details. Certainly, Bousman’s directing could make the array of traps look extremely painful. Achievements that cover his weaknesses are stories, when the inconsistency of the pace (making the film sometimes intense, sometimes boring) as well as the plural skipping stories that occur here.

The Saw series is also synonymous with a twist. Regarding the identity of the perpetrator, it’s easy to guess the truth, long before it’s revealed, especially when Spiral suddenly changes the way he shows the victim’s death in the middle of the film. The conclusions may not be a brilliant twist like the two premiere films, but not the forced stupidity of the last titles. The theme music for Hello Zepp is still effective at pumping up adrenaline, so it can fake the impact of a twist to make it feel even more astonishing than it should be. Plus, Spiral retains the character of its franchise, ending the film just as the intensity is at its peak.

What is the result of selecting an “undue” cast? Chris Rock tried his best, but it was clear that he had a hard time getting off the ground. As if he was tormented by the demands of serious play, and looked more comfortable, just when throwing a few one-liners tickled. Samuel L. Jackson? The actor pronounced “motherfucker”, so what else could you expect. Movie Review

Nobody – Review
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Nobody – Review

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The film Nobody adds to the long list of action films with angry men. Since Taken (2008), played by a male named Liam Neeson, became a surprise hit, many film studios have tried to make their version of Taken. Some were successful, some failed. One of the most successful is John Wick (2014) which has grown into a large franchise. So, Nobody is trying to become a John Wick-class franchise.

Directed by Ilya Naishuller (Harcore Henry) with a script from Derek Kolstad, who is the author of the John Wick trilogy, Nobody’s story is told from the perspective of a man named Hutch Mansell (Bob Odenkirik). Mansell is said to have experienced a mid-life crisis, trapped in the monotonous routine of life. Every day he worked just waking up, exercising, having breakfast, going to the office, going home, sleeping, and so on. As with the title track Nine Inch Nails, “every day is exactly the same” for Mansell.
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The monotony of life is exacerbated by the hostile atmosphere of the house. Mansell’s wife, Becca (Connie Nielsen), has rarely had any contact with him. Mansell’s son, Blake (Gage Munroe), considers his father to be fathers who are limp and do not deserve to be role models. The only family members who understand Mansell’s plight are his daughter, father, and brother.

The situation reaches a climax when a pair of thieves rob Mansell’s house. Blake is disappointed that Mansell did not stop the two thieves, even relented. Annoyed of being treated poorly, Mansell began to trace the whereabouts of the two thieves.

Mansell’s search resulted in numerous fights and revelations. Mansell turns out to be not the bad guys, but a former “auditor” (read: assassin) for the CIA and his search leads him to the most dangerous Russian gangster. What happened next was action by action, like John Wick.
Mansell rolls up all the gangsters who try to finish him mercilessly. No matter how many troops were sent to kill him, Mansell always had a way to defeat them. Everything is shown in a brutal, visceral manner, which is able to make the audience sit on the edge of the chair so tense.

On the premise, Nobody doesn’t present anything really new. All the action film tropes of the angry men are in it. Family bullied? Check. Former hit man or agent? Check. Dealing with gangsters? Check. Revenge with simple motivation without a single one being able to stop it? Check, check, and check. However, it’s hard to deny that Nobody is a film that feels funnier and in some ways more mature than John Wick.

One of the advantages is in the character development of Mansell. His character is much more interesting than John Wick. While John Wick is just a man who has retired from his brutal life, Mansell is a man who is trapped in a monotonous life and a mid-life crisis.
Mansell knew it would be easy for him to get out of that life, but he was afraid it might get out of hand later. According to Mansell, once he felt the pleasure of hitting someone until the blood spurted out and the bones made a “crack!” Sound, there would be no stopping for him. The problem is that it can put his family in danger, fear, and at worst leave him.
These fears made Mansell desperately “lock up” himself in a “mediocre” persona and life. The result is as described above, a monotonous routine and lack of respect from the people around him. Mansell is considered boring and poor.

It made his character feel shocking as his fiercest side gradually came out without a single one being able to stop him. Compare with John Wick, who from the beginning we already know he’s the masters. John Wick’s character didn’t offer a surprise while Mansell did
On the other hand, Nobody captures the monotonous side of Mansell’s life nicely. In a short tempo, Nobody can show how terrible it is when someone gets stuck in a loop without the slightest variation. It felt like a hamster running on its spinning wheel. He keeps running and running with the only difference that can happen is between stopping due to exhaustion or from falling. Mansell stopped from the wheel because he was tired and he didn’t want to feel it anymore.
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People like Mansell do little in reality. Many jobs have these pitfalls that can suck a person’s passions dry, turning them from being fun to being boring. Those who are initially accustomed to living with the adventure and adrenaline rush of Mansell are the ones most likely to get caught up in these tricky situations.

The development of Mansell’s character was helped by the image of everyman owned by actor Bob Odenkirk. Growing up through the series Breaking Bad and Better Call Saul, Bob Odenkirk showed that behind the image of his father, he could become an action actor in the same class as Keanu Reeves. Anyone who has seen Odenkirk’s acting, which is mostly in comedy dramas, would never have expected that he could act in action without losing his sense of humor.

Speaking of action, director Ilya Naishuller, famous for his Hardcore Henry film which is completely shot from a first-person perspective, manages to deliver action that is not only shocking, but also imaginative. Mansell is shown to have many ways to finish off his enemies.
Mansell’s ways of rolling up his enemies range from conventional methods such as fighting with his bare hands to making use of the objects around him. It’s no exaggeration to say Mansell is John Wick with the extra skill set Macgyver and Jackie Chan. The result is a fight that feels more fun, fresher, and can be very comical at times.
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Despite its big theme about the traps of routine and midlife crises, Nobody is not an action film that tries to take it seriously. There is a balance between the elements of drama and action it has with the addition of satirical comedy. Nobody can make the audience interested with the issues he brings, but he doesn’t forget to invite them to have fun by showing how Mansell releases the tired monotonous routine by messing around with Russian gangsters.

WRATH OF MAN – Review
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WRATH OF MAN – Review

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Wrath of Man wouldn’t make a big fortune in the Box Office, even in normal times. But in Indonesia, it is enough to put Jason Statham’s face on a poster, it seems that the pandemic is unable to hold back the filling of cinema chairs. Our audiences adore Statham (to be precise an action that promises endless gunfire, so Bruce Willis and Nicolas Cage’s Class B films are still a big hit). Top Movie Site

So that when the remake of the French film titled Cash Truck (2004) bombarded the studio with whistling bullets at its climax, the ticket price had already paid off. On the other hand, a small portion of the audience who came because of the name Guy Ritchie, might wonder why the third act was only filled with “endless shots of people shooting guns”, as if the director was running out of style.

Though “style” is the identity of Guy Ritchie, and it was only two years ago that he got back to his roots with the hunky Gentlemen. Make no mistake, it doesn’t mean the Wrath of Man is bad. Ritchie’s quirk can still be found here and there, and is often an advantage. But it’s hard to deny the impression, if the film is made by “Guy Ritchie who tries his best to be the guy Ritchie that the public likes”. It can be seen from how the script he wrote with Ivan Atkinson and Marn Davies delivers the “foul-mouthed witty banter” favorite of Ritchie, who is eager to sound unique, intriguing, and edgy, but forgets that to have this impact, the conversation has to be interesting to follow, or better yet, it’s useful for reinforcing characterizations (of course I didn’t expect a second point to come from a Guy Ritchie).

After the opening sequence in the form of a deadly robbery, we get acquainted with Harry Hill aka H (Jason Statham), a new employee of a cash delivery truck sales service company. Every week the money they bring is in the range of hundreds of millions of dollars, so they are often targeted by robbers (including what we saw at the beginning of the film). While on duty with Bullet (Holt McCallany) and Boy Sweat (Josh Hartnett), it was the turn of the H truck to be targeted. To everyone’s surprise, H, who passed the test with a tight score, was able to kill all the robbers by himself.

Predictably, H has a secret, and in order to unravel the truth about him, Wrath of Man invites us on a non-linear path. Again, “very Guy Ritchie”. The plot skips forward three months, moves back five months, moves forward three weeks, and so on. It’s a headache trying to follow the numbers that appear on the screen, but believe me, it doesn’t have to be. Duration is only trinkets. Most importantly, we just know which event happened first, and it’s not difficult. Best Movie

It must be admitted that the storytelling technique is able to maintain the appeal of the plot, turning the cliché story about revenge (which of course does not have significant emotional weight considering this is Ritchie’s work), into a dynamic spectacle armed with several twists. Not to forget, the opening scene appears repeatedly from different points of view. The perspective that focuses on H, serves to explain the protagonist’s motivation as well as to give a shocking effect, but the detailed retelling through the point of view of the robbers including Jan (Scott Eastwood), has no significant purpose, except to patch a very thin plot and can be completed only in 60 minutes.

But as already mentioned, although some of Ritchie’s quirks here are like an attempt to repeat the past heyday, at the same time, his stylish approach is also a plus. Including the title, Wrath of Man has several title cards containing lines like “Scorched Earth” and “Bad Animals, Bad”, all of which sound like edgy versions of Shakesperean stories. Christopher Benstead’s music, which almost never stops throughout its duration, gives off a similar impression. The impression that this is a tragedy, where anger, revenge and violence are like poetic acts.

Because of that, when the retaliation finally happened, Ritchie took a risk by not packing it on a high note (even though it happened after a prolonged gun battle), but emphasizing the personal emotions (read: grief and anger) of his character. Similar to the director, Statham is definitely not a figure synonymous with sensitivity, but the combination of the two gives guarantees about a stylish presentation of badass action. Movie Review

Minari – Review
Movie Review

Minari – Review

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Minari film is predicted to be the successor of Parasite (2019) at the Oscars 2021. How can I not? This South Korean director’s film received six Oscar nominations, including “Best Pictures” and “Best Director” for Lee Isaac Chung. In fact, previously this film has won more than 100 award trophies and more than 200 nominations for international film festivals.

Synopsis of the Minari film about the Yi family from South Korea who pursues their dreams in America. They try to survive on their own terms even though they often fail. The head of the family, Jacob Yi (Steven Yeun) is optimistic and ambitious to make his family proud by wishing him success in living in a remote village of Arkansas.

Meanwhile, his wife, Monica (Yeri Han), is skeptical about the dream of living in a foreign country. However, she still tries to encourage and help her husband to meet the needs of her two children: David (Alan S. Kim) and Anne (Noel Cho), as well as her mother (Yuh-jung Youn). Top Movie Site

For information, Minari comes from the name of an Asian plant whose leaves are similar to parsley with a slightly spicy taste. Minari is known as a hardy plant and its ability to grow anywhere. The question is, will the same be proven to happen to the Yi family?

The film appears from the perspective of the Yi family: Jacob Yi (Steven Yeun), Monica (Yeri Han), Anne (Noel Cho), and David (Alan S. Kim). Set in the 1980s, they are immigrants from South Korea who have difficulty adapting to life in America. They are still foreign and they don’t really feel part of the country yet.

When he just came to the “faraway land,” Jacob planned to go gardening. With his knowledge in Korean soil, he had to find a water source which turned out to be difficult in this foreign land. On the other hand, Monica is surprised to have to live in a “mobile home” that is far from attractive in a remote area. 7-year-old David is suffering from heart disease, and his older sister, Anne, is stuck with the burden of being the oldest child.

Farming proved difficult for Jacob. Then, Monica, who feels lonely, brings her mother from Korea. Played by Yuh-jung Youn, this cheerful grandmother is here to break the ice, especially her relationship with her grandson, David, who is both naughty and brave.

The portrait of immigrants wishing to succeed in America is clearly shown here from the start by Jacob. Apart from working on the land in their yard, he and Monica also work in the sexing section of the chicken farm, which sorts chicks by sex. Movie Review

Of all his efforts, he just wanted to achieve the American Dream, making a fortune in Uncle Sam’s country on his own. Monica also owns the American Dream. The difference is, he is more realistic than Jacob. She just wanted a better future for her children: Anne got a good education and David recovered from heart disease.

The conflict in this film is internal to the Yi family. The debate on the reason that the savings money ran out while chasing dreams in overseas lands, can relate in the real world. Not to mention the added child who is seriously ill, grandmother who has difficulty adapting, different treatment from local residents, and so on.

The story is linear and continues to evolve makes this film look simple. The conflict that occurred was not a cross genre like Parasite (2019). But domestic conflicts and disagreements that remain layered to bind the audience. Even if we look deeper, Minari also highlighted the problems of assimilation, racism and stereotypes.

Admittedly, the issues in this film can be material for in-depth discussion. For those who haven’t watched the film, of course Minari sounds like a melodramatic family film. In fact, far from it. The drama and comedy are just right.

It could be that you may even cry in tears as a result of delving too much into the story of the Yi family with the beautiful tunes of Emile Mosseri. Yep, so good, Mosseri was also nominated for an Oscar in 2021 for “Best Achievement in Music Written for Motion Pictures (Original Score)”.

Minari appears as a semi-autobiographical film by Lee Isaac Chung that is full of humor, humanity and hope. Chung not only wrote love letters for his family, but also for us.

Minari is included in the Top 250 Narrative Feature Films in Letterboxd. This bilingual film is the second Korean language film to be nominated for “Best Picture” at the Academy Awards, after Parasite which also won the award one year earlier.

Various achievements. The director was nominated for an Oscar for “Best Director”. Together with Chloé Zhao for Nomadland (2020), the two marked the first time that two directors of East Asian descent were nominated in one category in the same year.

Even so, Minari also stumbled over controversy, especially for the United States public. A number of protests were received by the production team when they won the “Best Foreign Language Film” award at the 2021 Golden Globes event.

As reported by Vulture, the decision to place Minari in the Foreign Language category caused problems. The reason is, Minari is an American film: Produced in America (A24), directed by an American director (Korean descent) and most of the cast is American (Korean descent). Best Movie

The Hollywood Foreign Press Association (FPA) previously listed the film in the category of “Best Foreign Language Film”, not “Best Dramatic Film”. The reason is because more than 50 percent of Minari films are in Korean.

The public considered this decision to be incorrect. However, according to the HFPA classification, a film that is more than 50 percent in a language other than English, does not qualify for entry into the “Best Drama Film” category.

Apart from Minari, Parasite also took home the same award at the Golden Globes event. This makes it the first Korean film in history to win the award. Meanwhile, Minari, as the successor of Parasite at the Golden Globes, has actually created problems.

The Man Who Sold His Skin – Review
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The Man Who Sold His Skin – Review

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In 2012, Kaouther Ben Hania visited the Louvre museum, which happened to be conducting a retrospective for Belgian artist Wim Delvoye. Ben Hania’s attention is drawn to one of the works entitled Tim. Not a painting, not a sculpture, but a tattoo on the back of a man named Tim Steiner. Apparently since 2008, the tattoo has been owned by a German collector, Rik Reinking, in an agreement that requires Steiner to sit shirtless for hours at various exhibitions to show his tattoo. Another astonishing point of the agreement is that when Steiner dies, his back will be skinned, so that the tattoo can be stored in the Reinking collection room. Top Movie Site

From there, The Man Who Sold His Skin was born, a Tunisian representative at the 2021 Academy Awards, who successfully entered the ranks of the nominees. The case is interesting, but what is Ben Hania trying to say? Apart from allusions to elitists in the art world, there is the issue of the Syrian civil war, as well as racism against immigrants, especially those from the Middle East (I believe the last point is what locks in the nomination status of this film).

Once upon a time, Sam Ali (Yahya Mahayni) was forced to flee to Lebanon, leaving behind his lover, Abeer (Dea Liane), as a result of being accused of provoking a rebellion. Not long ago, Abeer had an arranged marriage with a rich man and moved to Brussels, Belgium. Feeling the need to save the idol’s heart from the “clutches of monsters,” Sam accepts the offer of Jeffrey (Koen De Bouw), an artist, to tattoo his back. The condition is that Sam must be allowed to stay in Brussels.

Unlike Steiner, Sam’s tattoo is in the form of a Schengen visa. According to Jeffrey, the essence of his latest work is to criticize how Syrian refugees are labeled as persona non grata, making access difficult when visiting various countries. Now, as an art object, Sam is free to go anywhere to be shown in the exhibition. “Being a commodity actually returns humanity and freedom,” said Jeffrey. But it didn’t take long for Sam to realize that as he regained these rights, he also lost several other rights. Best Movie

At an exhibition, Sam was reprimanded when he wanted to take a photo with a boy who admired his tattoo. Sam was obliged to continue to sit under the light that shone on his back. As if only that tattooed back was the value of Sam, not him as a whole person. Even her behavior is never out of the scrutiny of the art dealer, Soraya (Monica Bellucci with blonde hair that will make a lot of viewers overlook).

Ben Hania’s manuscript is able to appear attractive in presenting the issue of the dilution of humanity, even when individuals are outside the war zone where many crimes against humanity have occurred. The scene where Sam is shown, then sits on a stage to be auctioned (in a scene that also nudges racism-based prejudice against Middle Easterners), is like turning the clock into slavery. However, modern slavery is under the guise of “art appreciation”.

The Man Who Sold His Skin is not as loud as The Square (2017) in making fun of the elitists of the art world. Instead of slapping their faces, Ben Hania just positioned the film like a museum visitor whispering, gossiping behind his back. The sharpness of Ben Hania’s presentation is also questionable, regarding Jeffrey’s depiction. Is he an elitist who is the target of criticism? If so, why did his attitude change in the end (even though he is still money oriented)?

Jeffrey’s sudden change is like the form of Ben Hania’s confusion over how to get her protagonist out of conflict. The conclusion looks like it comes from a different film (a light entertainment film full of twists that often don’t care about logic), although it must be admitted, in essence, The Man Who Sold His Skin provides the ending its character deserves, after prolonged frustration that was brought to life through Yahya Mahayni’s convincing acting. Movie Review

Love and Monsters – Review
Movie Review

Love and Monsters – Review

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Love and Monsters, the film itself has been so binding since the unique prologue that gives a little twist to the story formula in a post-apocalyptic setting. After the appearance of an asteroid, civilization was almost wiped out, where the earth lived leaving 5% of the human population. But the asteroid wasn’t the cause. In fact, the asteroid was destroyed thanks to a missile. Unfortunately, when it exploded, chemical compounds used as the raw material for the missile rained down on the earth’s surface, turning cold-blooded animals into mutant monsters. Top Movie Site

For the past seven years, the survivors have been hiding in the dungeon to avoid the threat of monsters. One of them is Joel (Dylan O’Brien), who lives with one of the colonies as a chef. He wants to contribute more, but the problem is, Joel always freezes in fear when he is in a dangerous situation. Until he finds out the whereabouts of his lover, Aimee (Jessica Henwick), and is determined to take a deadly journey on the surface for seven days for the sake of his idol’s heart.

Very simple. There is no mission to save the world. As already written in the title, all done for love. Eliminate the question of the apocalypse and the man-eating monsters, then Joel’s struggle has probably also been experienced by many of us. But isn’t it the same reason that many other films have used? True, but Love and Monsters is a rare Hollywood product (especially these days), which completely manages to explore what it’s like to be separated from a loved one in the middle of the end of the world.

Joel’s adventure also represents the process of developing as the story from zero to hero in general. He learns to survive, to overcome fear, until he finally grows up when he is forced to look at a reality that is not as beautiful as expectations. Best Movie

The manuscripts by Brian Duffield (Insurgent, The Babysitter) and Matthew Robinson (The Invention of Lying, Dora and the Lost City of Gold) provide a plausible transformation of the protagonists. Joel is not a loser. He is handsome, kind, not awkward in socializing, has a beautiful girlfriend. I can imagine his life before the apocalypse was pleasant and comfortable. Precisely because of this comfort, Joel is not equipped with the ability to handle emergencies. Even excessive fear triggered by things that can be understood. The motivation is pure, the pain is reasonable, the character development is believable. Coupled with O’Brien’s ability to create a grounded protagonist in a fantasy setting, Joel is a very lovable figure.

Not only the main character, the other supporters also gave their lives. Throughout his adventures, Joel meets several traveling companions. Clyde (Michael Rooker) and Minnow (Ariana Greenblatt), an old man and a little girl who teach him various survival methods, a dog named Boy, also Mav1s who is a robot. Both writers know how to bring out the likeable side of each individual, so that in no time, no matter how human or not, the audience (and Joel) bond emotionally with them.

In the directing chair, Michael Matthews strikes a balance between taste sensitivity and skill at handling exciting action sequences. The visual effects (which earned an Oscar nomination) are convincing even though the film “only” has a budget of 30 million dollars, making the creators’ creative imaginations about monsters come true. Some looked terrifying, some on the contrary, like the appearance of strange world wonders. A world whose construction proves the visual storytelling capacity of films. No need for a prolonged exposition. The landscape without human existence, which occasionally shows the carcasses of both monsters and warplanes (implying the remnants of humanity’s last resistance), is sufficient to provide a clear picture of what kind of world we are witnessing. Movie Review

Violation – Review
Movie Review

Violation – Review

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Violation is directed and written by two women, Madelaine Sims-Fewer (also filling the position of main actress) and Dusty Mancinelli, who have both recently made feature-length film debuts. Like Coralie Fargeat in Revenge, they both offer the psychic dynamics of the protagonist as a victim of rape. Top Movie Site

Her marriage to Caleb (Obi Abili) is in crisis, when Miriam (Madelaine Sims-Fewer) returns home to meet her sister, Greta (Anna Maguire), after years of separation. Greta herself marries Dylan (Jesse LaVercombe), who from various chats, seems to have known the siblings for a long time. Violation was built through chat. Many chats, thanks to the flexibility of the players, are presented realistically (to the point where they seem unscripted).

Many talk about past memories, the interactions are so smooth that they provoke further interest. The content seems trivial, for example about the strange poses of Miriam and Greta’s father while chopping wood, or the ridiculousness of their former mother. But that’s where the foundation is created, which helps the audience get to know the personal as well as the relationships between the characters. Miriam is a woman with problems, often getting into disputes with Greta, who has a tough personality. Meanwhile, Dylan is the type of man who can quickly get along with anyone.

Then after a midnight chat at a campfire involving alcohol, an outpouring of feelings, and a kiss, the rape ensues. There are no vulgar presentations, “just” some extreme close-ups of touching and touching skin. The film does not depict victims (read: women) in sexualized helplessness. On the other hand, later we will see the character of a man who looks helpless in a completely naked condition. From there, Violation reconstructs the formula for rape and revenge, not just exploiting women’s sexuality.

In addition, Sims-Fewer and Mancinelli also weave their stories using non-linear structures. Not only does it eliminate tedious waiting before the bloodshed, as did Gaspar Noé in Irréversible (2002), it reverses the structure of the narrative, in which (in part) acts of retaliation are presented before the rape, also keeps Violation away from the realm of exploitation. The focus of the audience is not waiting for revenge, but finding out why it was done. The audience is encouraged to observe the details of the incident, the mental condition of the protagonist, as well as the issue of sexual violence itself. Best Movie

Regarding the quantity of violence, although there is still blood, vomit, mutilation, and even cannibalism, Violation may not be brutal enough for viewers who are purely looking for the sadism typical of the revenge movie. But the purpose of the maker was not that. The impression of disturbing tends to appear in the mind rather than the eye, especially near the closing point, when we are provoked to imagine something the film implies regarding the method the character chooses to take revenge on.

Violation explores the inner conflict of the victim, describing how she felt from the time the rape took place, until after executing her retaliation. Sims-Fewer’s acting is on a similar path. The dynamics of his emotions are always in progress, from being shaken, confused, angry, sad, maybe even regretful after taking revenge, to finally “receiving”, which is also the victim’s victory point.

Unfortunately there is one problem, which is a post-rape scene, where Miriam comes close to committing similar harassment. It is true that he was shaken, but that is not an acceptable justification, especially in a film that sided with the victim of rape. Maybe that’s Violation’s way of portraying the complexity of the issue? Beyond the irony when fellow women even participate in blaming the victim, maybe that is how Sims-Fewer and Mancinelli describe reality if the victim is not a perfect figure? I use the word “maybe”, because there is never any clarity, which ultimately distracts the important message of the film. Movie Review

Mortal Kombat – Review
Movie Review

Mortal Kombat – Review

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If in the midst of the lack of description of this film you know what Earthrealm, Netherrealm, and Outworld are, chances are that the reboot for this Mortal Kombat big screen adaptation will be satisfying. This means that you are a fan, which, hearing terms such as test your might to (of course) fatality alone provides its own pleasure. Whereas the general audience may complain about it as forced fan service. Top Movie Site

Not without disappointment. In contrast to its image in the eyes of the lay public, Mortal Kombat is not limited to a bloody tournament where fighters mutilate their opponents’ bodies (or turn them into babies every now and then). Stored mythology complex is amazingly long involving various realms, gods, even time travel. Simon McQuoid’s directorial debut missed it. Not even the reasons for holding the Mortal Kombat tournament will not be found.

Taking the foundation of the plot from the game plus some elements belonging to the animated Scorpion’s Revenge (the best Mortal Kombat film so far), Mortal Kombat opens when Bi-Han aka Sub-Zero (Joe Taslim) from the Lin Kuei clan massacred Hanzo Hasashi (Hiroyuki Sanada) of the Shirai clan. Ryu and his family. As we know, Hanzo will later return as Scorpion to seek revenge.

But before that, we were invited to get acquainted with Earthrealm heroes from the present. One of them is Cole Young (Lewis Tan), a former MMA fighter who has lost his prime. Choosing Cole as the protagonist is actually questionable. First he is a new character, and second, even after being able to awaken his special abilities, Cole is still a character without charm, with boring costumes and strength, especially when juxtaposed with the iconic Mortal Kombat line-up.

Thanks to information from two former special military forces, Jax (Mehcad Brooks) and Sonya Blade (Jessica McNamee), Cole finds out that the dragon tattoo on his chest is not an ordinary birthmark, but a sign that he is one of the fighters chosen to represent Earthrealm in the Mortal Kombat tournament. . Apart from the three, there are Liu Kang (Ludi Lin) and Kung Lao (Max Huang), who under the guidance of Raiden (Tadanobu Asano) the god of thunder, must fight against the Outworld troops led by Shang Tsung (Chin Han). Movie Review

Next, the script by Dave Callaham (The Expendables, Zombieland: Double Tap, Wonder Woman 1984) and Greg Russo features a half-baked plot with skipping movements, made worse by rough editing. Viewers who don’t know anything about the game will often be confused. Why did incident A happen? How can character B appear again?

There is an impression that in the drafting phase there is confusion as to whether you want to create a story full of mythology or completely abandon it, and focus only on scuffles. On the one hand, the story often takes too long to divert the film from the fight, but on the other hand, as already mentioned, the riches of the Mortal Kombat world fail to be explored.

The biggest difference between this reboot and Paul W. S. Anderson’s version is the tone. Cheesy shades were removed to facilitate brutality. The question is, is there a need for a gritty approach, when the game itself is so over-the-top that it’s often ridiculous? In the film where the character issues “flawless victory” after splitting the enemy’s body, it feels like the seriousness is not quite right to apply. Tone inconsistency occurs. Liu Kang, through all the monk-style manners, looks ridiculous in the serious narrative of the film. It could also be that, if it is packaged cheesy, there is a place for the legendary theme song Techno Syndrome to appear instead of the adapted version (even though it actually evokes enough nostalgia and enthusiasm).

Apart from Liu Kang and Kung Lao who looked like kids yesterday afternoon rather than earthly hope fighters (especially Kung Lao, as the descendant of “The Great Kung Lao”, Earthrealm’s first Mortal Kombat champion), the presentation of other characters tended to be satisfying, both in terms of design and characterization. Even the film had time to insert a clever nod about Noob Saibot. Regarding characterization, Kano (Josh Lawson) appears most attractive as a sadistic mercenary who is reluctant to stop joking.

Mortal Kombat’s best point is of course the action, where McQuoid knows very well that a flood of blood is not enough. The finishing move is a must, and it presents a variety of creative fatality that will be familiar to gamers (especially for Kung Lao, Scorpion, and Sonya). McQuoid uses fast cutting, which is combined with adequate sound system and choreography, so that instead of being chaotic, the majority of the fight feels hard-hitting.

If Kano steals the focus when it comes to characterizations, when it comes to scuffles, the stars are Sub-Zero and Scorpion. Supported by Joe Taslim’s martial arts skills, the audience was treated to a variety of unique movements typical of the ice ninja. Scorpion? There’s no need to bother discussing the choreographical stuff. The fact that he uttered the catchphrase “Get over here!” accompanied by the theme song, it has become a highlight. Best Movie

Once the film ends, there is the impression that this is actually a prologue for a larger follow-up story, with more threatening conflicts, as well as the appearance of more fan-favorite characters (one of which is teased at the end of the film). Satisfying, provoked interest in the sequel, but left hopes of improvement on many sides, especially world development.

Seo Bok – Review
Movie Review

Seo Bok – Review

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When man wants to live, does he really want to live life, or is he afraid of death? Why fear of death, when dying is like a long sleep forever? Why is it not life to be feared, when life leaves a lot of pain? Through its two protagonists, a former intelligence agent who is just dying from illness and a cloned immortal individual, director / scriptwriter Lee Yong-ju explores the above series of questions, in order to produce thought-provoking blockbusters, although not all subjects get satisfactory answers. Top Movie Site

Seo Bok
Seo Bok

Min Ki-hun (Gong Yoo) ‘s life fell apart when we first met him. In addition to the illness for which he was sentenced to short life, he was addicted to drugs. Until his former boss in the intelligence bureau, Ahn (Jo Woo-jin), offers him a mission to protect Seo Bok (Park Bo-gum), the first cloned human who has immortal life. The cells in his body are also believed to be able to cure all diseases. Not only that, Seo Bok also has other super powers. His brain waves can control the pressure of all objects, so he is able to move anything only through his mind.

Of course, with this ability, many parties desire to control it, and that’s where Seobok builds the foundation as a road movie with a science fiction action cover. It is true that there is a series of actions, even the budget of around 16.5 billion won (nearly 15 million dollars) is able to give a pretty solid CGi effect, but the main focus of the film is to explore perspectives on life. Movie Review

On the sidelines of the trip, Ki-hun and Seo Bok often exchange ideas, throwing questions as written in the opening paragraph. As an immortal, it’s only natural when Seo Bok asks, “What dying feels like?” to Ki-hun who is seriously ill. Only when following the question, “Did it feel good to live?”, I was momentarily stunned. The common belief that “life is a gift” makes people rarely, or never asks, that. Because unlike us, for Seo Bok, success in survival is not an achievement.

Obviously the film’s answer to Seo Bok’s question is, “Yes, it feels good to live”. Why? Due to feelings of guilt from the past, Ki-hun realizes that he deserves to die, but he still wants to live. Why? After a scene wrapped in a beautiful and magical visual set on a beach, Seo Bok is able to lift Ki-hun out of sin, but Lee Yong-ju fails to provide a satisfactory conclusion to the process of the protagonist. So did Ki-hun choose to live because she really wanted to, or just because she was afraid of death? The answer is never convincing.

The emotional impact of the drama’s presentation was also choked up because some scenes took longer than they should have been, as if refusing to end even though the point had been conveyed. The ending was not boring thanks to the appearance of the two main characters. When Bo Gum had an “innocent” face that suited Seo Bok’s purity, Gong Yoo became polar opposites. Messy, messy, easily annoyed. Not infrequently, their strong chemistry is used as a means of creating dynamics, especially in every insertion of humor, which occasionally leads Seobok into the realm of buddy comedy.

Being known as the figure behind the birth of the romance Architecture 101 (2012) does not make Yong-ju awkward in directing the action, which is unexpectedly quite brutal and painful (not gory, but has more violent than expected), especially when it involves Seo Bok showing off his strength. super. Best Movie

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