Tag: Movie Reviews

MOVIE REVIEW: Much better than the first, ‘The Nun II’ has some genuine scares and a more discernable story to follow

It has been around 5 years since ‘The Nun’ has scared its way to a 365-million box office payday and, while reviewing my critique of that movie, and realising how much I disliked the first movie, I’m quite surprised at how much better ‘The Nun II’ is in comparison to its predecessor.

‘The Nun II’ has a more grounded story as it takes its time to build characters that we can invest in so that when the demon nun Valak returns, there are people we can empathize with and genuinely root for. While the film, set in the 50s and just a few years after the events of the first move, it still has a contemporary feel that can affect the reality of the world that is created but at least the film is not as ridiculous as the first.

In this movie Valak has returned and by possessing a body, it has begun a killing spree across Europe. Sister Irene (Taissa Farmiga) is sent on a mission to find Valak and stop her (as she had done in the first movie) and this time she is joined by an American novitiate Sister Debra (Storm Reid). While the two sisters are giving chase, Valak is now haunting a girl’s boarding school in France where Maurice (Jonas Bloquet), called “Frenchie” in the last movie, is now working. Here, he has taken to a young student Sophie (Katelyn Rose Downey) and her mom, Anna Popplewell. It seems that Valak is looking for something and it might just be in the boarding school.

Again, ‘The Nun II’ offers nothing new to the genre. It is another case of demon possession and the typical battle between good and evil, as represented by the church (Sister Irene) and the devil (represented by the demon Valak). There is no representational aspect to the horrors of this movie, as directed by Michael Chaves and written by Ian Goldberg, Richard Naing, and Akela Cooper.

But at the very least, there’s a bit more story now as the film tries to connect what Valak is after to Sister Irene’s past, which honestly comes off as unrealistically fortuitous. It’s such a mainstream connection, a deus ex machina (pun intended), that works around the singular hero trope and complete with mystical relic. There’s no mystery or wonder to these spiritual artefacts and are instead just used as simply as tools or weapons against the demon. It’s this Western treatment of spiritualism that takes away from the magic and thrill out of the supernatural.

But while the film now has a heart – from the relationships between Maurice, Sophie, and her mother and even from the friendship formed between Sister Irene and Sister Debra – which grounds the plot and gives the horror a place of actual fear; director Michael Chaves has some very interesting directorial set ups that gives actual cinematic fright for the audiences.

Taking advantage of Valak’s appearance, and using the black shade of the nun’s habit, he allows the camera to linger in darkness where Valak may just suddenly appear. He does some pretty fun and cool scary sequences that is sometimes predicated by Marco Beltrami’s aggressive score. There are some genuine scares here as well as a few enjoyable jump scares that makes ‘The Nun II’ quite a ride. While I was having trouble connecting to the film, I was enjoying the thrill of tension and suspense that was created by the filmmaking. While the movie ended and I felt nothing new or surprising when it finished, I felt that it was still a good time in the cinema. A good movie to watch with friends.

My Rating:

The Nun II is now showing. Check the screening times and buy your tickets here.

September 11, 2023
MOVIE REVIEW: No Underdogs in this Underdog Story: a review of ‘Gran Turismo’

‘Gran Turismo’ has all the glitz and the gloss that comes with a movie based on a PlayStation game. It has a particular sheen in the cinematography and a snap in its editing rhythm that gives you the feel that its youthful and fresh and money was spent on this movie. Right in the first 15 minutes of the film, you are presented with a marketing pitch to try and bring interest back into buying cars by Orlando Bloom playing marketing executive Danny Moore. He talks about how the PlayStation Game Gran Turismo is less of a game than it is a simulator and whips up a scheme to get people talking. He wants to take the best Gran Turismo players from all over the world and train them to be actual race car drivers and race for Nissan.

From the get-go, you are already being sold something: from how great the game is to how innovative and open-minded Nissan is to such a crazy idea. Throughout the film, you are reminded how close to reality the game Gran Turismo is to real racing, how incredible the Nissan team are, and all the other product shots that you see scattered throughout the film.

‘Gran Turismo’ can sometimes feel like a 134-minute commercial for a whole lot of things.

Except, a good underdog, sports movie – when executed very well – can overshadow a lot of its flaws if it hits all its narrative beats properly and told with a sincerity that feels genuine (or at the very least familiar). And this is something that director Neil Blomkamp manages to deliver, surprisingly, by the halfway mark of the film. Known for more bombastic fare like ‘Chappie’ and ‘Elysium,’ he hadn’t been able to show this level of heart as he has in his debut film ‘District 9.’ He’s grown as a director and has learned to balance out the fun, race car stunts with the emotional core of the film.

Because at the center of the story is Jann Mardenborough (played by an arresting Archie Madekwe of ‘Teen Spirit’ and ‘Midsommar’ fame). Jann is a young man of working-class origin and whose love for the game Gran Turismo is a disappointment for his working class father (played by Djimon Hounsou), a former football player. He makes it to GT Academy, the name of the school that would train the video game players and turn them into real race car drivers. Here, he has to prove to everyone, including the head trainer at GT Jack Salter (played by David Harbour of ‘Stranger Things’ fame) that he has what it takes to achieve his dream of being an actual race car driver.

In the first half of the film, Blomkamp does everything he can to prove that not only is Gran Turismo an excellent simulator for actual racing (and by doing so, is probably trying to convince more people to buy the game, if they already haven’t) but also to prove that Mardenborough really has what it takes to become a race car driver and compete professionally. The film starts to break down from its capitalist shine and starts to take on the emotional beats of an underdog film.

Yes, Jann is great and he’s a natural, but can he get over all the things that are in his head that gets in his way? Will the fallen-from-grace trainer find redemption through his new protege? Will Team Nissan prove that Gran Turismo players can learn race car driving just like that and go toe-to-toe with the pros?

Blomkamp uses great music, fast editing, and puts his camera right at the spaces where Mardenborough is tested as a human being and as an athlete. Madekwe carries the film with such charisma that somehow you get drawn to the story and it becomes even more shocking when you find out it’s really a true story and they show you photos of the actual people and the actual events side-by-side with the stills of the movie at the end.

As someone who was not at all aware of these events, everything hit me quite strongly and it had that full inspirational effect that a good underdog sports movie can give you. It makes you believe in the world and in yourself.

And as wonderful as the real-life story of Jann Mardenborough is, the big winners in all of this was Nissan and PlayStation. Regardless of what would have become the outcome of the story, the attention that it brought in, fueled also by the profits they gained sort of overshadows any underdog appeal. The bright, glitzy, polished sheen of the movie also hijacks the tone. Sure, it makes you feel good until you realise you may just want to buy something afterwards.

So great filmmaking, solid performances, but like the opening of the movie showed us: it was a marketing pitch through and through.

My Rating:

Gran Turismo: Based on a True Story is now showing. Check the screening times and buy your tickets here!

August 30, 2023
MOVIE REVIEW: Emphasizing the teen in Teenage Mutant Ninja Turtles: a review of ‘Teenage Mutant Ninja Turtles: Mutant Mayhem’

First off, the animation of ‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ is just exquisite. Reading up on it, the creators were going for a more exaggerated design and wanted it to feel like a comic book, taking its inspiration from “Spider-Man: Into the Spider-verse.’ They wanted the film to feel like a sketchbook of a teenager and it works. The colors are vibrant and rich even if most of the film is situated at night and in dark, cramp spaces (like the sewers where the ninja turtles live). The motion is smooth and looks really good when the turtles start their ninja moves and acrobatics. It’s a visual feast that’s very gothic in a neon urban cityscape type of setting.

It matches the new tone and approach that director Jeff Rowe and producer (and co-scriptwriter) Seth Rogen takes for the Teenage Mutant Ninja Turtles. For this movie, they put in full focus the fact that the turtles are teenagers. They look, talk, think, and act like teenagers. They’ve even played a bit with the history, telling the story all over again to be able to reimagine the turtles and their adopted father Splinter, who has become a recluse that is scared of humans and the outside world. It’s the perfect set up for a story that has shades of teen rebellion from a restrictive parental figure and discrimination for just being different (in this case, though, they are mutants and so the discrimination is believable and fair).

The film has a very youthful energy and is probably the most GenZ story and script I’ve ever come across. The language, the humour, the storytelling, they are all so akin to the distracted, self-proclaimed low attention span of the youth today. The plot moves along at breakneck speeds and never lingers, though it hits home when it has to. It never lets a story beat settle and build but rather hammers it in with a punchline or a visual snap.

‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ finds the ninja turtles – Leonardo, Donatello, Raphael, and Michelangelo – as well-trained ninjas that are living in the sewers of New York. Trained by their father figure Splinter, a mutant rat, so that they can hide from the world and never interact with humans, as teenagers, they are starting to dream and wish to be a part of the bigger world that they can only watch from a distance. It’s the nature of being a teenager to want to know their place in the world and, like any teens, they start sneaking out and disobeying Splinter’s orders to just have a taste of it.

When they are discovered by April O’Neil, a high schooler who has dreams of becoming a reporter, her kindness to the turtles inspires a plan. The ninja turtles plan to capture the criminal mastermind Superfly so that they can be regarded as heroes, and they can go out into society and even go to high school.

L-r, MIKEY, DONNIE, LEO, and RAPH in PARAMOUNT PICTURES and NICKELODEON MOVIES Present A POINT GREY Production “TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM”

Except, Superfly, is a mutant and he has a whole band of mutants with him, and this complicates the story even further as the corporation that created the mutants in the first place is also after Superfly.

Aside from being action-packed and extremely funny, ‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ is also unpredictable and manages to bring the story in places I wasn’t expecting it to. What I appreciated most about the film is how – despite the foundations of any good versus evil comic book narrative that it initially takes – is that it manages to pull back, switch directions and realigns itself with its core message about family, about discrimination, and about what it really means when one decides to be a hero.

L-r, DONNIE, MIKEY, LEO and RAPH in PARAMOUNT PICTURES and NICKELODEON MOVIES Present A POINT GREY Production “TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM”

For all of its great visuals, comedy, and action, ‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ is more than anything a coming-of-age story dressed up as an origin story as well. By focusing on the fact that they are teens rather than that they are mutants, which is important, or ninjas, which is just silly, the film finds a tone that it can operate on in a very comfortable level. It can get wacky, zany, and even grotesque and never loses its emotional punch.

L-r, DONNIE, LEO, RAPH and MIKEY in PARAMOUNT PICTURES and NICKELODEON MOVIES Present A POINT GREY Production “TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM”

The voice acting is incredible with actual teens and kids voicing the four turtles: Micah Abbey, Shamon Brown Jr, Nicolas Cantu, and Brady Noon. The youthfulness really sells it and then they are supported by the likes of Aya Edibiri (as April), Maya Rudolph, Seth Rogen, John Cena, Rose Byrne, Ice Cube, Paul Rudd, and an inspired choice of casting Jackie Chan as Splinter. Splinter even gets a whole fight sequence that is inspired by some of Jackie Chan’s own stunts from his old movies.

Highly irreverent, wonderfully youthful and energetic, and surprisingly touching, ‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ was a huge surprise for me and I enjoyed every moment of it.

My Rating:

TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM is opens August 23. Check the screening times and buy your tickets here.

August 22, 2023
MOVIE REVIEW: Movies as Memoir: a review of ‘Aftersun’

Written and directed by Charlotte Wells, ‘Aftersun’ is her feature-length film debut and weaves a story that she calls “emotionally autobiographical.” She uses the language of film to recreate memories (while talking to other critics, it was mentioned that the film is not unlike Alfonso Cuaron’s ‘Roma’ or even Celine Song’s ‘Past Lives’). Told in a non-linear narrative structure and occupying two timelines and one figurative one, ‘Aftersun’ grapples with the strained relationship between a father, who may be suffering from depression, and his eleven-year-old daughter on a holiday in Turkey during the late 90s.

Told in varying formats, the film unfolds through moments of this pivotal holiday between Sophie and her father Calum and then interspersed with footage taken from a video camera that either Sophie or Calum uses to record parts of their trip. Later, we discover that Calum has separated from Sophie’s mother and is in-between jobs. There is a lot of love and affection between the two but there’s a chasm that’s between them as well – an unspeakable and unamiable thing that also hinders them from completely being there for each other.

While the movie seems innocent enough, there is always an element of danger hanging on every scene. While Sophie is well documented by the camera – she’s always in full view, her face and every gesture and reaction she makes is open for us to see – it is Calum who never seems to be in focus. He’s almost either turned away from the camera or is never at the center of the frame. It feels as if he’s always just at the periphery. He tries to be close to Sophie but also can’t completely connect. The camera will linger on Sophie but not so much with Calum.

The dangers come also in different forms. Sophie also befriends older English teens who are also vacationing in Turkey. She forms a friendship with another boy her age while playing arcade games, while from the teens, she watches them as they flirt with each other, drink, and talk about sex. Sophie is growing up and while there’s nothing in the filmmaking that highlights this danger – not the camera angles or the musical score – it is evident and always looming. Wells knows exactly what each scene could potentially lead to and she lays it out there, even if she doesn’t do anything with it. It’s always there inhabiting and permeating each moment of Sophie’s very observant nature, capturing and processing every thing she’s seeing.

So much so, that while she doesn’t exactly understand what her father is going through – this was the 90s, of course, so any discussion on mental health was veyr minimal and not at all prevalent amongst the younger generation – she sees it and this is another element of danger. From Calum’s inability to connect and bridge distances, in scenes where you feel like it is the last time you will see him, like in the way he walks into the darkness while getting drunk one night, or the way that he swims deeper into the ocean trying to rescue a diving mask. Charlotte Wells never says it, never names the monster, but deep down inside, just from the performances and the way naturalistic way Wells sets up a scene, it’s there.

What elevates the material even more is the exquisite performances by Paul Mescal and Frankie Corio. The bond between the two actors is palpable and makes each moment seem more real. Their banter and their little fights throughout this trip makes the relationship authentic and true. It’s why the emotional weight of the finale is so strong even if Wells chooses to never define anything so clearly.

When the film’s main timeline intersects with the future timeline, the older Sophie finding the video camera and you realise she’s remembering this holiday she had with her father, the story reaches full circles, and more questions open up that deserves our scrutiny and thoughts.

‘Aftersun’ is not an easy movie to take in. It’s every bit as funny and painful as any trip down memory lane. It carries with it unresolved feelings and unanswered questions. It’s about love sometimes not being enough and settles and lingers in the gray areas that are formed when dealing with people undergoing a hardship we don’t understand. The film makes full use of the medium of film and deservedly received some of the highest praise when it was released last year.

My Rating:

AFTERSUN is opens August 23. Check the screening times and buy your tickets here.

August 22, 2023
MOVIE REVIEW: Quiet, intimate, and deeply moving, ‘Past Lives’ is an exquisitely made film propelled by great performances

There’s something poetic and lyrical about the way ‘Past Lives’ unfolds as a film. Writer and director Celine Song shows off her theatrical background by weaving a story that is so elegantly paced and designed that it could almost be a play, but the first-time director uses the camera to really get into the intricacies of these characters’ feelings and inner worlds that pushes against its theatrical mode and into the realm of cinema. It’s a very delicate three-person story that spans for 24 years and teases upon hundreds of past lives before.

The narrative follows the basic three-act structure and does it with such precision. It shows us only exactly what we need, and it never dawdles. It’s a tight story at 106 minutes. We begin with Na Young and Hae Sung, two classmates living in Seoul. They are best friends who compete over who gets the highest grades in class but also confides with each other and play all the time. They are undeniably each other’s first love but when Na Young’s family immigrates to Canada, the two must say goodbye. Twelve years later, the two reconnect. Na Young, who has changed her name to Nora is now working towards being a writer while Hae Sung just finished military service and is back in school. They communicate online, adjusting to the time differences and the connection is as strong as ever (though the internet connection isn’t always so). Life happens and they have to go their separate ways again until another twelve years has passed and this time everything has changed. Nora is now married to Arthur (as shown in the trailer) and is living in New York but Hae Sung is finally coming to visit and all the loose ends of their relationship will be tugged to test its limits.

‘Past Lives’ thrives in the personal and intimate. It has no sweeping statements about love or the immigrant life, which is a strong factor that plays out in Nora’s relationships with these two men: the man she knew when she was living in another country and the man she is now married to in her new home. The dialogue can sometimes play out like a piece for theater except that the actors – Greta Lee, Teo Yoo, and John Magaro – throw them out with such ease that it is believable. Their delivery has so much spontaneity that it feels real, even if it is so eloquent and articulate.

Photo credit: Jon Pack

And while the film is really just moments of talking, director Celine Song is very aware of how to use space and the camera to place these characters in the midst of their milieu. Song is so confident as to just let a quiet scene unfold like when Nora arrives at a writer’s residency in Montauk, and she explores the empty house she’ll be writing in. The textures of the production design play off with the lighting, the music, and even Greta Lee’s presence. Nothing majors is happening and yet it’s so importantly contextually for where Nora is at that point of her life – when she is finding space away from Hae Sung and the arrival of Arthur into her life.

As a director, Celine Song ensures the camera captures all the magnificent work her actors are doing. As a writer, she gives them an amazing amount of thoughts to articulate that never quite says what they really want to say in the first two acts. Much like real life, these characters are saying something but are desperately wanting to say something else. The subtext hangs heavy in the air but you can see it in the way each actor physicalizes their character’s inner world. It’s only in the final act that things that need to be said are finally let loose and it happens in the most powerfully staged scene possible – Nora, Arthur, and Hae Sung are seated at a bar and the two childhood friends can be honest with each other in Korean while the American husband can only wonder – and then, the big finale of the film, its one that is done in absolute silence but the emotions hang heavy in the air and in the stellar portrayal of Greta Lee.

‘Past Lives’ is a quiet, intimate, and very personal film. But it’s the way by which Celine Song treats the material that makes it feel big and universal. Honestly? It’s the kind of movies that I miss seeing in the cinema. A quiet, unimposing film that manages to find breadth and grandness in the most private of desires and dreams of individuals. There is a poetic elegance to ‘Past Lives’ that is amplified by an incredible musical score Christopher Bear and Daniel Rossen and by the impeccable acting of Greta Lee, John Magaro, and Teo Yoo. I’d love for the three to get nominations in every award-giving body with Celine Song getting a nod, at the very least for screenwriting.

My Rating:

PAST LIVES opens on August 30. Check the screening times and buy your tickets here!

August 19, 2023
MOVIE REVIEW: Fighting against superhero movie fatigue, ‘Blue Beetle’ manages to stay fresh and delightful

I’ll be honest and say that I’m a little tired of superhero movies. There’s one or two every other month, if not in the big screen, there’s one on a streaming site and just the huge amount of it has started to make them all look and feel and sound the same. Now, every studio is trying to push for the next insert-minority-here superhero and so when the trailer for ‘Blue Beetle’ came out, with a very Latino-centric trailer, it really looked and felt to be just another attempt to cash in on the superhero craze and progressive trend of minority representation.

I came into the theater preparing to be bored, maybe even hate it, but I found myself charmed by the movie at the end of it.

And this had everything to do with the charm of its lead actor, Xolo Mariduena, and the way the film never strays too far from its emotional core, which is that of the importance of family. It balances the humor and the fun with all the dramatic beats that are necessary to propel an origin story into something that is enjoyable to watch, even if it’s the nth origin story of yet another superhero in a cinematic landscape that has been overrun by superheroes in the past decade.

‘Blue Beetle’ is the story of Jaime Reyes, the first from his family to graduate from college. He returns to Palmera City to reunite with his family only to discover that his father isn’t healthy and they’ve lost their family business and their homes. In an effort to help out his family, he finds himself working as cleaner for the Kord family, owners of Kord Industries who are heavily invested in developing hi-tech weapons for the army. He bumps into Jenny Kord, who offers him a job after he is fired by Jenny’s aunt, Victoria, when he tries to stop her from threatening her niece. When he tries to cash in on her offer, she ends up handing him an alien artifact that merges with Jaime’s body and turns him into the Blue Beetle.

The first ten to fifteen minutes, we are introduced to Jaime and his very boisterous family that is filled with characters that have their own quirks and eccentricities. It properly sets up Jaime’s idealism, his values (which he gets from his family), the tight and close-knit nature of Latino families (which is very, very similar to Filipino families – so it feels just right), and it amplifies the marginilization of the Latinos from the rich, financial district of Palmera City. Jaime is of working-class origins while the world of the Kords is full of high-rises and neon hologram signages plastered on buildings.

When Jaime gains his powers, he’s against it. What is wonderful about his character is how much he doesn’t want it, exemplified by a very simple line halfway into the movie when he says, “I just wanted a job.” All the trouble he gets into is because Jenny Kord, without options, gave him the scarab to guard and the scarab, being a sentient entity of its own, chose Jaime to bond with.

For a good thirty or forty minutes, Jaime is learning how to use his powers and to differentiate himself and the alien entity known as Khaji-Da. But Victoria Kord wants it, and she threatens his family for it. And whether Jaime wants to be or not, he has to find it within himself to become a hero and save his family from a potential fascist.

What makes ‘Blue Beetle’ so enjoyable is that it sticks to the core values of its hero, and they are things that are very relatable. He’s not out there to save the world – even if his family, after they realise his potential, thinks he could/should – he only wants to keep his family safe. Through this, he bonds with Jenny, who doesn’t have the same close bonds with her family. Her aunt Victoria is ready to kill for the advancement of her company, and Jenny’s own father, Ted Kord, has disappeared and may have abandoned her.

While Jaime discovers how to properly use and work with Khaji-Da, we get some interesting superpowered fight sequences, but more importantly, we see such powerful imagery of Victoria’s plans of making a private security service that feels very fascistic and imperialist by imagery and ideology. No one outright says it, but it’s there for you to pick up on (and there’s a joke that comes out later that highlights the fact, by obliquely).

Add to that is the imagery in one pivotal scene where the security force herd Jaime’s family out of their house, it has all the visual marks of American discrimination against Latinos and Hispanics. With Susan Sarandon playing Victoria Kord, she’s the only white character in the whole movie (Jenny Kord is half Brazilian and is played by Bruna Marquezine) and the white imperialist imagery is completed (though never forcefully underlined except in a joke or two).

All the politics are evident and at play but never highlighted because at its very core is the story of Jaime Reyes, who finds himself with a power that he must decide how he will use moving forward. He has a family to protect but with it, comes a community as well. And interestingly enough, the film also puts that same family at the center of it all. When Jaime needs them, they come running and they have their own moment to shine.

While there’s a lot of things to enjoy, ‘Blue Beetle’ does suffer from a few things as well. There’s a love story that never full develops and feels forced by the end of the film. The seeds have been planted, it could have been something that can develop over the sequel but rushing it in this movie felt forced. Sometimes, the family feels too much like a comic relief that it can get cloying (but that’s just a personal observation).

Overall, ‘Blue Beetle’ is fresh and delightful and does not try to be over ambitious in setting up its character. It’s grounded by its emotional core and never strays too far from it no matter how much fun the film tries to have. Xolo Mariduena has a charm that can hold an audience’s attention but is also supported by a supporting cast who are all willing to pull their weight.Even after superhero movie fatigue is in effect, ‘Blue Beetle’ still manages to be refreshing and enjoyable and that’s no easy feat.

My Rating:

BLUE BEETLE is now showing nationwide. Buy your tickets here.

August 17, 2023
Movie Review: Easy to Enjoy, ‘The Moon’ Can Also Be a Rallying Cry

Director and screenwriter Kim Yong-hwa is no stranger to the big budget, special effects heavy narratives with a strong emotional core. He did ‘Along with the Gods: The Two Worlds’ and ‘Along with the Gods: The Last 49 Days,’ which features both aspects of his strengths. He capitalizes on these qualities again on his latest film ‘The Moon’ with Do Kyung-soo (more famously known as D.O. of EXO), Sol Kyung Gu, and Kim Hee-Ae. Very reminiscent of similar trapped-in-space stories like ‘Gravity’ or ‘The Martian,’ Do Kyung-soo plays Hwang Sun-woo, a former Navy Seal turned astronaut, who is one of the three Korean men sent to the moon. When an incident leaves Hwang Sun-woo stranded and alone in space, the ground command of the Korean Space program must find a way to help him back to Earth.

While the film has its share of exciting thrills and spills – it features quite a number of amazing set ups involving meteor showers and exploding space crafts – it also has its fair share of touching emotional moments and some exciting suspense plot in terms of the inner workings of competing space programs.

While one can find a lot of fun with just the survival aspect of the movie alone; Kim Yong-hwa adds more to the plate by adding a dramatic layer for Do Kyung-soo’s character to chew on. Hwang Sun-woo has a personal tie to the mission and it informs on his drive to complete the mission despite everything going against him. The same with Sol Kyung Gu’s Jae Kook, who also has a personal relationship with the whole endeavour. After all, he was the first director the Korean space program where the astronauts who were sent to moon did not make it alive.

From these events comes a story that contextualizes the power that it gives any country that manages a successful space program. ‘The Moon’ manages to give us insight over a country’s determination to be considered at par with the superpowers around them. As Filipinos, we’ve already succumbed to the soft power of South Korea. We help sell-out their Kpop concerts and fan meets with their actors. We’ve helped push their media into the top 10 of any streaming site and we’ve become familiar with their food, some famous phrases, and such. The world is starting to see South Korea in a separate light but ‘The Moon’ helps us contextualize things that I’ve also seen in other Korean dramas and movies and read in some articles: that South Korea also has a form of colonial mentality of their own. Much like how a number of Kpop acts look to America for recognition (like The Grammy awards) or appearance in music festivals like Coachella or how the Academy Award win for ‘Parasite’ was such a big thing for them, there seems to be an underlying message that is familiar to us Filipinos: that the west (and recognition from the west) is a powerful thing.

What’s great about ‘The Moon’ is that the film aspires to go beyond that and that it sends a clear message that South Korea has the capacity to do it on their own. From the strong images and the narrative choices that the film makes: how NASA is a competitor, not an ally (and in some ways, they are the bad guys, which is a welcome change); how politicians can still be a hindrance to the growth of any country (as played by Jo Han Chul, who is excellent in these kinds of roles); and how South Korea can come together and save one man trapped in the moon.

The film is so tonally precise that it employs great epic music to really push the emotions of the viewers to where it wants it to go, it can be manipulative the way commercial films always are and can promise a great time. I do have issues with certain emotional scenes that were not set-up properly. There is a third act subplot that is introduced, which may have benefitted from an earlier set up as well as a story point that becomes morally objectionable that isn’t resolve in a satisfying manner (in my opinion).

But overall, ‘The Moon’ is a film that is easy to enjoy and appreciate with a dedicated call for its viewers to dream bigger and to unite for humanity’s sake.

My Rating:

THE MOON will be shown in cinemas nationwide starting August 16. Buy your tickets here.

August 15, 2023
Movie Review: Cinemalaya Reports ‘Ang Duyan ng Magiting’ is a masterclass in tension and nuanced acting

With barely any music, nor complicated camera movements, director and screenwriter Dustin Celestino deftly manages to build a suite of duets to weave a story of a country falling apart at the weight of its own history and corrupt systems. ‘Ang Duyan ng Magiting’ uses theatrical elements – articulate and eloquent dialogue, a set frame, impeccable blocking – to unfold a story about the cycle of hate and anger and fear. Despite its use of theatre conventions, the film remains cinematic because the proximity of the camera is part of the storytelling; the framing, the minimal use of cuts (if at all), and the vivid production design.

The movie revolves around a bombing of a church in a remote province and the two students who were found in the scene of the crime. Within the film’s two-hour running time, the movie manages to capture the people that surround the two students and this incident: a teacher (Jojit Lorenzo), who may be the cause of their radicalization to the extreme left; a social worker (Dolly De Leon), who questions the illegal detainment of the two students; the police chief (Paolo O’ Hara), who is so sure that the two teens are behind the bombing; the police chief’s wife (Frances Makil-Ignacio); a lawyer (Bituin Escalante), who takes interest in the case; the two students (Miggy Jimenez and Dylan Rey Talon); and the mother of one of the students (Agot Isidro).

The powerhouse cast deliver incredibly nuanced performances and play off of their scene partners with incredible precision. The camera is primarily still in most of the scenes and, at the most, the scene is always covered in only two angles. Sometimes its close, sometimes its far but the actors perform with the full ferocity that the scene requires. You cannot single out any one actor here – everyone was working at an elevated level. It was wonderful to watch.

But what made it even more entrancing was that the story unfolds through the dialogue and in the process, the world gets bigger and bigger with each line delivery. The conflicts become more pronounced with every word that is uttered and the camera, remaining still, captures and builds on this tension that it feels electric. Without any music, a scene just begins to expand. From Paolo O’ Hara’s rage to Dolly De Leon’s quiet strength, from Miggy Jimenez’s fragility to Bituin Escalante’s flippant amusement, each actor fill each scene with the intended emotion that reverberates within the camera’s frame.

It also helps the Celestino and production designer Josiah Hiponia dress every sequence in such a way that makes the shot feel cluttered, claustrophobic. Each scene is just ready to explode and even when it does, it still feels like it could just keep setting off.

And what is released is a whole bunch of ideas and emotions, there are questions that is asked about nationhood, about revolution, and whether it is lost cause or something that is still worth fighting for. What is great about the writing of ‘Duyan ng Magiting’ is that it is full of anger and hatred and grief and pain but it is also undirected, unfocused. So while the enemy is clear at times, it seems that all that rage is directed at each other instead of who it should be. The film is a rebuke of the system that is in place but it is also a rebuke of all the failed attempts to change that system.

‘Ang Duyan ng Magiting’ is a work of fiction that becomes an eloquent argument without any clear answers for us. The film will disturb you, it will grip you. The theater I was in was quiet all through-out the movie, you could hear a pin drop, and we were all holding our breaths. It’s visceral and smart and also very moving. It’s definitely a masterclass in building tension, in wrestling with its themes, and of excellent performances.

My Rating:

August 10, 2023
Movie Review: A nostalgia play, ‘Indiana Jones and the Dial of Destiny’ is meant for old fans and not out to make new ones

‘Indiana Jones and the Dial of Disney’ is meant to be a finale, a closing of the Indiana Jones storyline and character and director James Mangold has spoken about the project as a story about how time catches up with us and wishes to explore Indiana Jones as a “hero at sunset.” It would have been an interesting concept considering the way the current time views the practice of Western archeology and the way Indiana Jones’ usual mantra of “it belongs in a museum” carries with it imperialist connotations. It would have been very interesting to watch the final film in the franchise deal with an aging Harrison Ford and a reconciliation of the work that he’s been doing in the first four films.

Indiana Jones (Harrison Ford) in Lucasfilm’s IJ5. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved.

But that’s not the movie that we get. In order to stay rooted to the soul and essence of the previous films of the franchise, ‘Indiana Jones and the Dial of Destiny’ is just one grand adventure that gives us an aged Indiana Jones. He is now a relic and a grumpy old man, who fights with his younger neighbours who play their rock music really loud, or is retiring from his teaching position, where his classes are now filled with students who are asleep or uncaring of what he is teaching. It’s a far cry from the Indiana Jones of previous installments. Ford, who is very spritely for an 80 year old man, moves and feels like his age. At a 154 minutes, ‘Indiana Jones and the Dial of Destiny’ is one big adventure reminiscent of ‘Indiana Jones and the Temple of Doom.’ It’s one big chase scene after another, one big fight scene after another big fight scene. It can be exhausting to watch and even with all the stuntmen and invasive John Williams music (complete with variations of the Indiana Jones theme for added effect) at full use, it’s hard to imagine Harrison Ford’s Indiana Jones doing all the things he’s doing in this movie.

(L-R): Helena (Phoebe Waller-Bridge) and Indiana Jones (Harrison Ford) in Lucasfilm’s Indiana Jones and the Dial of Destiny. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved.

In fact, at some point, I began timing each fight scene and chase scene, and figured for every 15 to 20 minute action sequence, there’s about 3 to 5 minutes of story. ‘Indiana Jones and the Dial of Destiny’ is relentless in its adventure plot. It refuses to slow down to work out the relationships between Indiana Jones and his god daughter, Helena Shaw (played by Phoebe Waller-Bridge). It feels as if the movie is afraid that if it slows down, inertia will strike and Indiana Jones, at that age, may need to take a long break before the next big sequence.

(L-R): Indiana Jones (Harrison Ford) and Helena (Phoebe Waller-Bridge) in Lucasfilm’s INDIANA JONES AND THE DIAL OF DESTINY. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved.

And it’s a shame because Waller-Bridge’s Helena Shaw presents an interesting counter-point to Ford’s Indiana Jones. Helena is a darker character, with a questionable past and questionable motives and practices; but she is just as bright, brilliant, resourceful, and physically capable as Jones in his prime. Unlike Indiana Jones, she has no lofty ideals about what to do with her knowledge or skill sets. She even manages the only commentary I noticed in the whole movie about Western Imperialization. I wanted more of it and thought that to explore the relationship of the estranged godfather and goddaughter was a great space to really reconcile Indiana Jones in the modern world.

(Clockwise from right): Colonel Weber (Thomas Kretschmann) and Doctor Jürgen Voller (Mads Mikkelsen) in Lucasfilm’s IJ5. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved.

But that’s not the movie we get. We get an overblown adventure story that brings us from Nazi Germany in the 40s to New York and the Mediterranean during the time of the moon landing and then, because of the particular qualities of the supernatural relic, the eponymous Dial of Destiny, to some places in the past.

Indiana Jones (Harrison Ford) in Lucasfilm’s IJ5. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved.

The movie is less concerned with reconciliation for the concept surrounding Indiana Jones that it is to celebrate the character and to create a satisfying conclusion to the characte and, in essence, for the fans who love him and the movies of their youth. The film as a whole is about capitalizing on nostalgia. It doesn’t seem invested in contextualizing Indiana Jones for younger audiences or future generations. Much like a relic in a museum, it’s meant to be seen and enjoyed as it is, outside the context of the changing world around it.

Indiana Jones is now just a product of its time and it eventually finds it story closed because it can no longer find its own place in the modern world.

My Rating:

INDIANA JONES AND THE DIAL OF DESTINY is now showing in cinemas nationwide. Buy your tickets here.

July 2, 2023
Movie Review: The Old School Vibe of ‘No Hard Feelings’ Keeps Things Light and Easy and Doesn’t Try To Do Anything New

There’s an old school sex comedy vibe that lingers around the premise of director Gene Stupnitsky’s ‘No Hard Feelings,’ which features a down-on-her-luck 32 year old Maddie (played by Jennifer Lawrence), who takes on a strange Craigslist posting from helicopter parents who wants to bring their sheltered son out of his shell by having sex with him before he hits college. The risque subject matter runs along the lines of films like ‘American Pie’ and even the older films like ‘Risky Business’ and ‘Porky’s.’ These older examples did not have today’s progressive – and even militant and extreme progressive values – to contend with in the forming of their comedies, which makes ‘No Hard Feelings’ a delicate matter to attend to.

After all, how does one even find the humor in a story about parents manipulating circumstances so that their son can be devirginized before college? In an era when consent is vital, how does Stupnitsky and co-writer John Phillips go about this?

Laird (Matthew Broderick) and Allison (Laura Benanti) in Columbia Pictures’ NO HARD FEELINGS

Never, in the film, does the film glorify nor romanticize what the parents of Percy (played by Andrew Barth Feldman) are doing for him. In fact, all throughout the film, Maddie and her friends question the parents and make fun of helicopter parents and Maddie is constantly trying to defend or justify her taking the job in the first place.

Jennifer Lawrence and Director Gene Stupnitsky on the set of Columbia Pictures’ NO HARD FEELINGS

Key to the narrative is Maddie’s need for the car that is being offered for the service. As payment for “dating” their son, Percy’s parents are giving her a car, one that Maddie needs as an Uber driver, whose car was repossessed. Maddie needs the money to save her home that her deceased mother had left her.

Maddie (Jennifer Lawrence) and Percy (Andrew Barth Feldman) in Columbia Pictures’ NO HARD FEELINGS

It’s a desperate time that calls for desperate measures and this is where Stupnitsky and Phillips lean into in their film. Instead of focusing on the sex aspect, they put the focus on how desperate Jennifer Lawrence’s Maddie is to get that car: the crazy situations they put her in, the physical comedy that arrives with slapstick situations that gets her very, very hurt – and which we can laugh at because she’s not a very nice person, after all, she’s willing to seduce a young man for a car – and, interestingly enough, the areas by which the generation gap between the 32-year old Maddie and the 19-year old Percy are different in relation to sex.

Because Percy is not an easy target. He’s a loner with severe trust issues from a story point that is explored as Maddie gets to know him. What’s interesting is that the techniques that Maddie thinks boys his age would find sexy are completely not sexy to the boys of this generation that is Percy’s age. Maddie is from a time without these progressive values and so everything she does is a red flag and brings out a defensive stance on the young man. It leads to some very funny situations.

Maddie (Jennifer Lawrence) and Percy (Andrew Barth Feldman) in Columbia Pictures’ NO HARD FEELINGS.

There’s so much that this film could have gone for, though: the film could have really delved into the world of helicopter parents, or really fully explored the difference between the attitudes of two generations about sex. One of the funniest lines, to me, is seen on the trailer, when Maddie is searching for Percy at a house party and she goes to each room and finds all of Percy’s peers just hanging out and on their phones and Maddies says under her breath, “Doesn’t anyone ever f#$& anymore?” or something like that.

Unfortunately, Stupnitsky and Phillips merely use these as punchlines – making fun of helicopter parents, making fun of calling Jennifer Lawrence an old woman, – rather than really go hard on the social implications of these concepts. ‘No Hard Feelings’ prefers to stay in the area of light comedy, making full use of Lawrence’s versatility and bravado and Feldman’s charm and earnestness. The two have amazing chemistry and they really make the whole thing work.

Percy (Andrew Barth Feldman) and Maddie (Jennifer Lawrence) in Columbia Pictures’ NO HARD FEELINGS.

Much like the old school vibe that it inhabits, ‘No Hard Feelings’ doesn’t rock the boat too much. It is meant to startle and to tickle but never does it attempt to subvert the genre or do anything revolutionary or groundbreaking. Once the film gets over the hurdle of the “sex comedy” genre and move into light comedy fare, it maintains its light-heartedness and just sets out to put a smile on your face.

What I enjoyed most about the film is how it’s not a romantic comedy and never does it try to justify or normalize the sexual tension between the two characters or the strange circumstances of their meeting. Instead, it puts the attention, front and center, to the needs of some level of personal bond before any sexual act. It does take a few side jabs at “woke culture” and overly progressive thinking but, by the end of the film, it takes a side and stands squarely in that arena.

The funniest bits are already in the trailer but in a cinematic landscape that is filled with big budget blockbusters, a light hearted comedy of this tone and field is a welcome addition to the theatrical experience.

My Rating:

NO HARD FEELINGS is now showing in cinemas nationwide. Buy your tickets here.

June 23, 2023