Kyle Mobray's Movie Ratings - Rotten Tomatoes

Movie Ratings and Reviews

Pokémon Detective Pikachu

The world of Pokà (C)mon has been ventured numerous times across different regions with a continuous cycle that we're pretty much accustomed to when it comes to a story, especially when starring a certain young protagonist and his iconic partner. Now, the medium faces its own evolution into live-action but with the right story in order to avoid the curse that struck Dragon Ball and "Avatar: The Last Airbender" without gambling for the luck that "Bleach" experienced last year, and as a chance to freshen up the familiar world's considerable expansion for the main narrative lore. Very unique and unexpected, going far as something different to reveal a weird feeling within, "Detective Pikachu" succeeds in solving the mystery of what curses the associated genres with qualities as improved clues that work in building something delightful though sometime positively predictable.

The new central protagonist 21-year-old Tim Goodman, who lost faith in pursuing his former passion and simultaneously estranged with his now questionably missing ace detective father Harry, finds his world caught in a ticking mystery yet to solve when a Pikachu starts speaking to him. But it's not just any Pikachu, the wise-cracking, adorable small detective was Harry's former Pokà (C)mon partner, only to be led to believe that due to being himself puzzled over the case. The two becomes partners in solving whatever lurking in the shadows where humans and Pokà (C)mon are living side-by-side in harmonious Rhyme City where there are clues that leads into uncovering a plot that could threaten the very peaceful co-existence beyond the skyscraping perimeters.

"Detective Pikachu" is mostly standard with stock characterization and formulaic elements in the multimedia franchise's full-on clash with the mystery genre respectively. So it at times becomes predictable with the surprising twists being correctly guessed before the unveiling while the positive effect remains intact. That turnout of said effect goes the same with the characterization, namely the companioning human leads being typically likable when aligning with the anime's types with the obvious source of antagonistic force matching the crime syndicates' pursuit and mentality. Besides the roaming humanity, the background knowledgeable aspects and battle sequences that pushes the story further are what really makes this a Pokà (C)mon show, especially when being nicely balanced in the very well-designed transformation for the unlimited species' interactions (a speaking descriptive volume on the world), with retained personas and appeals, in this cinematic presentation that would usually prove troublesome budget-wise.

Leading the "investigation" is Ryan Reynolds' charismatically comedic vocal performance in the titular character being a genuine highlight, as well an invitation for newcomers to get through a Pokà (C)mon film. Fans of the videogame the film is based on petitioned Danny DeVito to voice the detective, but when they see the film they would find Reynolds more accepting and why DeVito wouldn't quite fit. Joining the electric mouse type with the only accessible communication is Justice Smith as Tim, before befriending Kathryn Newton's character Lucy who is also looking for conspicuous answers also makes appealing efforts in their performances.

The satisfying fulfillment of likely imagining the anime's definitive soul as live-action is what makes "Detective Pikachu" a delight when it all comes to life despite narrowed down to the independent setting away from the usual certainness. Its main association with the mystery genre may be a bit below average considering the predictability in most of the revelations, only slightly affecting the maintained value that still typically works. In addition, it's practically fun for everyone from fans to newcomers with something to offer in delight, entertainment and, like in the anime films, agreeably sweet with a heartening resolve. (B+)

Planes: Fire And Rescue

Impressive on how well it turned out to be. It was very well made - even though it was formulaic to make some points predictable - when dedicated to our everyday heroes by showing how the rescuing jobs are done while being very well animated on the processes. It turned out to be better than what to expect from it when it was lacking the enjoyment of the "Cars" films. But it has more connections to those roots than its predecessor when it only had a few connections. (B+)

The Lovely Bones

The Lord of the Rings director tried out another book with his imaginative, visionary flair to only little to impress when the film's a hard one by the negative energy that grows as the film progresses, resolved in a somewhat satisfying way. Although, going through all that is the nice performances of Wahlberg and Ronan as their characters showed the "unlimited" strength of a father-daughter relationship. (B)

Nick and Norah's Infinite Playlist

A charming reminder that a singular day in life into the evening narrative, through a teenage perspective, always pleases with excellent, round chemistry by the leads' performances in adjunct to the bolstering elegance in music that tunes up the sweetness between the bond and shared metaphorical playlist. (B+)


Really communicates the warning signs of territorial tensity from the simplistic impression of stranger danger to an escalating tense, ridiculously complicated situation when more of an unknown baggage gets unwillingly uncovered, becoming an atmospheric, calmingly stressful, minimally subtle thrill trip. (B)

Instant Family

Routinely formulaic by the familiar plot structure when dramatically and humorously approaching familial bonds but also in a meaningful, moderately informative embrace towards the subject matter that blossomly resulted enough heart from the well-casted, convincing foster, parental study. (B+)

Avengers: Endgame

How can I write a review without saying much about it while following the format? The most secretive film to be ever anticipated provided glimpses ten percent of the direction with not much else to reveal or the dots connecting is going to blueprint the plot prior to even see it, giving in to speculating the event's entirety out of impatience. When you go see it, can't say much about the experience or I'll technically be spoiling the "Endgame" when spoiling about how I reacted and praised to it would give you an idea on how it is. This is a very special, very unique case I have ever approached under film criticism as it's best to keep it to yourself and let other experience it for themselves without knowing beyond what the filmmakers had given us. The review will be written and kept in secret but will be published another time till it feels right. Till then, this piece on "Endgame" will merely be a reflection on how far Marvel went to culminating all 21 of their interconnected films into one with noteworthy praise goes onto the direction for handling such scale.

After the events of "Infinity War" whereas Thanos succeeded in snapping half of the universe out of existence for the sake of balance, the remaining Avengers, downfallen, vows to live up to their name in one final stand against the Mad Titan to restore what has been lost with additional help from those who just joined in the fight.

I had written an essay reflecting on my relationship with the MCU and how I became a fan, though not enthralling due to the limited word count; recalling how Marvel made the initial announcement in 2005 of setting up a film starring the core members with solo outings building up to a culminated, team-up narrative. Over the course of eleven years with 21 films, the conceptually fresh shared universe interconnected storyline has grown through a variety of different characters, and the nineteenth film "Infinity War" expected Anthony and Joe Russo, who brotherly directed "The Winter Soldier" as the first team-up film in a solo outing before lifting heavier weights in "Civil War", to really test their experienced selves in bringing the currently dated universe at the time in one colossal picture with the collaborative help of the ensemble cast's stronger, more emotionally-attached efforts, writing partners Christopher Markus and Stephen McFeely and score composer Alan Silvestri in majestic expression. Successful in bringing all the characters in one film despite the reasonable scattering, the duo proved themselves worthy of wielding the Marvel Universe each single-handedly with obvious supportive arms for backup strength.

After "Infinity War", "Ant-Man and the Wasp" and "Captain Marvel" contributed further into the overall narrative, respectively concurrently and much prior without going too far afterwards before joining in to whatever roster is left. But unlike those two, "Endgame" never went beyond the first 20 minutes with the exception goes to further glimpses that doesn't say much nor when with nice editing and great handling of keeping the plot a secret. There are things to praise for the standalone follow-up to the epic "Infinity War", but the review for "Endgame" will come when the time is right - and there is no pager to persistently request it.

The Kingdom
The Kingdom(2007)

This well-cast action thriller misdirects as a factual overseas tension being treated with Hollywood cheese to an exemplifying conflict that more follows the genre's formula, relying on the thrilling atmospheric hunt and eye-popping action sequences in distant responses to the tragic-based subtexts. (B)

Batman vs Teenage Mutant Ninja Turtles

An entertainingly solid crossover, being most unique and initially undemanding, from beginning to end with a perfect balance and ultimate justice for the characterization, backed-up by the excellent performances and animation, to fuel up one of the most fun you'll have from the exceptionally-executed action and respectfully-fitting hilarity without parodic imitation to the other. While the film itself surprises with such entertainment value, it actually ranks as one of the best films for the Caped Crusader and shockingly the best TMNT film, conflictingly questionable whether it was due to the clashed assistance or based on their respective, involving narratives. (A)

An Unfinished Life

Not entirely focused for the premise's predictably heartening goal only to find it constantly sidetracked for ideological parallelism that generally means well but decided to unconventionally swerve while surrounded by familiar setting, but it's typically satisfying with the excellent cast's efforts. (B)

The Divergent Series: Allegiant

Overconfident, rushed and wrong as well stale, validating it as a lackluster when much of its source material's drama and the previous entries' fun performative encouragement gets downgraded if not fully omitted, even when appealing with humor and dynamical action gets overwhelmed. (B-)

Tora! Tora! Tora!

The devastating climax becomes the historical blockbusting treatment's redeeming factor after tediously building up with enthrallingly clear factual deliverance weighted dreadfully, till being ironically rewarding with astonishing effects for scattered execution and a psychologically war-mongering study at the alarming notice for the effectively satisfying shock. (B)

Homecoming: A Film by Beyoncé

Beyonce impressively crafted her thematically-driven, electrifying "Beychella" experience into a visually-striking, one of a kind, atmospherically-definitive concert film with accessible depth and contagious beats which really delivers a rocking experience, whether you have listened to her music or not. (A-)

Chasing Coral

Resonating with poignancy as the underwater beauty is shown and moderately explained, without any further attachment in risking detachment, to endorsing a bigger current, debating topic as an alarming pivotal role under passionately trying care that this documentary functionally reveals. (A-)

Disneynature: Born In China

Adorably breathtaking by the amazing sights of the natural wonders and gentle commentary delivering meaningful context, despite the questionable credibility regarding the interpretative interactions fueling the supposed narration while at times being depressing. (B+)

Hey Arnold! The Jungle Movie

You would expect that the film is solely for the fans at the same time assorted as a children film that the show initially reached, but that is an underestimation doubting the true value it actually wields. While a great improvement over its predecessor, the charming and touching return, with a recognizable format to begin with, is a general delight with an average entertainment value bolstered by the updated animation and the lead performances all nicely building up a fully-blossomed heart to solidify the worthwhile satisfaction from watching this exceptionality. (B+)

Faces Places (Visages, villages)

There tends to be fascinating enrichment when a documented journey examines and expresses the everlasting value of photography in captivating volumes, taken further whilst in between the cross-generational friendship of in influential veteran filmmaker and equally artistic student over shared passion. (A-)

Green Book
Green Book(2018)

Aesthetically moderate from narrative merits, out of an independent craft, that solidify its arguably deservingly achieved honor when being literally driven, with surprisingly genuine smoothness considering the approached topic, by the likeable leads' dynamic, delivering some decent sort of social statement through parallel, mutual understanding. (B+)

8 Mile
8 Mile(2002)

The emotionally engaging approach by the beats to the American Dream is contemporarily narrated and expressed by Eminem's spirited performance reminiscently, reflectively through differentiated passionate field of choice. (B+)

Bill Nye: Science Guy

The Mister Rogers' similarity under the influence of being scientifically inventive, Bill Nye, the Science Guy, lengthened his format with his personifying charisma in a more serious, still engaging session with clear agreeable evidences, which generates an alarming notice that juxtaposed the societal state between before and after, revealing politics' dumbfounding troubled role in the name of science. (A-)

Black Hawk Down

What makes this war monger significant besides the factual powder is the non-stop tensity that managed to takes up the majority of the emotionally thrilling run with astounding performative and technical capabilities, despite being excessive and not written enough focus for individual developments into the genre's usual flaw of characterizing soldiers in honorable narratives. (B+)

Free Solo
Free Solo(2018)

A documentary presenting a natural scope of awestruck heights and grippingly captivating sights towards the insane shock over the limitless determination by passionately settled strength while maintaining the humanly thought process, making it hard to believe and that is what makes it a gripping entertainment. (A-)

Shaolin Soccer

Decided to strategized with a ridiculous turn deflecting from the expected practicality to become more of a societally parodic fable, but it has scored points for humorous fun and apparently spiritually influential. (B)

Sixteen Candles

May not be John Hughes' best but this 80s classic decently satisfies as a result from still examining teenage crises with charismatic wit, kinetic astuteness and humor. (B)

The Perfect Game

With the team dynamic's growth and social perspective, this crowd-pleaser continuously ran to the next base as a cheerful triumphant that manageably prove how effective an underdog story can still be apart from the predictable formula when the rooting strategy surprises you as reflection to the facts. (B+)

Disneynature: Penguins

Cinematography has greatly advanced especially for the benefit of nature documentaries to really capture worlds that invites us to take in with wonder towards the beauty you either don't see every day or you will only be able to see it accessibly through finished lenses. Disney's True-Life Adventures were more grounded like common observers, till the rejuvenated Disneynature stated a mission to unveil an array of our neighbors courtesy of Mother Nature. Their latest presentation takes us to Antarctica, the preferably freezing habitat for penguins, the main subject and new addition to the filmed circle of life's familial eyes.

"Penguins" retains much of the unit's qualities from presented beauty, including capturing a day in the life interactions among the selective species' families to acknowledge, to the gentle commentary that accompanies as well becoming more of an interactive filling for the spectators. The icy world has already been explored from Luc Jaquet's 2005 award-winning documentary "March of the Penguins", which transforms the birds into familiar cinematic icons for fun capable alternatives from inspired filmmakers afterwards. The Disneynature brand may or may not separate this sight from others depends on what story they had come across besides being a bit more cheerful, with the noteworthy underwater shots manageably pales the "Happy Feet" animation that came to mind.

Ed Helms narrates with gentle plus relatable fun commentary in factually translating the interactions and consequential scenery, becoming the other half of the balanced coin to put up the entertainment value. In contrast to the unit's starter "Earth", the commentary became freer within now frequent breaks from factual delivery because it follows the aforementioned daily narrative that fuels the feature-length documentary till the nest-leaving completion. However, the flaw still remains ironically metaphorically sitting behind the camera as the credibility of the subjects' movements under observational stalk is still questionable on whether it's still the main character or someone else's at different times.

"Penguins" is your average nature documentary with an implicated heart towards the genuine adorable appeal of the titular family, immersed by the close-up of their environment that cinematographically transports us. But what became noticeable afterwards is the declining scale since "Earth" and "Oceans" while most of the rest were watched at home with the entertainment value remaining constant between both screen sizes, and this newest addition stirs that very realization. (B+)

Missing Link
Missing Link(2019)

Ever since "Coraline" ten years ago, Laika easily impresses at the minimum and amazes at the maximum with their cinematic storytelling, creative craftsmanship that regenerated the stop-motion medium. That very flair remains constant across their feature-length treats, improving upon each other with entertainment values of each presentation increasing â" well except for the okay third feature "The Boxtrolls" with the downgraded interest. Their latest fun masterpiece "Missing Link" made first impression out of being immediately compelling, then later to find it a continuation of the studio's spectacular specialization with a hearteningly delightful adventure full of brilliant inputs.

Mr. Link, a legend tired of living in solitude with a fun and curious attitude and an appearance that stirs hesitance but getting to know him will find a sweet, friendly heart. The lonely Sasquatch recruited fearless explorer Sir Lionel Frost to take him to his supposedly long-lost relatives in the mythically hidden place labeled as Shangri-La. With the help of another explorer Adelina Fortnight, their far-reaching venture to something of a tall legend faces peril and aspiring views, particularly Mr. Link stepping into the larger world, all in helping their friend, at the same time the family value grows while undiscovered.

The typically very well-animated "Missing Link", consisting carefully detailed scenery, stars a more charming cast with Hugh Jackman as Frost, Zoe Saldana as Fortnight and Zach Galifianakis as Link, becoming a small, humbly dynamic ensemble that bolsters the charm throughout with fun witty humor and sweetening heart that occasionally triggers a responsive smile after being attached to the characters' arcs. They had nicely fulfill the outfitting roles for an adventurous journey, which is perfected by a spirited, fitting score composed by Carter Burwell.

Writer-director Chris Butler again triumphs with a wonderfully captivating, fun story after "ParaNorman" and "Kubo and the Two Strings", as well meaningful when taking it further by demonstrating a thematic communication from the aforementioned value to finding yourself without paying attention to the inner potential individuality. It's a fresh spin with two-fold parallels, but there is a mixed complication in what it has been paired with to the polar opposite, conventional antagonistic force that rather shakes up and forcibly accompanies the story's thought independence. Although, it serves as a nice moral juxtaposition to support the message further.

From how it was made to how it was written and handled then voiced, "Missing Link" enriches the studio's constantly creative craft, eclipsing the previous artwork as their best yet with enough anticipation for future feature presentations. (A-)

The English Patient

Tediously paced but very well written as solid proof towards the film's deserving worth of its critical acclaim by easily agreeing with the prominent aspects as well essentially standardized an award-winning example in the honors range. (B+)

(Full review TBD)

For the Love of Spock

Independent documentaries let the filmmaker to go on either a reflective or therapeutic journey to find oneself or to get to know more about the subject as tribute. Adam Nimoy presents an honorable, exploring tribute of his late-iconic father as the most humanly documented feats with an exceptional structure narratively made up of spirited resources that are to entertain both fandoms between the original and newer generations by being touched in a way a Vulcan would know how. (A-)

(Full review TBD)

The Other Boleyn Girl

Questionable presentation over the general aesthetics regarding the continuous side narrative genre of period drama depicting classy royalty with supposedly maintained dignity through strict customs and affairs only to find it this time as wholesomely barbaric, despite powered with failed efforts by an excellent cast and the climatic score as last-ditch effort that luckily raised the rating up by one while still rotten. (B-)


As Forrest Gump recalls what his momma told him, "Life was like a box of chocolates. You never know what you're gonna get." This very quote immediately came to mind when the inviting factor of this tastefully charming tale seems to reflect that saying when making it all so sweet with surprising validation of the subtly manifested fantasy metaphorically underlying an interpretive key of kindness with conventional weights stemming from the societal commentary, delicately baked by a nice cast. (B+)

(Full review TBD)


Inappropriate with the raunchiness surprisingly at the minimum, but the rest buries the heart beneath the kinetic wit from the comedic, meaningful performances and how the rite of acceptance is well written without losing focus in tackling timely coming-of-age topics from respectful parental perspectives. (B+)

(Full review TBD)

Young Adult
Young Adult(2011)

A genuine examination on the psychological case of prolonged adolescence with enough round characters to find relation in the managed sympathetic direction with a good cast particularly Theron providing occasional humor and the inevitable gain of a perspective outlook minus the awkwardness in the veins. (B)

(Full review TBD)

The Man Who Knew Infinity

Each subject in a form of a significant figure let the individuality and the resulted definitive success be narratively explored and find the right casting to nicely performed and represent the period as accurate as it is depicted as reliably backup engines if the direction lost the individual footing, which is pretty much how this film entered the conventionally dramatic treatment while exploring the periodic ideas at the time seemingly as the secondary focus despite being the motivating factor. (B)

(Full review TBD)


The belief that cultures are strict when it conservatively comes to their customs is enforced as an insightful communication in troublesomely delivering a message that love conquers all through the strongly performed, though not entirely united, sisterly bondage while contacting few coming of age turns and embraced by a nice soundtrack and spaciously closeted cinematography. (B+)

(Full review TBD)

Balto III: Wings of Change

A delightfully rare direct-to-video sequel that equally stand, if not above as the best, next to the original by not just improving its predecessor's improbable narrative direction but singularly being charming through the animation and performances to show it's full of heart, even though the typical silliness pleasantly has a much lesser impact to the enjoyment level. (B+)

(Full review TBD)

Apollo 18
Apollo 18(2011)

"The Blair Witch Project" meets "Alien" mixture proved to be effectively suspenseful with enough efforts to make this a conspiratorial erasure mostly a satisfying entertainment, especially when taking the found footage genre into the B movie radar. (B)

(Full review TBD)

The Eye
The Eye(2008)

Couple of jolts to start with before fading into something ridiculous whilst retained oppositely that would most likely leave you unimpressed since there is no sight to behold. (C+)


Revelatory documentaries self-discusses in fully exposing hard truths, and this one is no exception as well being terrifying for a beauty becoming unnaturally edgy due to the questioning complication surrounding where the corporate functions really lie their hearts in, despite the well-structured argument decided to not go thorough on the impassionate approach. (B+)

(Full review TBD)

Eighth Grade
Eighth Grade(2018)

Bo Burnham debuted his directorial skills over a simple subject generally underlined as an ordinary coming of age story, with the given grade reflecting the faithful deliverance for topical discussion towards the empathetic, relatable direction and nostalgic accuracy that hits most remembered marks from the titular period except for the typical genre treatment being realistic and threatening the inner innocence in which Elsie Fisher nicely gripped for her more breakout role. (A-)

(Full review TBD)

A Star Is Born

Bradley Cooper exceeded the actor-turned-director standards in his aesthetically amazing directorial debut that refreshes a generationally constant romantic drama with further humanizing effects in closer affection, stemming from an exceptional chemistry between the main pair's transformative performances hitting the high notes that powers one of the year's genuine best soundtracks. (A-)

(Full review TBD)

Y Tu Mama Tambien

Even though the indecent length really affected the film as purposelessly irrelevant that could have been better as subtle so the overall meaning in corrupted innocence, as it narratively serve to express, can be retained, Alfonso Cuaron's brief, dissecting tour guide around his homeland's customs through nice handheld cinematography for unique shots and the humorous dynamic between the main duo while it lasted makes this an acceptable though cringingly mixed view. (B)

The Kentucky Fried Movie

The spoof genre surprisingly breaks ground in this essential pre-"Airplane" comedy for manageable enjoyment with occasionally successful laughs towards unpredictable witty turn and also the first standard for how easily bad and tasteless one film can go then lower for the worst. (B-)

Wind River
Wind River(2017)

Writer-director Taylor Sheridan polishes, now this time at first-hand as his self-proclaimed directorial debut, his revision of the modern western with an environmentally-reflective chilling prompt that bookends the intellectually written mystery with beneficial performances to boot, particularly Renner and Olson, despite the disturbing turns that is more apparent than previous related works. (B+)

(Full review TBD)

Can You Ever Forgive Me?

McCarthy nicely embodies the daily struggles of desperately trying to maintain affordability and passion freshening only reaching a tough, dead end complicated decision on the moral compass as a sympathetic direction with depressing undertone though some typical comic reliefs, finely doing her subject justice in a definitive meaning. (B)

(Full review TBD)


As a verbally indirect companion piece to the Holocaust period in film, the nature of the depicted discussion won't offer any suitability to the value besides just disgust to be limited as a worthy single viewing that is only pleasantly bolstered by good, committed performances being well-casted whilst following a solid script with a decent attempt to express a humanistic touch in the flow. (B)

(Full review TBD)

A Mighty Heart

The thrill slowly picks up in the factual search and rescue mission through the oversea trouble's lost translation, displaying how much in the process it's affecting the predicted widow whose authentic figure enables Jolie's stunning performance as the main highlight. (B)

(Full review TBD)

Home of the Brave

From an inexperienced perspective, it would assumingly seem they had gotten the PTSD mentality at a decent rate with frequent paths though parts affected by the somewhat overall flimsy direction after the excessive tensity on the triggering battleground, giving it a dishonorably acceptable watch. (B)

(Full review TBD)

The Ron Clark Story

Matthew Perry actually distanced himself from "Friends" to be ranked between Morgan Freeman and Robin Williams in perfectly being a resilient teacher who dedicates education in helping his students to fully realize and pursue their true potentials as demonstrated in this humbly heartening, cheerful story that did justice. (A-)

(Full review TBD)

Uptown Girls
Uptown Girls(2003)

Surrendered to be cliched and struggled to mostly maintain the ideological focus that has threatened to sidestep the emotional center, it's still a sweet satisfaction over the charming dynamic of Murphy and Fanning while being decently nuanced. (B)

(Full review TBD)

The Promise
The Promise(2017)

The romantic triangle narrative seems to be mostly platonic without any convincing chemistry in any of the advances while being a questionable option to lead into an historical period within WWI like they're trying to add a complex layer in minimizing "Gone with the Wind" without thinking any further for another way to start the story for exemplified figures. It more succeeds in the intentions of delivering the story with the expected well-performed tensity and unboundedly-crafted gracefulness when depicting a troubled history that probably hasn't enter our researching radar much towards a main event that overshadows the hushed haunt. (B)

(Full review TBD)

Get Shorty
Get Shorty(1995)

Genuinely a newly twisted, slick combo between Hollywood production and the gangster genre, despite the convoluting trades that is the plot element being proved insignificant in the process when the nicely-casted, charismatically-performed character-driven environment and industrial interactions entertains more for solid satisfaction. (B+)

(Full review TBD)


Exceeds expectations while leveled in the constant averageness, the typical charm that the rom-com genre would usually offer is bolstered by the scattered, agreeably undeveloped family story and the main pair's chemistry as the colliding cheerfulness produced a contagious heart with at times sweet humor â" and in Bloom's character's perspective a decent celebration of life. (B)

(Full review TBD)

Unicorn Store

Brie Larson's directorial debut went on the right path of starting out small with impressive skills that captivates interest into any of her future works; after charmingly embodying a girl's dream and rite of adulthood over a stirringly complicated passion till approaching the diegetic skeptical route that turned out metaphorically meaningful in a sweet satisfying way. (B+)

(Full review TBD)


Provides a nice cast who delivers decently amusing humor while following an attempted suspenseful flow, of course, without any spikes, that could have gone further for psychological testing rather than the scattershot turns in a dull, misguiding matter despite being an acceptable watch still. (B)

(Full review TBD)

Death at a Funeral

Going out for tea over someone's passing becomes inadvertently amusing in the subtly ensuing chaos as the strict proceeding humorously, and in some level relatable without the comedic exaggeration, falls courtesy of the cast's charismatic efforts with enough roundness. (B)

(Full review TBD)


John Carpenter follows a familiar narrative approach in the typically formulaic otherworldly visitation while tuning it as contradictive healing over grief that was empathetically done by the humbly strange chemistry between the two likable leads, mainly Bridges' further star-turning eccentricity. (B)

(Full review TBD)

Social Animals

Mostly fulfilled its potential scope with leaving out further impactful connections due to couple unanswered questions raised in the duration, but this little documentary pretty much, in a surprisingly persuasive effect by valuable insight, covers enough ground in singly thoroughness from enforcing pros to expected cons with captivating exemplification. (A-)

(Full review TBD)

Only God Forgives

There seems to be cinematic equivalence for any objects, like this one being a merchandised lava lamp for a great, stylish movie to illuminate the aimlessly monotonous, narratively flat blobs without forwarding senses to only succumbed down to the contradicting immorality that lost its supposed commentary by uninterested "efforts". (B-)

The Disaster Artist

Normally a filmmaking journey behind a singular film provides enriching insight that enhances the produced film, but this is based on a book recounting the production and partnership of the abysmally-suicidal nonsensical cult "The Room" as an unpleasant reminder to be dragged into seeing pieces of it again. Fans of the aforementioned film would treat this biopic like how we would treat films behind actual, far superiorly great films, and that latter group would surprisingly enjoy it for the well-casted brotherly dynamic when displaying the aimlessly inexperienced, amateur, dedicative approach to filmmaking with briefly insightful humane relations and amusement on the immediate doom as part of the regular dose of humor. (B)

(Full review TBD)

Mary Queen of Scots

The physical aesthetics that embodies the depicted period's figures are the genuine high points in the otherwise unpleasantly disinteresting though tense lackluster drama. (C+)

I Can Only Imagine

Agreeably a better, spiritually stronger, actually inspiring faith-based film on Christianity than most others - and simultaneously an earlier version of "Bohemian Rhapsody" - when communicating through uplifting music radiating from a wonderful, transformative, occasionally very humorous heart that the authentic performances perfectly captured. (A-)

(Full review TBD)

Justice League vs the Fatal Five

A far more satisfying, delightful improvement over the previous revival attempt of the DC Animated Universe that follows the League's upfront trinity approaching the literal next generation of heroes, within the elementally familiar structure retaining most of the vibe into the decent action sequences and the vocal performances behind the still favorably characterized taste when embracing generational diversity, albeit the scattershot writing from the unbalanced developmental focus for needed heftiness. (B+)

(Full review TBD)


Almost half of the revolutionary revelation is a nature documentary that shows what beauty is being destroyed by the greedy which makes up the rest as political with passionate, defensive war in between to counter the conservative evil. It's a shocking battle of good vs. evil with the former's protective strength being inspiring in protecting what they love to reach out and successfully resonate supportive emotions while the presented mission encouragingly represents similar struggles that could find increased strength. (A-)

(Full review TBD)

Chico & Rita
Chico & Rita(2012)

The story's emotional resonant, harmonic melody and the delicate performances makes it one of the most hearteningly engrossing pictures in its associated categories. (A-)

(Full review TBD)

I Love You, Man

The round premise not only benefits from the cast's comedic charm to make it hilarious minus the low cheese, it provides a reassuring insight at a relatable level regarding adult friendship depends on the social angle. (B+)

(Full review TBD)

Seven (Se7en)

David Fincher boldly went right onto a violent crime scene without flinching out details by memory and then turned that very scenario into something twisted enough to divert from our expectations for a disturbingly violent film. Disturbing, yes. Violent, surprisingly no because the graphic effect freshen the expectancy into just telling. That very effect is a prominent factor for this still shocking crime thriller, especially towards the gripping final act as the film's most definite scene after all the twist and turn buildups and credibly committed stellar, some may say effortless, performances from the cast in embracing one of the finest neo-noir flairs and intellect complexity shadowed by the brutally grim atmosphere. Entertaining by the narrative and effective deliverance, though it's not exactly perfect by self-proclamation due to the sensibly-disrupted self-contradiction being muddled into the small frantically responsive scene to the final, devastating shocker. (B+)

(Full review TBD)

Robin Hood
Robin Hood(2018)

This latest iteration of Robin Hood after a number of others still refreshes the story with solid performances from Egerton and Foxx among the mostly stock characterization, next to the elaborate, though overconfidently far-fetched production merits to inhabit the energetically adventurous action's purposely incomplete narrative, resulting in the archer shooting within a more-than-halfway range towards the target with spirited fun acceptance. (B)

(Full review TBD)

Total Recall
Total Recall(1990)

Probably better of Verhoeven's three futuristic and notoriously violent films with the right craftsmanship without trying to gross-out the viewer with distasteful gores. Exceptionally executed under the classical tackling of the genre's provoked speculation while humor was nicely put into the mix and the action wittingly distractively minimalized the gores. (B)

(Full review TBD)

Igby Goes Down

Agreeing that it thematically follows "The Catcher in the Rye" as a secret adaptation without breaching the restricted red tape, the rebellious, social commentary that Kieran Culkin displayed in his more definitive breakthrough role gets effortlessly shaken and tested by the unreasonable abuse whilst lacking any sort of resolving strength into the spine against the unlikeable forces that really lacks depth besides just plainly representing. (B)

(Full review TBD)

The Lost City of Z

Classically-driven with masterful efforts and figuratively authentic performances to spread the epically adventurous tale's wonders and debatable ambiguity, under historical senses, as part of the maintained engagement which resurges the taste towards the exploration genre. (B+)

(Full review TBD)

Pet Sematary
Pet Sematary(1989)

"Sometimes dead is better", especially when it should have remained on paper than being brought to life, unveiling how nonsensical it actually is while possibly parodying Stephen King's expectancy, admittedly except for couple distancing terrors. (C)

Café Society

There are some awkward bumps but the overall result remains satisfying under Woody Allen's classy style for an exquisite 50s period flick comparing two major metropoles at opposites with a charming cast to paint the pictures. (B+)

(Full review TBD)

What They Had

Elizabeth Chomko presented her writer-director skills at an excellent first impression when telling a relatable, alarmingly honest family story with understandable love and struggles to be resonated by empathetic connections, benefitting from the fine cast's convincingly familial, committed efforts. (A-)

(Full review TBD)

Stephen King's 'Silver Bullet'

Maybe mostly uneventful without any significantly noted aspects due to stock characterization, but remained thematic and horrifically mysterious that you would expect from Stephen King that wouldn't get lost in translation, especially when being a werewolf story without the obviousness makes it worthwhile. (B)

(Full review TBD)


Flawed energy when marching disastrously on false assumptions with an inevitably unfortunate outcome, and that is how suspenseful the historical thriller factually turned out to be while luckily being character-driven in a high consequential, though non-consequential situation with little significance that was intellectually presented. (B)

(Full review TBD)

Legally Blonde 2 - Red, White & Blonde

Still humorously cute and intentionally nuanced in a positive angle with Witherspoon still charming as ever in an interesting step-forward if you find the pinkish predecessor entertaining, but the predictability from that has expanded throughout the frivolously downgraded though decently honest tackle on politics. (B)

(Full review TBD)

Bohemian Rhapsody

The takeaway of the pure dramatization of Queen's rise, mainly Freddie Mercury, is typically through the biopic genre's informational deliverance in getting to know the subject's story under the basic ideal rather than being full-on accurate as a notion they went ahead in. Despite the viewing being accompanied by the acknowledged controversies regarding the factual inaccuracies and directorial credits, the most accurate point that the performances, namely Malek with unbelievable energy that arguably declared him worthy of the year's best actor title, through persona authenticity amid the conventionally closed atmosphere is the spirit of the story's depicted period with the music being the main source with the cinematography being beyond impressive during riveting finale. (B)

(Full review TBD)

The Wife
The Wife(2018)

In the center of the modernly tackled Shakespearean anonymous theory into the case of genderism and questioning life choices including the romantic foundation is Glenn Close actually being the highlight/main focus in the slow drama. (B)

(Full review TBD)

Legally Blonde

Predictable route and obviously gender-specific, it has progresses with enough story to fit in two or three from a fashion divaâ(TM)s academic pursuit to rising with balanced association at a surprising comedic entertaining rate that further boosted Reese Witherspoon's star label. (B+)

(Full review TBD)

About a Boy
About a Boy(2002)

A clashing, parallelizing bonding comedy between adulthood and boyhood bolstered by Hugh Grant's finest, most charming performance when going heart-to-heart with the young Nicholas Hoult's breakthrough as what they diegetically have most in common besides the heart is brilliant slice of life humor; while in couple occasions backed up by a nice soundtrack. (A-)

(Full review TBD)

Sugar Mountain

The dark escalator has a similar driving force with the immorality being wrongfully weak, but it still provides a thought-provoking conspiracy behind its targeted topic that has brought in minimal thrills. (B-)

The Time Traveler's Wife

Characteristically passionate from the likeable leads with working turns to maintain the functional heart, but utterly muddled in not clearing up the nonlinear order its unread source material likely possess while spinning in the "Twilight" with much less tedious melodrama. (B-)

(Full review TBD)

Into the Storm

The bit stronger follow-up, at a required pace, nicely finalizes Churchill's story arc for significant value in the contributive impact he gave throughout WWII while dealing with questionably inner conflict, and Gleeson performed out of typical perfection for the Prime Minister's honorable stance. (B+)

(Full review TBD)

The Gathering Storm

Winston Churchill foresaw the warning signs of a war-mongering force that the title describes it as a storm - with some convolution, and this filmic approach not only conversely leads to the eventual appointed position that would stir the tide but also humanly explores Churchill's representational life through Albert Finney's defining, leading performance while finely associated with a nice cast to boot a little. (B+)

(Full review TBD)


The outcome may have already been seen prior to the film's start, but the tense atmospheric journey on the recount actually brings you back to that time and briefly makes you forget who won the 2000 election because you get caught on from a suspenseful perspective, while witnessing the unsurprising revelatory of suspicious conservatively countering lengths that becomes a little more thought-provoking at a supposed exposing rate. Understandable hesitance considering the current political climate should be able to find worthy acceptance on what this docudrama is capable of in transportation by a brilliant cast towards a roughly-decaying message that manageably solidifies the possibly satisfying resolution in the final minutes. (B+)

(Full review TBD)

Grey Gardens
Grey Gardens(2009)

Frankly have not yet seen the documentary of focus, though I want to out of intrigue towards its technically compelling stance, this elaborative biographical "behind-the-scenes" informative extension provides an ideal depth of the agreeable eccentric mother-daughter pair to witness their nonsensical idea of life with conventional senses and warmth from the moving performances of the finely-casted duo being experienced in the storyâ(TM)s involved and presented aspects. (B)

(Full review TBD)

True Grit
True Grit(1969)

Fittingly-casted John Wayne continues on proving to the western environment, with an iron saddle, that it's respectfully his wandering, tough habitat while willing to share with a determined, vengeful heroine as a challenging test. (A-)

(Full review TBD)

Murder on the Orient Express

The classic "who done it" mystery standardized the genre's basic expectation through a perfect, carefully-constructed structure that still surprises in stylishly expected turns towards a satisfying justification, thanks to the cast ensemble when being investigated by Albert Finney's intellect. (A-)

(Full review TBD)

The Keeping Hours

The supernatural genre takes a psychologically heartening, gentle turn perceptively from depressive gazes to forgivable acceptances, with some possessive restraints as a sense of denial and fully resisting renewal, even though it has broken couple logically conventional barriers into acceptable exaggeration, through the likeable pair's mostly convincing performances. (B)

(Full review TBD)

Fiddler on the Roof

A high-spirited, stellar musical classic on traditional, culturally-clashing ideals, sweepingly driven by epic reminiscence and powered period drama that is at the level of "Gone with the Wind" with exquisitely unique music and humorous bits, all under Norman Jewison's best direction when making the play more dimensionally, while being uplifted by Chaim Topol's forefront, reflective performance with a symbolic attachment. (A-)

(Full review TBD)

Black Sheep
Black Sheep(1996)

Pathetic political jabs and occasionally exaggerated slapstick takes up the rest of the substance that Chris Farrelly, and David Spade, reliably takes up the majority with their always hilarious, riotous antics. (B)

(Full review TBD)

Cinema Verite

Good performances from both Lane and Gandolfini reaching towards the final act of the realistically comparable reception, but they werenâ(TM)t enough when following the forced treatment in akin to Lifetime's "Unauthorized Story" series that needs little stronger credibility to present convincing accuracy around the melodrama by further documentation that were available. (C+)


Joseph Gordon-Levitt slickly manifests the noir genre's past investigators to give an idea of their rite of passage to the tough, constantly mysterious field, surrounding a targeted macguffin that needs to be solved. The contemporary setting adds into the modern narrative fashion of presenting a younger, originated perspective to the classical golden entertainment with both the narrative and cinematographic and narrative energy being successfully replicated at recognition as if stylistically remained intact. (B+)

(Full review TBD)


Socially amusing by cringingly awkward, dark humor during the process of unfolding the well-performed, nicely casted, character-driven, perfectly-structured translation of a recognizably mimicked play under a genuinely smooth direction by Polanski, despite the available opportunity to make it more ambitiously dimensional. (B)

(Full review TBD)

You Don't Know Jack

This is one of those films that reveals a sense of reality that we may have not been aware of till it was cinematically unveiled to us, and the very subject matter that made a portfolio worth telling stirred up a morally complicated stance through a strongly-performed, silently-heavy argument. (B+)

(Full review TBD)

Phil Spector
Phil Spector(2013)

Probably compelled by the casting, only to find in correct satisfaction that both Mirren and Pacino performed excellently around the pre-courtroom drama without any spikes besides being minimally intellectual despite cutting it short at the end rather than telling the story in completion for finalization â" or it fears to enter conventional territory of conversing familiarity. (B)

(Full review TBD)

The Invisible War

Powerfully disturbing, revolutionary documentary with deftly realistic structure that builds up to toughly become one of the most heart-wrenching, revoltingly shocking films than just a strongly-fulfilling revelatory documentary. (A-)

(Full review TBD)

Trouble the Water

A documentary that immerses you right into Hurricane Katrina, up close and personal, during and afterwards that shows the encouraged strength for others as well the further, juxtaposed exposure of the racially-motivated, flawed, mostly uncaring government towards the harsh truth from within. (B+)

(Full review TBD)

The Pixar Story

Further research would contribute few added resources but this documentary successfully, wholesomely goes over Pixar's celebrative legacy while elaborating it in a bigger spotlight at the crafted bookends that expands on the impacts they had from and to the film industry to boost up the fascination. (A-)

(Full review TBD)

Twist of Faith

Before the Academy Award winner "Spotlight", this disturbing documentary seems to have first brought up the revelation as the therapeutic form's main focus for exposing the sinful corruption and how it expands on the abusive subject matter from the personal relations being negatively affected by impacted mental scars which continuously grow by little due to injustice that the film seeks to resolve and spread out as a warning. (B)

(Full review TBD)

If a Tree Falls: A Story of the Earth Liberation Front

Genuinely troubling at a complicated stance with immorality remains intact on both sides of the environmentally protective and endangering argument by the purposefully misunderstanding exposure in the media's role that triggers the reflective redefining of questioned actions being far from terrorism despite the inferno appearance towards a more moral cause due to the ignored initially peaceful alternative. (B+)

(Full review TBD)

Goosebumps 2: Haunted Halloween

May not be at the exact level of its predecessor in terms of fresh dynamic, but still managed to stand on its own whilst providing a celebrative vibe that the books stand for as well being surprisingly creepier rather the comically fun way to boost its entertainment value. (B)

(Full review TBD)

The Way Back
The Way Back(2011)

The adventurous epic retraces those daring steps on tough terrains into harshest conditions, heightening the survival scope at a right scale with sweeping sceneries, inspired courses and fine performances to boost enough emotional resonance throughout. (B+)

(Full review TBD)

Spring Breakers

Director Harmony Korine achieved the sensory lenses in thematically expressing the unpredictable mentality towards the risky breach of corrupted loss of innocence in timely association with uniquely impressive cinematography, while benefitting from Francoâ(TM)s eccentric performance, but the aforementioned corruption is found within the shamefully compelled attraction of sexual objectification that seems to energized the film without a reasonable choice of presentation, thus distractingly and indecently seduced the film from being enjoyable with the technological and performative points still awarded. (C+)

A Most Wanted Man

While the espionage genre produced thrills and an intellectually complex flow out of a finely challenged direction as well benefitting from the strong leading performances, the engagement is depended on those delivered efforts when the convolution censors most of the accessible clarity of the international circumstance's factual points after the introduced lead-in as a setting. This film is no different but it still entertains and carries a slick unsecured theme before swiping the rug at the last minute. (B+)

(Full review TBD)

Leave No Trace

Realistically otherworldly towards an understandably sensible notion beneath the subtly addressed local problem, the stunning beauty of the quiet approach showed determined livelihood and an added coming-of-age path within a similar adventurous narration, emotionally uplifted by the pair's performances. (A-)

(Full review TBD)

She's Out of My League

Thanks to the timely and riotous efforts of the cast besides the secondary supports over the somewhat familial illogic, the generally offered charm from the genre gets bolstered through genuinely expressed insightful perspective and managed to demonstrate what a gut-buster really is. (B+)

(Full review TBD)

The Special Relationship

Unintentional humor at a pleasantly appropriate outer rate and requesting little further credibility without routinely disrupting the crafted flow aside, this essential political drama unveils the titular apparently complicated association in an arresting light from thought-provoking depth to the peaked performances of the main pairs' chemistries. (B+)

(Full review TBD)

First Reformed

The psychology and troubled mindset of "Taxi Driver" gets transferred into faith spirituality on the reverend's hands when connecting his religion in question form towards the heavy questioning thematically on today's topics, mainly environmental from an eye-opening perspective, and Hawke embraces the role nicely. (B+)

(Full review TBD)

99 Homes
99 Homes(2015)

Emotionally draining as in intimidatingly stressful and tough to watch, and you can pretty much thank the strong performances for that when housing a greedily corrupted narrative on real estate with fully committed brutal honesty on how families get eventually affected without sympathy in the impactful punches. (B)

(Full review TBD)

I Am Not Your Negro

Film-wise, the usually addressing, enthralling documentary, with uncomfortable stirring bits, is riveted by Samuel L. Jackson's read aloud. Then subject matter-wise. it would be quite a mystery if the arrogant ignorance continues on the immorally nonsensical blindness against unity and humanity when seeing how this vivid accumulation of racial relations explains the still-unbelievably harsh reality from the oppressed, subjective perspective that couldn't access the unclear, actual why despite managed to provide new insights and hopeful explanations to consider from revived inspirational accounts at the countering core to pleadingly help lessen the problem. (B+)

(Full review TBD)

Robot & Frank

An indie sci-fi recalls the classic relations in portraying futuristic reality with subliminal themes that Frank Langella nicely demonstrates in the film's genuine meditation towards aging from past reminiscent to loneliness then possession at an understanding matter, while also accompanied by a nice cast and backed-up by good chemistry and humor. (B+)

(Full review TBD)

The Sunset Limited

Tommy Lee Jones, surprisingly experienced in the director's chair, could've gone for another cinematographic level, but the main focus is the terrifically-performed, subjectively duel conversation surrounding faith within a bundled-up atmospheric single setting that builds up power to manifest the hauntingly familiar initial platform, making this one of the most effective simplicity ever filmed. (A-)

(Full review TBD)

Emma's Chance

Less emotionally impactful than previous girl and horse bondage narratives besides the predictable route, but it's still a cute family fun entertainment for tweens with a satisfying heart. (B)

(Full review TBD)

The Time Machine

The contemporary modern update of H.G. Wells' science fiction novel impresses at the advantageous production scale and remained connected to the story's consequential time-traveling core with well-intended additional bits, but the adventurous take validates the loose adaptation with campy impacts. (B)

(Full review TBD)

Logan Lucky
Logan Lucky(2017)

Steven Soderbergh's return from his hiatus delivers another slickly fun, entertaining ensemble heist whilst diverting from the genre's predictability in the cleverest way. (A-)

(Full review TBD)

Little White Lie

Lacey Schwartz finalizes her therapeutic journey regarding her self-questioned identity into something worth sharing in both a consequential reality of uncovering family secrets and the redemptive struggle, while a celebrative portrait about accepted individuality. (B+)

(Full review TBD)

Every Day
Every Day(2018)

Ultimately stretched "Your Name" into absolute fantasy if not total psychological around sentimental territory when socially touching teenage topics and issues, as well tackling the eventual possessive conflict narrative, for intriguing originality as curiosity simultaneously builds whilst bolstered by an impeccable young cast, albeit some narrative loose ends for the flawed concept. (B)

(Full review TBD)

Salmon Fishing in the Yemen

Genuinely quirky on its presentation and match-up topics that may not fully captivate interest for connected engagement that is only majorly relies on the well-casted main pair's charismatic chemistry. (B)

(Full review TBD)

Return to Mayberry

At least it remains as a better reunion flick than a number of contemporary revivals with the frequent return of recycling few episodes into one feature that could've gone for the best or further expanded the original portion of the plot. Although just like the old days when the series was being cherished by families, it's still character-driven by delightful returns and building up a meaningful message with multiple applied contexts. (B+)

(Full review TBD)

The Fifth Estate

A nice techno thriller with a good cast that beneficially asked Cumberbatch to lead but couldn't sack various secret files neatly in muddled deliverance, despite performing the basis provoking in equally demonstrating the propaganda pros and cons on the WikiLeaks' political and social stance when getting to at least know their objective. (B)

(Full review TBD)

Ralph Breaks the Internet

A lot have changed and occurred in the past six years, and, reflectively, Disney sort of shares a status update on the pop culture through "Ralph Breaks the Internet" after its 2012 predecessor "Wreck-It Ralph". How the animated sequel do that is by symbolizing Ralph as Disney's access in tackling today's addition in interactive technology through their senses of usually-expected-till-exceeded creativity and storytelling in a meaningful way with depth, rather than a new original venturing character to inadvertently avoid the animation studio's rare preference for sequels. However, it costed the settled logic into narratively nonsensical contradiction.

Best of friends videogame bad guy Ralph and racing princess Vanellope ventures into the cybernetic frontier of the internet after an incident that has placed her game out of order because of their desire for something new. With the uncharted vast of online visitation, the dynamic duo relies on the systematic manifestations to guide them where they need to go for their web search. They receive guidance from self-explanatorily named Spamley to the supervising queen of trending Yesss, and Shank from the violent online auto-racing called Slaughter Race, which becomes a calling for Vanellope and reason for Ralph's protective insecurity.

The animated second level enriches the predecessor's qualities in bolstered ingenuity when transporting to the conceptual tackling of humanistic access to the online realm while doing a comical spin on relatable courses of the everlasting usage. Besides emphasizing updated facial and bodily expressions for the characters to obvious effects, the enhanced animation envisioned a larger cyber world of logging into the internet than the singular placement of "Summer Wars" or the decent limited minimization within cell service of "The Emoji Movie". With the talented story creativity of thoroughness, the film's main component setting embodies the inner technological connection at a top-notch level, but couldn't somewhat provoke a thought of the imaginary world reflecting the actual route like its predecessor through arcade videogames.

The film has predictably enough boost to receive a perfect rating with the story in both technological and narrative terms, with the latter being on the written ingenuity, and easily relying on the effortless charm and heart from the performances to make the story typically heartwarming and funny for an enjoyable fun time - with some truthful tears in an extra length taken to make this an essential friendship film with an ode to relatable paths with eventual routine of inevitable acceptances. From that symbolizing perfection to be declared of, you would think there isn't any erroneous virus to say otherwise. Well actually as a continuation of a creative originality peak in "Wreck-It Ralph" that has settled its own logic; the sequel seems to nonsensically contradict it in order to push the story further, which proved to be a bothersome pivotal part. It's less acceptable than the self-parody in the genius Disney Princesses assembly meet and greets, followed by a surprise music number that speaks volume at moving levels.

Not only "Ralph Breaks the Internet" but he also breaks the animation studio's 5-star run out of near perfect entertainment value that still defines a total Disney experience. It ranks as one of the familial brand's better sequels that not only showed off their intellectual properties, but also their way of storytelling and detailed creativity with enough to claim one of the yearly podium's top spots for its labeling genres, including medium. (A)

Billy Elliot
Billy Elliot(2000)

A timeless contemporary classic on individualism countering hypermasculinity through a quite energetically pursuing youth while being conflictingly affected by the dysfunctional state of the fragile, harsh family. This very formula that the narrative base stemmed from enables an emotionally supportive heart with innocent humor and mostly tough drama, all being continuously expressed by the stirring score. (B+)

(Full review TBD)


A solid transitioning adaptation from stage to screen with an identical flow and spirit to mark the faithfulness, particularly the electrifyingly strong, affecting performances from the returned main cast, roaming around the cinematically-enabled extra dimensional setting to further express the close impacts of the overall power that supposedly radiates from the initial form as a way to understand that very effect without seeing it live - even though it couldâ(TM)ve gone a little further regarding the thematically noticeable lineage. (B+)

(Full review TBD)

Before We Go
Before We Go(2015)

Chris Evans' shot at directing starts out usually small in the grounded approach on the streets of nighttime New York with socially platonic guidance, filled with bolstering charisma from the chemistry he shares with Alice Eve while in a process of cementing a direction to deflect start-up pitfalls. (B)

(Full review TBD)

They Shall Not Grow Old

Footages started out primarily as film since the cinema's birth in the mid-1890s, and attempted restoration to the still-existing silent films gives future generations a chance to admire the early form, with occasional vocally-scripted interpretations to only a few while the rest remained silent as intended.

When the First World War raged as the British troops faced the fear and uncertainty in the frontline battle of Belgium near the Great War's end, the cinematic device through the camera was taken into the trenches and at a safe distance on the battlefield to film the soldiers' readiness for their finest, or final, hour along with their military routines. Since then, those footages in minimal selections were shared across museums to illustrate the war for the education on the past history; while the WWI veterans recounted their moments in the war across in conducted interviews decades later.

Now in the present that marks a century since WWI, historians and cinephiles can find common fascination in revisiting the climatic event through digitally-remastered, colorized, mostly unseen, war footages under a remarkably resourceful, honorable presentation by Peter Jackson, whose grandfather served in that very conflict. He has dug to the last pivotal details in ultimately restoring the initially-formatted greyscale lenses to the immersive life that the soldiers fought in from supportively delivered contribution of the Imperial War Museum's archives to color-checking the uniforms and landmarked settings.

"They Shall Not Grow Old" find director Peter Jackson has innovated filmmaking to a mesmerizing level with a delicate process into his resources and techniques that resulted in a great documentary, whilst still following the genre's idealized purpose. The archived footages and recorded voices remained unspecified to illustrate the voices and picture of war with some fresh and refreshing insights from the inner duration to the postwar era's beginning that reveals that they had faced the unknown path right in the aftermath.

The noble technical achievement also stand as an inspiring example for not just future filmmakers who are looking to visionary restoration but seemingly mostly for historians-to-be to gather up and learn stories from their experienced relatives who have lived through historical events and what their perspectives could value in. With that very effect as part of the documentary thought-provoking form, and the stunning revival of the century-old past, Peter Jackson achieves his goal for the film's stance while impresses and exceeds expectations that salutes "They Shall Not Grow Old" as a great WWI documentary. (A)

The Ballad of Buster Scruggs

Though declines in the constant, ranging storytelling's quality, it's what you could expect for a Coen Brothers film of dark humor and duplicated masterfulness in the more memorable anthological narrative of delivering the genre's conventions with a fine soundtrack and nicely-casted, committed performances, albeit couple convolutions towards the written point being accompanied by a question mark. (B+)

(Full review TBD)


Another case of a star leading the film like the character in the story. Tomlin, in a genuinely arguable re-established definitive spotlight, brings in witty sporadic humor and fuels dramatic argument towards generational and relationship topics under a decent feministic direction that feels somewhat stilted during some confrontations. (B+)

(Full review TBD)


The attempt to take a shot into pretentious expressionism meaningfully turned into something persuasively insightful with a sweet, conflicted heart pumped-up by good performances, particularly Danielle MacDonald in her breakthrough spotlight, and an upbeat soundtrack that the film celebrates as dedication. (B+)

(Full review TBD)

How to Train Your Dragon: The Hidden World

A final chapter generally marks the end of a journey, especially the end of an era depends on how experienced and attached the perspective been through. Whatever concludes is the finalization of the arc's journey with no further narrative, and that frankly is a reason to be nervous. But at the end, it will circle back to the very beginning, reminiscing the developmental growth of the characters on how far they have went, and, in particular, bonded throughout their respective arcs. The latest end to a story concludes "How to Train Your Dragon" from 2010 to "The Hidden World" in 2019 with the usual structure of an epic fantasy but the power perfectly blooms into something stunningly and emotionally beautiful.

At the series' peak, Berkian chief Hiccup accomplished in creating a dragon utopia around his harmonic village, but the overflowing persuades him to consider relocating to the mythic hidden world. A chain of events starts off when his buddy Toothless sought a female Light Fury that coincides with the alarming darkest threat the dynamic duo and their fellow dragon riders ever faced in protecting their people and dragons. Their only hope is to leave their home to desperately prove the existence of the hidden world for the dragons' protection, and Hiccup must come to terms that the true destines between dragon and rider must be separate.

"How to Train Your Dragon: The Hidden World" not only impresses with a grand scale for an epic fantasy finale in a form of a general, further enriching, awe-striking animated masterpiece, it is done with utter perfection that validate the probability of being the most beautiful film I have ever seen. Most of that beauty comes from how emotionally affecting the final adventure turned out to be from the story's capping-off narrative, with an alternative, game-changing antagonistic force to escalate the stakes against the bonded connections towards a provoking realization that really stirred up emotional resonance under such poignancy via empathetic reminiscent. Meanwhile in Toothless's subplot flying towards a mateâ(TM)s attention, including his diegetic questionably-ceased interactions, the new narrative development, as part of the epic continuous growth, is gently approached as part of animation tracing the natural life albeit at fictitious length.

After each chapters, the work increases across the productive elements from the storytelling to the animation, including the contributive efforts from the overall human soul that touches the heart strings into dimensional causes. Besides the trilogy's author Dean DeBlois's gracefully maintained handling of the characters and story, the keyword "soulful" is what to describe the final efforts of the cast's performances - within the improved characterization that reflects their dynamics - and composer John Powell assumingly replicating Howard Shore's score for "The Return of the King" as another magnificent layer to the film's already amazing feat. With that mentioned, the film managed to prove its eventful trilogy equivalence to Peter Jackson's Lord of the Rings. (It's that great and epic).

Into the second month of the year 2019, "The Hidden World" easily sealed its ranking among the year's best with a high standard that will inevitably get overachieved by couple other soon-to-be acclaimed, yet to be released pictures that this masterful film presented early, especially in the animated medium's very top for demonstrating the artistic power the form could powerfully manifest to express such scope. (A+)

The Color of Friendship

Disney Channel at their boldest when brilliantly addressing serious social issues in beginning enlightenment and adapting a new structure from classical recognition, which is where unintentional humor occasionally spurs from, to a finely-delivered story while building up the heart with timelessly relevant meaningful revelatory and excellent performances towards a dated script that is bothered by inevitable awkwardness. (B+)

(Full review TBD)


Writer-director Alfonso Cuarón shares a personal slice of life from his hometown that reflects off his memories which he faithfully represented under thorough control towards a masterfully accomplished storytelling across the pivotal production skills. Meanwhile, lead actress Yalitza Aparicioâ(TM)s breakthrough performance is the emotional centerpiece that livens the calmly atmospheric setting. (A-)

(Full review TBD)

Free State of Jones

Director Gary Ross pursued this historical period project with some sort of grace amid focused intentions while enabling familiar grip on the narrative energy that set up standardized expectations, and then met them with the help of McConaugheyâ(TM)s performance leading the rebellious treat the story compelled with in a riveting scale. But as historical retelling goes when resurfacing the past in cinematic format, with a bonus on how it has affected the modern times at an elliptically unbalanced length, unappealing choices were made that werenâ(TM)t subtle enough to the point of affecting the engagement to the story that could have gone without, even though the inhuman hatred already tainted things with nasty energy. Ross finished his project with a riveting story and fine casting, but some aspectual choices he made turned it into a problematic presentation. (B-)

(Full review TBD)

The Squid and the Whale

Baumbach seemingly first established his distinctive writing that has become an occasional generational theme of realistic relations through few of his following films. Circling around a divorce, the approach is surprisingly edgy in coming-of-age contextual norms as part of the maintained balance among the affected quartet family while heading in a direction of being classically open-ended that questionably lingers afterwards. (A-)

(Full review TBD)

Who Killed the Electric Car?

Generally informative with a recognizably solid structure that the genre frequently follows from hooking up engagement to questions and interviews as arguable portions for backed-up claims that leads into revelatory answers. The basis point is easily understandable with further elaboration for attempted clarity into that prior knowledge, but the flowing discussion seems to be more interested to those with automobile knowledge that reflects their hobby/fascination into cars. (B+)

(Full review TBD)

Dirty Rotten Scoundrels

When you get to the end after the charming amusement and unclear moral defense amid troubling competition, youâ(TM)ll see how the clever comedy helps itself up towards prior expectations then later the exceeding revelation to solidify the overall hilarity thanks to the dynamical clashing rivalry between Martin and Caine. (B+)

(Full review TBD)

I Want to Eat Your Pancreas (Kimi no Suizou wo Tabetai)

Looking for a tearjerker? Well unfortunately alarmingly-titled "I Want to Eat Your Pancreas" doesn't stir up much tears to meet that tearful expectation despite what the title and the premise promised. What prevented that very emotional effect is the direction - and this may also be criticizing the manga novel it's based on - but it still mostly delivers in an ordinary fashion for this very type of generally sad story being gracefully drawn.

The story focuses on an introverted protagonist who finds his place in books, till it leads him to find a diary lying around in a hospital, belonging to one of his classmates named Sakura Yamauchi, who is suffering from a terminal illness that has shut down her pancreas. As the only person outside Sakura's family to know about her illness, and how much time she has left, the unnamed protagonist promises to keep her secret then let himself joins her final ventures in life, despite their opposite personalities and gaining questioning eyes.

Sakura's upbeat attitude (thanks to Erika Harlacher's dubbing that brought her bubbly personality upfront) is an optimistic turn-around as an unconventional approach to troubled health films. Through her character, she shares informative insight towards life to not just her friend but also to us when sharing the protagonist's perspective simultaneously - especially when he is a round character at unbelievable volume. The lessons delivered on life and friendship seems to be positioned in bolstering the level if it was not sad enough to garner tears. The typically lovely film maintained the meaningful warmth that was continuously blossomed by the performances - mostly in particular from the main pair's chemistry - to make the heart blooms with related engagement.

Without spoiling it, here is where it went downwards: did not go further enough to go peacefully that could have fulfilled the tearful expectation if it were not for the bombshell that overshadowed the following emotional turns. Compare this to "A Silent Voice" at similar emotional level: managed to be heartbreaking enough to stir up little tears without causing a rift in the narrative to disrupt the flow.

"I Want to Eat Your Pancreas" is not one of the very best due to the downer disappointment, but it is still your ordinary feature-length anime with the expected qualities, most of all including a heart with wonderful efforts and animation expressing the story the only way it could. (A-)

47 Meters Down

Spielberg's "Jaws" will always reign superior on a definitive cinematic shark narrative, thus leaving other filmmakers to approach it with their own supposedly terrifying spins. Independent horror director Roberts took the extreme close encounter attraction into a decent survival story with the right pulls for thrills, but soon falters like the cage's rusty cable for overdoing and overwhelming the sisterly pair's stressful air supply. (B-)

(Full review TBD)


Rob Reiner returns to the White House's politics to reflect the story of reluctant presidency, successfully relying on Harrelson's beneficially charismatic, transformative performance with decent makeup for a fulfilled role. Although, the story demonstrates a timely forgotten meaning and delivers minimal punches, it couldn't help but be bothered on the questionable length of focus of maintaining the accuracy of the main figures' accurate role besides the basic necessary facts towards the validated worthiness of telling the story with little presentation. (B)

(Full review TBD)


Crossovers that are not Marvel nor DC are still quite a surprise, anticipating occasion when two different worlds collide. Before the superhero genre's exponential growth, M. Night Shyamalan contributed into its reemergence peak with the more realistically-grounded "Unbreakable", then reforming his flawed skills in distant thriller "Split" before immediately ending it with an interconnected note. That note leads back into the former original with a continuous and finalizing narrative as an updated reply to the genre's current version through the thin "Glass".

After the events of "Split", Crumb's superhuman multiple-personality caught Dunn's attention in his proclaimed vigilante radar, till their initial encounter led the both of them into a mental hospital being studied by a psychiatrist's logical persuasion that they do not actually possess superhuman abilities. While the newfound inner conflict is convincingly affective, their other irresponsive inmate Mr. Glass orchestrates through the shadows to fulfill his illuminated purpose by holding secrets critical to those engaged in the session.

Shyamalan wholly made this film, with a challenge to maintain the starter's thematic originality into something more distinct among today's superhero films. The first half carries the definitive stance that powered the trilogy's first act without total awareness, but the second half underwhelms the whole experience with a problematic, complicated course towards a cliched climax in scale of a pending stake. During the process of succumbing to the conventional narrative as its own enemy, it has stirred up contradicting disposability with a dumbfounding effect despite the usual creative choice for twisted senses next to understandable intention through forced distinction.

While it should have went further towards a satisfying resolution without squandering missed potential - maybe that very suggestion is coming from the updated experience from the ranging standards Marvel frequently sets - the cinematic journey during the first half, including the human soul before the unexpected sacrifices, justified it as worthwhile. The still-standing satisfaction afterwards comes from the colliding reunion of the cast's efforts, especially the "Unbreakable" cast refreshing the meaning behind their respective arcs since 2000. Furthermore, in addition to the twist, the defining effects from the two films comes together via cinematic devices from the atmospheric setting for an intriguing premise before the downfall, to the parallel music as reaction to the cast's aforementioned spirits, to the perspective panning cinematography of surrounding aura.

One quality that was particularly maintained is the approach towards the subject matter of superheroes in a more grounded, realistic light via applied analyses that Sarah Paulson stretched it further when conversing with the characters to understand the unseen logical sense. Stubbornly stated and argued till it has lost the proposed impact, it really did spiced the setting to a nice effect.

M. Night Shyamalan thoroughly displays his criticized and praised skills in "Glass" with a complicated route that the beneficially united cast followed with their contributive efforts towards deconstructing the genre's current status to uncover the original footing after so long. If it weren't for the major downfall and narrative contradiction of ignorance the second half succumbed into despite being a somewhat suitably decent ending to the trilogy, the superhero thriller would finally break into a new territory that has gotten blocked by the diagnosed flaws. (B-)

Definitely, Maybe

This charismatically-casted and -performed rom-com has put a young innocent spin to the genre with decent humor and an actual heart besides the cheesy effect, while surprisingly deconstructed "How I Met Your Mother" in one logically simpler go at a better reminiscent storytelling preference before it even ended then. (B)

(Full review TBD)

Bowling for Columbine

Michael Moore didn't just questions the violently abusive usage of guns, his emotionally-stirred investigation went straight into the buried darkness at the questionable core of violence. The delivered results being crafted into a somewhat transitional form towards the subject with accessible perspectives for impossible, helpless truths proves to not only be timelessly relevant - as validation for how thorough a documentary has touched and revealed - towards the generations-long ongoing White Stupidity, it is overwhelmingly sad enough to give you a headache as response to the graphically doomed atmosphere that is not being helped due to the apparently growing apathy. Excellent points were brought up bluntly upfront accompanied with rare humor to at least lighten the heaviness while remained arrogantly ignored by the heartless or/and simply unsolved by those trying to figure out an alternative, compromising solution to impossibly prevent it further. (B)


What makes this distinct from other financially challenging pursuits that were told through the usual cinematic treatment is, amongst the nice ensemble, the lead charisma being relied on to hold the story's engagement as well definition to solidify the worthy viewing. The direction for the story and the rest in this particularity has little effect to blandly impress till the climax pointed out an arguable moral stance that was built up and nicely delivered by McConaughey to cap off his genuinely impressive performing commitment in fulfilling the role with some sort of justice. (B-)

(Full review TBD)

Kim Possible
Kim Possible(2019)

Here's the stitch: The recent live-action treatment modernly updates the original with decent embodiment, albeit limited by the televised scale for absolute campiness and affected by both predictability and mediocrity. It has receives boosts from the performances, particularly Sadie Stanley's breakthrough in the titular role alongside Sean Giambrone as her sidekick, to make it humorously and sweetly fun that is backed up with a lesson that the heroine seems to haven't gone through which makes it a new story more or less rather than rehashing one. (B)

(Full review TBD)

The Break-Up
The Break-Up(2006)

A rom-com in total, exaggerated reverse like a battle of the witty sexes with the passionate meaning intact but only because the whole thing was ridiculous from the start, which might be a positive effect to reasonably give you the mental urge to break up with it. (C)

The Boy And The Beast (Bakemono No Ko)

After "Wolf Children", masterful storyteller Mamorou Hosoda continues depicting familial relationships in thematic explorations and stirring rare emotions in this meeting between the transformed "Jungle Book" and "Beauty and the Beast" within the realm of "Spirited Away", finding constancy in the charming animation and heart that is more riveting and equally great to the previous aforementioned masterpiece, solidifying his directorial skills as theatrical must-sees at Miyazaki's level of greatness but somewhat more emotionally engaging as well meaningful. (A)

(Full review TBD)

Napping Princess (Hirune-hime: Shiranai watashi no monogatari)

Charming style with a generically enjoyable heart, but unbounded magic made the narrative ineffective and inconsistently convoluting in the climatic collision. (B)

(Full review TBD)

Mr. Blandings Builds His Dream House

Classic presentation of dream residential pursuit that also parodied the greedy homebuilding industry without amusement because that is directed more towards Grant's stumbling performance in getting used to the growing, unfinished structure. (B)

(Full review TBD)


Further inspired since "Ex Machina", Alex Garland follows the "Arrival" suddenness in the looming mystery over the capable understanding but with the setting involving more towards the environment which is part of the genre's celebrative thematic narrative of genuine thought-provoking speculation in a form of discussable questions about our natural inner stances, even though the film would also go far to include territorial straying for further encryption after the stirring performances fuels the underlined suspense through curiosity. (B+)

(Full review TBD)

How to Train Your Dragon

The masterfully-done adaptation of the titular book series soars to fun, exhilarating heights in its own flight from graceful approach to deep emotional account. (A)

(Full review TBD)

Ready Player One

With improvement and visually simplified clarification into the cinema's favor over literature, Spielberg's visionary imagination is a fitting creativity towards adapting the titular source material into a rousing, exhilarating, fun game of a ride that has formed a common mindset of one's interaction with pop culture - hence the fun by the galore of pop culture Easter eggs. (A-)

(Full review TBD)

Taking Chance

Eventful and paces like a funeral procession as an honorable tribute to a fallen soldier in a representational, orderly fashion that the film duplicated very well, especially Bacon's performance in the front line. (B+)

(Full review TBD)

The Room
The Room(2003)

Those who think abysmal is a positive compliment would love the film's disgracefully painful, literal emptiness. (F+)


Travolta performed decently when trying to reach up to the genre's leading best, but couldn't distract from how the film tried to be an average gangster flick under successfully influenced inspiration only to be narratively senseless by being elliptical in between the effortlessly-delivered facts' rough transitions without clarifying any effective purposes nor justifying the difference. (C+)

(Full review TBD)


Linklater excels the shocking true scandal of Bernie Teide with a psychological human study that a film could only impeccably delivers on a lesser hand besides the little dark comedic energy being shadowed by the faithful docudrama craftsmanship, thoroughly-pointed courtroom argument regarding the case, and Black's effective performance. (B+)

(Full review TBD)

A Silent Voice (Koe no katachi)

Serious anime films doesn't hold back on their storytelling when discussing thematic topics, even timely ones, and they get expressively drawn with harsher effects. That's the difficult reality in this film with teen bullying in one negative side whilst endorsing Japanese sign language in the other as a positive, resulting in an emotional teen drama with social undertones as part of the excellent writing, which goes the same for the animation and performances. The representative heart manifests before it gets buried by shocking behavior, and the rest of the redemptive and acceptance path after the lengthy pivotal flashback prologue takes its time to uncover the said heart to build up a truly affective emotional resonance in genuine sympathy. Typical beauty for a standout anime, but this one in particular specializes in effectively stirring up emotions with the right recipe for it. (A-)

(Full review TBD)


The decent attempt into deconstructing narrative surrealism created unresolved and convoluted problems without a straight direction to pass through the strange behavior, but the good-natured, charismatically-performed loving display is actually thoughtful when thinking about the tackled original expression of one individual overthinking what-if scenarios as the most logically sense to decrypt the storyline. (B)

(Full review TBD)

Happy Death Day

May already gotten itself predictable considering the given clues, the slasher turn on "Groundhog Day" provides fun character-driven entertainment with manageable humor and minimally small suspense without any of the dimensional terror and bloody norms that are simultaneously received from Rothe's beneficial expressive performance. (B)

(Full review TBD)

Night School
Night School(2018)

A decent attempt in providing insight towards GED educational pursuit and inner struggles including a basic study on dropouts' livelihood, but the average comedy is graded as an okay film with occasionally sporadic humor while ridiculous unprofessionalism and spontaneity surrounds the subject matter. (B-)

She's Gotta Have It

Spike Lee made his first impression in this feature debut recalling the aesthetics from around the Golden Age of Hollywoodâ(TM)s beginning through the feministic pursuit of questioned love with a coming-of-age undertone towards identity that the love rectangle soulfully performed with a tested chemistry. (B)

(Full review TBD)

Punisher: War Zone

Surprisingly an improvement over the last shootout with Stevenson's portrayal and Salmon's also decent performance which both had been further validated in a close combat between the two as the film's most engaging action piece surrounded by mindlessly-violent, heavily-flawed mediocre blandness. (C+)

Inside Llewyn Davis

The Coen Brothers found common realistic grounds into struggling independence towards a living via an actual career with relatable subtextual sense of ups and downs through Isaac's soulful performance. (B+)

(Full review TBD)

Dragon Ball Super: Broly

Like in "Dragon Ball Z", you do have the ability to sense energies aura-wise if it radiates towards you like an effective, inanimate response to your concentrated focus on what you're seeing in front of an active scenario. Emotionally in film, they resonate towards your empathic ability; and in reality if the captured or ongoing occurrence has spoken something from your perspective. You react, then only respond inner-personally that shows how much it has affected you in a way. Then in a fictional instance when things get crazy, a new character arrives and burst out energetic waves of radiative aura and some attended characters points out the craziness in the power level. Why bringing that up particularly is the way to describe "Dragon Ball Super: Broly" whilst in relations to the lore.

Before the destruction of a planet forced a major reduction on a powerful race, a newborn unconsciously made his dangerous strength known and gotten exiled among the stars before two more younglings were later scattered away for parental reasons, not knowing their different fates would soon collide. The former newborn was raised on a wild, uncivilized planet unlike the certain other two as all three has developed unbelievable power as they grew and trained. But when destinies collides, saiyans Goku and Vegeta ultimately meets their match in Broly who strives for vengeance into a core-shaking battle.

The latest chapter of Dragon Ball ascends to another power level from the seen amazement of the previous two films to something more stunning with magnificence at enough scale to feel it with awe while eyes were widened for a long duration that no film in recent memory hasn't exactly accomplished. The term "powerful"Â? wouldn't be a case here since it requires all cinematic aspects to combine towards that worthy title. The keyword is actually "phenomenal"Â? as it kept on being repeated afterwards. This is done by the combined spectacle of upgraded animation with lot more work being put into the action sequences, then the score by the current series Norihito Sumitomo to echo the impacts, and finally capping it off with the vocal performances, particularly Vic Mignogna's dub for Broly whose energy requires simultaneity. The anime's prominent elements were done this time towards pure excellence.

Creator Akira Toriyama again personally supervised and written the story that canonized Broly into the official continuity, therefore erasing the other films he was featured in during the Z's original run. The narrative structure is nicely done with achieved storytelling goal in telling the history of the saiyans' race with little being added during the first third instead of going back and forth that would've disrupted the action's pace in the second-half. It's also well-balanced between the three main saiyans albeit giving more attention towards Broly as the main focus in terms of character development, resulting not only a more empathetic depth but within a sympathetic direction being underlined with an unapproached subtext in the anime's lore at clear effect.

The aura of "Dragon Ball Super: Broly"Â? can only be accessed via theatrical scale before the eventual downsizing. Either way, newcomers would find it flashy with apparent emotions and astounding power, while those that had stuck with the lore since the beginning understands the struggling depths and strengths of the stories and character arcs. With the anime's newfound peak uncovered for obvious declaration of being the best yet, it can go far to be considered the best of the medium's association with the action genre. (A)

Little Women
Little Women(2018)

This more modern retelling of a sweetly beloved story on sisterly relationships provides a fresh look for newcomers due to generational close connection by the young performances in an enabled proving matter that the earlier adaptations aren't exactly essentially required for prior viewing before seeing a recent remake. From that realized point, the other adaptations can be treated as ancestors to this narratively-resurrected incarnation as more of a teen drama with the basis emotions effectively duplicated while leaving the connection questionable as pivotal test for a worthy remake. (B)

(Full review TBD)

Left Behind
Left Behind(2014)

May have received an approval from the source material's authors towards the rapture's beginning of an end, what makes it a debatable worthwhile watch is the overwhelming con leaning towards the seemingly religious parody over the devastating hysteria and counter arguments that may be offensive with not much further contexts while the appeals can be sought in the manageably effective sympathetic direction and decent pointers in few performances. (C+)

Street Fight
Street Fight(2005)

Direct access into the reality of campaigning politics in a heated election stands as a feature-length promo for Cory Booker's second round to become mayor of Newark, New Jersey, showing off his charismatic relation to the people with a strong play against fighting off the opponents' horribly ignorant lack of sportsmanship. Marshall Curry's brilliantly-structured, engrossing documentary exposure is worth electing as a timelessly forgotten, probably representational example on what politics should really be in acting their own age at the same time insightful towards the unfairly corrupted shadows. (A-)

(Full review TBD)

Jiro Dreams of Sushi

Exquisitely divine would be a perfect way to praise the film that shares one man's passion for sushi, spawning out other lessons in the process from faithfully talented heritage with strict customs and focus to dreams with no such completion to the small but delicate importance for the sake of tasteful enjoyment of sushi being enforced with a leading message. Simply, it's one subject with multiple subtexts being taught beneath. (A-)

(Full review TBD)

Mary Poppins Returns

Walt Disney's proudly-achieved sensational classic "Mary Poppins" soared off the pages of P.L. Travers' book onto the screen, delighting families, then eventually shared to generations, with wonder and whimsicality as well the true definition of a family film. This kind of classic is frequently considered as independent, a one-hit wonder that doesn't need a follow-up to duplicate the magical originality that was brought into the cinema. If there was ever a follow-up announced, there is inner intention of offering a story for the current generation with remembrance and nostalgia under experiencing the replicated magic, while there is also the outer doubt on being up to the original's par. Fifty-four years later, "Mary Poppins Returns" is right at the standardized perfection as [permitted] reassurance.

A few decades since the original visit, the Banks family are struggling against the Great Depression after a devastating tragedy occurred. Then as fate has it like before, the magical nanny Mary Poppins returns to help the now-grown siblings and Michael's children to get through this difficult time, and remind them what they lost touch in.

The premise may seem to follow the "history repeats itself" trope, particularly when transferring roles to the next generation with the exception of the main character being an indirect inspirational source of subtle motivation. Even though I didn't get the time to view the original predecessor prior to the revisiting, the reliance of the structure did felt to be derivatively focused on the original while putting in new ideas that maintains the story's ideals. While it may be frown upon as a criticized flaw, it is actually understandable when continuing the story after a large gap of decades in between the two films.

Director Rob Marshall used his notable theatrical skills to take us back to Cherry Tree Lane with fantastic art direction and honoring Walt Disney's ambition of bringing the titular nanny onto the screen - physically and magically back to the screen in this case. This can be considered Marshall's best work at the most special when he managed to nostalgically bring back the grandness from the original's time, especially the purity of Disney magic that is more direct to the film's own definitive stance. One of the few aspects of the said magic that resurfaced from the original is the new animated sequence in all the missed, forgotten glory as a proposed comeback for the medium's initial form.

The most prominent factor that declared "Mary Poppins" a classic is the music that furthers the whimsical wonders as an extra filling to the heart at delightful levels. Marc Shaiman's composed score rejuvenated the classic grand feels, including the defining of Disney and the expressive return when the spectators are being transported into a magical world whereas dimensionally impossible imagination is realistically possible. The songs follows the sequel structural arrangement for similar tunes at fitting narrative placement with own meanings being carried. Now they may not be at the iconic level of the original's soundtrack, they still carry lovely and excellent tunes at some being quite almost as memorable as the predecessor's while the score itself is just plain great.

Finally, next to the music in the soul is the excellent cast's performances showing such capability of continuing a story's legacy through the main energetic source from the characterization. They all fulfilled their roles to the fullest of the original's heartening content with their own narratively-active part of reaching right up to the previous standard. Lin-Manuel Miranda's performance parallels to the still-talented Dick Van Dyke at that age with the musical charm and the choreography's extravagant center. Then the main star taking on the challenge of filling in Julie Andrews' titular shoes is Emily Blunt with a simple descriptive quote of her performance and the film as the year's most whimsically wonderful picture: "Practically perfect in every way." (A+)

If Walt was still alive at age 117, he would've floated up to the ceiling with tears of joy.

Because I Said So

A film surrounding mother-daughter relationships in a specific singular way that initially proposed the story but instead doesn't find much connective relations nor even for itself out of awkward, rushed and somewhat incomplete meaning, while benefitting from the cast's charisma in bringing the appealing humor. (B)

(Full review TBD)

Lara Croft - Tomb Raider

Those who never played the game would find creative distinction in terms of level activation with few fun action sequences standing out among the unconnected tediousness while Jolie possibly seems having the same amount of fun like a game player through an adventurous setting at a better rate than an average viewer. (B)

(Full review TBD)

The House with a Clock in Its Walls

Bloody director Eli Roth reveals a softer heartening knack for fun entertaining family stories with an actually invitingly intriguing premise charmed by a beneficial cast, while, although, understandably limited as a first-time kinder storyteller with questionable narrative choices that prevents it from reaching any further upwards. (B)

(Full review TBD)


Shyamalan seemingly finally caught up with the times in refreshing his directorial, narrative approach of generating suspense through atmospherically-affective intimidating physical embodiment in one transformative experience for McAvoy's captivating performance within an interconnected, exaggerated spin over simple complexity; therefore building a nice entertainment value. (B+)

(Full review TBD)

Bird Box
Bird Box(2018)

The mysterious hysteria is thrillingly an improvement over the similar narrative from "The Happening" while taking some notes from "A Quiet Place" in removing the usage of an embodied sense with effective performances particularly Bullock's, whose blinded direction inadvertently replicates the film's. (B)

(Full review TBD)

The Legacy of a Whitetail Deer Hunter

Honestly a flawed disappointment when pathetic egoism made a characteristic appearance through Brolin's succumbed performance with failed charisma to overcome the ridiculousness then forgotten the important value of bonding that lacks the expected resonance, except for the sporadic cultural clash humor. (C+)

I, Tonya
I, Tonya(2018)

At a glance, it's a sports story of a figure vying for top scoring towards a successful dream. But when getting to know the subject, the profile is actual absurdity in realistic surrealism with linear narration being backed up by the balanced nature of behavioral immorality, whilst stirring up an amusing sense of humor over the scandalous drama and good performances from the cast's top podiums. (B)

(Full review TBD)

Hardcore Henry

Transferred the first-person shooting videogame narrative and action sequences into a film seems to pleasantly leveled up the genre for exhilarating adrenaline and decent attempt for immersive role albeit the uncontrollable shaking, but it then faltered at the overdoing of the violent play and eventually got inevitably weakened. (B-)

The Last Laugh

Chase and Dreyfuss's comeback tour of their former prime guarantees laughs at their jokes and dynamic that heartening says they still got it, not without the weight of emotionally complicated setback as an obstacle and meaningful push. (B+)

(Full review TBD)

Cartel Land
Cartel Land(2015)

Thrillingly powerful - and terrifyingly persuasive with morality still being questioned - as Heineman riskily, with astonishing commitment, ventures out to uncover the hidden truth with overwhelmingly disturbing, visually raw results that are mostly sickening and actively injustice. Besides providing an ideological message, this is an addressing call for help that is being ignored by the cowardly, corrupt governments with supposed ignorance; and this very documentary over-achieves its genre's accessible role for the hard truth into the hidden reality. (B+)

(Full review TBD)

Black Panther

A particular type of movie transports us to a new world, and entering through that door to get a seat is like entering into an airplane. Depends on the country, or culture, and the number of films that were made under their own domestic taste, it's the majority of the audience's taste in familiarity, which leaves the independent and foreign films to broaden our horizons. Now into the superhero genre, comics are just colorful drawings while film adaptations of selective storylines are lively like our world - while at the same time works as our escapism. From what just been said, Marvel's latest solo outing for a proper feature and intro of the starred hero's world "Black Panther" offers a unique and graceful cultural experience within the genre's standards but exceeds expectations to be an exhilarating peak.

After "Civil War" wherein T'Challa's father died, the son returns home to a hidden, technologically advanced African nation of Wakanda to properly take his rightful place as king. As he returned home, his beginning duties as king meets the first bump when drawn to an age-old, unresolved conflict that invites another, still-connected conflict of hidden heritage. T'Challa's faces treachery and danger as his identity as both king and the Black Panther gets threatened, along with the questionable fate of his homeland's stance towards the rest of the outside world, as well heritage customs.

While it's a unique experience and honorably restricted within the homeland narrative boundaries, "Black Panther" continues the Marvel-ous power of glorifying excellence under its own cinematic creativity. The exhilarating peak of the MCU, as well the bar-raising standards for a solo film, is due to how absorbing the introduced world is with fully embodied characters to express their ideals and culture's importance, including perfect chemistry and appealing attachment. While the exhilaration and absorption are both minimally powered by the further advanced visual effects, what took them to the maximum is the human soul via the great cast's performances, reaching an emotional peak for such filmic soul of an MCU film - with the emphasis provided by Ludwig Gï¿ 1/2ransson's composed score juggling between cultural African elements and cinematic customs whilst accompanied by specially associated experimental hip hop.

From "Fruitvale Station" to "Creed" to this mainstream blockbuster, director Ryan Coogler continues his modernizing Spike Lee-esque auteuristic theme and taste with realistic depth, especially behind the antagonistic force of stirring the complicating action towards something of humanization. This film really fits into his constant vision of presenting overlooked cultures and characters that are mainly people of color, with the maintained touch of reality within an attractively accustomed superhero world. Couple occasions throughout the film showed impressive cinematography by Rachel Morrison ("Mudbound") with a long shot of an occurring brawl and few trippy rotations along with Coogler's own way to emphasize a moment like how a composer does.

"Black Panther" is probably the most meaningful in terms of realism through authentic designs, tastes and thematic ideas that speaks volumes into fine representations of ethnicities as in it is culture over the visual presentation of introducing a hidden world, thanks to the excellent determination of the cast, particularly, and crew, including the director himself. Not only did this solo film ultimately raised the standards of a solo-focused MCU film with the computer-generated, action-packed and explored exhilaration and very well performed, dynamical emotion of displaying perfect chemistries, it also places the film in a contending race of such award-winning potentials than most visually-impressive Marvel films. So as a superhero film in a benchmarking franchise, it's the best singular picture yet; then as a regular film for those outside the comics and even the interconnected cinematic universe, it's entertaining with a self-contained value. (A+)

Wakanda Forever

Fantastic Beasts: The Crimes of Grindelwald

Unlike the singularity in installments of a book series, the "Fantastic Beasts" series expanded the in-canon textbook for the exclusive storytelling being told through the cinematic platform after experiencing both literature and after a theatrical stage play. Furthermore, the singular expansive "book" that is being divided into five films is still in progress with the writing still in development and the reading following the available pacing. With prior acknowledgement of understanding after the expositional chapter the starter film begun as with its own footing, "The Crimes of Grindelwald" casted an exhilarating spell in really pushing the story forward but the cinematic lens exposes the setbacks.

At the second-fifth of the in-progress book, the powerful dark wizard Gellert Grindelwald escaped custody and grows his cause further with gathering followers in raising pure-blood wizards to rule over all non-magical beings. Since he had a troublesome hand in help capturing Grindelwald in the previous chapter, Newt Scamander is tasked to look out for the potential dark lord by Hogwarts' Professor Albus Dumbledore while dealing with the resurfaced past.

When thinking about it afterwards, the positional flow still maintain the aforementioned expected pacing despite few distractive and suddenly-developed plot points. Comparing this particular storyline to the previous chapter not only pushes the story further but is mostly a filler while increasing the characterization for pivotal reasons in the coming chapters. Newt Scamander carries the protagonist's torch as the main focus of the prequel series, only to get mostly distracted in his romantic pursuit as the main reason over Dumbledore's assignment which coincidently aligns before interconnecting into one before the second-half. Meanwhile, Grindelwald, the antagonistic opposite, has actual plot development over the film's course.

J.K. Rowling's writing remains visionary as ever with reminiscing magic and fresh additional depth that expands and embraces across her single-handedly written Wizarding World with a sense of cultural representation, as well diversity. While her writing is at a steady pace in continuation in between the first and third chapter, it's the actual flawed direction from the unbalanced focus like director David Yates, who have directed since "Order of the Phoenix", felt the need to give the main plotline focus to the main protagonist. However, he managed to actually make this chapter exhilarating by putting in surprising thrills and radiance, as well tonal familiarity throughout the narrative, reflecting the magic from wondrous displays of the visually-created beasts and thrills to James Newton Howard's amped up score to the particularity of the production designs, namely the return to Hogwarts that will delight fans with nostalgia.

Receiving a bigger spotlight for more developmental exposure, Johnny Depp shines as the titular antagonist, proving that his controversial casting wasn't a problem while adding another prolific character in his eccentric range of acting. His actual opposite is Jude Law as the young Dumbledore who also performed perfectly but seemingly more like a young Michael Gambon than Richard Harris. As Newt's story gets dragged into the distant though inevitable bout between the two powerful wizards, Redmayne returned with his frequently experienced peculiarity, but not enough to claim the main spotlight like before.

"Fantastic Beasts: The Crimes of Grindelwald" brought the prequel series much closer to the Harry Potter portion of the wizarding history rather than a standalone that the starter proposed an impression of; and that is okay considering the understanding of this chapter's positional flow of Rowling's in-progress "book". Overall aside from the unbalanced focus with the directed exhilaration, fine performances and flawless writing, the entertainment value is moderately spellbinding. (B+)

Pokémon the Movie: The Power of Us

The Pokemon franchise is across three platforms and the anime is animated storytelling that let you sit back and watch, but the supposed enjoyment value either doesn't catch them all or gets lost in interested translation. Most of the films offer a better enjoyment value that the viewers' preference, and the animation production, goes to the favor of feature-length theatricality over the televised episodes, particularly the current cinematic alternate continuity that has rebooted the anime. "The Power of Us" is told under a new written direction that refreshes the anime's value with further piqued interest, finding retained qualities from the heartening nostalgic predecessor and familiar childish tone.

An all-new storyline whilst looking up to the similarly-titled second film introduces new characters and their own arcs with actual patience without any bloating nor unbalancing: high school student Risa, compulsive liar Callahan, shy researcher Toren, bitter old woman Harriett, and secretive little girl Margo. Across different backgrounds with personal insecurities, the five strangers soon cross paths during the annual Wind Festival in the seaside Fula City, and will work together when mysterious trouble starts to escalate, with the help of traveling trainer Ash Ketchum and his partner Pikachu, to put aside their differences and learn the power of teamwork.

The 21st installment of the anime film series is helmed by a different director, Tetsuo Yajima, who presented a compelling written direction that is refreshing when dividing the spotlight to new characters who takes the story with their personal arcs that gets tied like strings later on. Each of their personalities presents a different aspectual perspective in the lore that is realistic enough to provoke an empathetic attachment. The characterization is pretty much the main factor of persuasion to see the film at a theatrical scale, to find the writing well done and the balance being improved in handling multiple storylines as satisfaction for a more suitable length.

Enjoyable like most at an average rate, it's not exactly good as its predecessor "I Choose You!" despite the fresh approach, slightly upgraded animation and retained qualities including the subtle darkness with actual thrilling stakes. This is actually due to the cheesy, childish spirit as part of the formulaic tonal familiarity that the other tiresomely usual protagonist injected with understanding inspirational motivation as part of his character with better progression within the same pivotal position. It's the franchise's usual momentum that won't help lighten the film's chance on garnering new trainers.

"The Power of Us" may not exactly convert any outsiders, but those that had stick with the franchise since the beginning would most likely enjoy it as it is ranked in the top few from the fresh direction to the maintained preferably enjoyable narrative over the televised anime with the usual heart - and a subtextual sense of unity. (B+)

The Nutcracker and the Four Realms

Marius Petipa's 1892 ballet "The Nutcracker" has been translated with few modernized modifications to the writing over the years including parodic iterations and homages of the story's soul. You get the story, but ever thought of attending the actual ballet being performed live on stage? Directors Lasse Hallstrom - and minimally Joe Johnston - inadvertently persuaded in pushing that thought further into consideration.

Under Disney's continuous specialization of magical showcases, by a little of directorial exploitation, "The Nutcracker and the Four Realms" retains the ballet's original storytelling, but the required basis is rather questionable in this very iteration. The story focuses on Clara's suddenly gifted desire for a key to unlock a box from her late mother, and it leads her onto a mystical adventure courteous of her tinkering godfather Drosselmeyer. She receives guidance from encountering a soldier named Phillip and learns of the three Realms respectively under Snowflakes, Flowers, and Sweets, with the fourth Realm being where she needs to face tyrant Mother Ginger in order to not just retrieve her rightful key but also return harmony to the unstable world that she's connected to.

Nothing much to expect prior to the viewing if you only acknowledged the story that is Disney's latest large scale fantasy adventure with no possible wrongdoing except the probability of being the holiday version of the earlier picture "A Wrinkle in Time". And also, a probable chance to hopefully see utter faithfulness to the ballet. Only to find it being a case of a loose adaptation while borrowing elements from very well-known young heroine narratives, namely in particular "The Wizard of Oz" and "The Chronicles of Narnia" next to the other aforementioned fantasy. Though it's still a pleasant adventure of visionary spectacle, especially on how it was well designed through production and costumes.

Hallstrom's, who mainly helmed the yule log with Johnston co-credited for reshoots, sudden jump into visual spectacle shows at least fine capability on tackling such scale, without forgetting a heartening injection that was buried then dug out by pivotal courageous momentum.

Out of the whole spectacle with attempted ballet sequences and unoriginal spirit of self-validation as being loose, and eventually twisted, the soul was conflicted between the efforts of different sides despite the casting as a whole. Mackenzie Foy performed with better acceptance in effort, next to the casting of Morgan Freeman bring generously gentle charm. But the praise stop there in term of soul when Kiera Knightley's performance is admittedly a contender for a Razzie - and possibly including Helen Mirren albeit her casting treatment adjunct to Freeman.

Disney's latest presentation of their continuous specialization in magical showcases "The Nutcracker and the Four Realms" is flawed by the conflicted soul and derivative elements, not to mention how distant it is from being faithful to the now compelling ballet. I think it can be agreed that Disney should take a break from this scaled exploitation for clearer mindset. Nonetheless, it can still be enjoyed when accepting those flaws at an adventurous cost with a buried heart. (B)


A sequel is usually in position to add more to the predecessor as well ably improve it, while a prequel is positioned the same except to enhance the released chapter with the improvement part being translated through a hefty narrative with understanding background for acknowledgement carriage. The Transformers franchise isn't exactly helpful to itself when each story continue on being flawed in bothersome fashion though without being non-enjoyable still. But there seem to be a generational gap amid the mixed reception, and fans of the toyline's Generation 1 and resulted cartoon apparently aren't pleased with the current live-action films that the other fans managed to find entertainment value slightly over the minimum. Fortunately, common grounds can now be settled for both sides' satisfaction and pure enjoyment when going to the past in the transformative solo ride "Bumblebee".

Taking place in the mid-1980s, Autobot Bumblebee is on his own with an assigned mission that had put him on the run till he absent-mindedly finds refuge in a junkyard in a small California beach town, disguised as a broken yellow VW bug. His forgotten life finds a reboot when Charlie, a teen who is about to be a young adult, discovers and fixes him without knowing till she quickly learns how unordinary the car is, and what kind of mess she got into. Through it all, itï¿ 1/2(TM)s the start of a beautiful friendship that each will help each other finding themselves.

Director Travis Knight brings fresh fuel into the films with Michael Bay's mediocrely explosive taste taken out of the formula, uncovering something more wholesome that the other films were probably missing. While at times they may be exhilarating, Knight made it perfectly fun and delightfully refreshing with more heart - akin to "The Iron Giant" - thanks to the gentle approach pleasantly under a different though similar direction. The story of friendship between Charlie and Bee is categorized like any other story whereas a person(s) befriended an extraordinary soul that makes them personally reflect who they are for the better through a protective bond.

The one notably solid improvement this film done is the balance between Transformers and humans when it was the latter that dominated the majority of the other films instead of the titular former not in the main spotlight besides doing most of the action. Of course the film only focused on couple of Transformers with less in the assortment, but it proved a better sense of storytelling that has been seemingly lacked. The spectacle is dazzling by apparent simplicity while displaying a sense of nostalgia by how it was designed and choreographed - along with the elegant taste in music for the period setting. And the human drama is more enriching with a coming-of-age arc with unraveling depth - yet another formulaic structure namely "Age of Extinction" didn't provide further.

The human half of the story is divided into two with Hailee Steinfeld as Charlie Wilson and John Cena as Sector 7 agent Jack Burns hunting down the unknown visitor. Both of them lead their respective narrative halves with actual emotional efforts in their great charismatic performances.

Question: Has this improved the film series overall? Despite the improvements in frequently noted aspects from before, "Bumblebee" generally provides depth and possible positional retcon till it gets forgotten when other films gets a little more problematic in chronological order. It genuinely is the best whilst tied to its chronological starting successor, but the qualities mentioned above proves there is more than meets the eye when there's a definitive heart lies in the soul's center. That is what the entertainment value/ride has to offer. (A-)

Spider-Man: Into the Spider-Verse

Across the comic book industry, the idea of a multiverse has diminished the canon boundary for unlimited creativity in different stories while using versions of the same character. Marvel's flagship character and company mascot Spider-Man broke grounds as an independent young heroic student in both lives, which labels him as a wild card of storytelling possibilities in multiple ranges of what he is unlike the other heroes are pretty much straight forward with not much to creatively twist in different ways. Even though Doctor Strange unveils the dimensional multiverses, Spider-Man embodies the concept the most - under Marvel's brand - and the narrative acceptance that expands the lore is brought together in "Spider-Man: Into the Spider-Verse".

The basis of a Spider-Man story sees Brooklyn teen Miles Morales, in his cinematic introduction, as a new student taking on challenges and the complex of his familial relationships. Things get more coincidently weird when he receives a fateful spider bite that gave him a little more uncontrollable possibilities than a spider can. But after a traumatizing moment he'd witnessed as the start of something bigger, he rises to be responsible of his given power, with the unexpected help of the Spider-Verse where more than one can wears the mask.

Spider-Man is currently in his second reboot with the MCU, among couple of other iterations in this century, and Sony continues in offering a contributive narrative bonus for the young hero with the expansive multiverse at a beneficial bargaining rate. The focus of the film's storytelling is to not only demonstrate a unique case of a multiverse becoming explanatory; it's to introduce a new range of characters while focusing on a different Spider-Man than Peter Parker. The refreshing experience really rehashed the lore's keywords "amazing" and "spectacular" to celebrate the hero's defining legacy, namely what makes a hero and what is Spider-Man. (In other words, the story basically de-aged the original second chapter's complications). The diverse characterization is the sole factor that runs the film as Marvel's probably most creative heroic deed, while also genuinely bold.

With the diverse characterization courtesy of the Spider-Verse, the heartfelt, fun originality of the narrative structure and astounding animation - as a flashy groundbreaking visual style from replicating the drawn surface of comics, and enabling fast-paced action under such momentum - are run by the exceptional casting in not just producing charm but also dimensionally breaking out (pun not intended) the newly introduced characters. While they build up the heart through the aforementioned attempt of heroic definition, they provoked emotional resonance in few scenes while most of the time for fun stirring up the humor.

"Spider-Man: Into the Spider-Verse" swings to the top next to "Homecoming" under relations to the rest of the web-slinger's film franchise, while the qualities overall makes this the best creativity that was ever expressed and presented/demonstrated under Marvel, including their okay animation branch. When ranked among the yearly released, it's certainly one of the very few to be considered the year's best animated feature by heart and creativity - effectively similar in akin to "Ralph Breaks the Internet" - as well definitely ranking among the year's top ten. You could say the film possesses great power, and is greatly responsible towards such. (A+)

Creed II
Creed II(2018)

The story of Rocky Balboa has faced two revivals, continuing on showing different stages of the duration and aftermath of his achieved American Dream, and the second revival shifted focus to the next generation that is the unexpected offspring of his late-friendly rival. The second chapter of Adonis Creed's story continues his mentor's story to the polishing end along the solid beginning that not only pushes his story in full gear; it also serves as a subtle reboot to the three "Rocky" sequel. "Creed II" tensely demonstrates that history does repeats itself, as well the familiar circumstances and haunting stake within with more impact and surprising insight in another story.

Adonis Creed continues his father's legacy with his own footing in the boxing ring, till he caught familiar attention from the blood that grimly took out his father decades ago. Vitor Drago, son of retired Russian boxer Ivan Drago, is out to restore the fiery honor of his father's abandoned name by taking out the shared generation of his opponent. Complications arises for Adonis when facing the question of what's worth fighting for from his mentor Rocky Balboa's haunting perspective and reluctant support, and finding out nothing's more important than family.

If you're watching "Creed II", then you probably witnessed the horrible turnout in "Rocky IV" that haunts this eighth installment with the more aware stakes being replayed and not forgotten out of tense worrisome. History tensely repeats itself with emotional grips - thanks to the effective cinematography emphasizing the impacts, and surprisingly hefty parallels between the two fighters, particularly the opposite Vitor in his down-to-street training and complexity in relationships and expectations towards acceptance. His sympathetically-directed story actually provoked resonance to the point of hoping for a positive resolution at his story's end while obviously rooting for Adonis's victorious safety. The very well-performed characterization overall is exceptional through individually thorough narratives in their expressed concerns and desires.

Speaking of repeated history, what makes this sequel slight lesser than its fresh predecessor's fresh beginning is the rehashed formula of the four "Rocky" sequels from family to training to support to the pivotal rematch. It's a Creed story that also paralleled with Balboa, but with different more emotional spins, with increased strength in the training montage and better focus - which the latter solidifies this a better-done sequel.

Thinking about how the climatic matches in the previous two installments resulted, "Creed II" is in place of the primary protagonist with the predecessor still undefeated champ. This particular sequel is still victorious as the best sequel out of the whole franchise next to "Rocky Balboa" with a solid structure of qualities being defined by the emotional strength being put into the rehashed punches. Like being embraced by the congratulating moment, it's a cheerful picture that pretty much finalized the story. (A-)

10,000 B.C.
10,000 B.C.(2008)

Roland Emmerich's attempt to go for something prehistoric is like a student who gets the idea but didn't answer the question correctly on the history test, and that kind of mindset affected the film with a generic story hovering over the problematic anachronistic inaccuracy. The only impressive achievements goes to the epically-scaled visuals that were the narrative production's primary focus next to lesser casting with riveting though corny and forgettable blood. (B-)

Mortal Engines

"City of Ember"; "Inkheart"; "Eragon"; "A Wrinkle in Time"; "Ender's Game"; and "The Golden Compass". Naming a couple of book-turned-film titles that were decently acclaimed on paper, but the interpreted vision of literature tend to be inferiorly received, which brings up the debate of preferring adaptations between books and films. What's special about those titles is that they're stuck with ill-fated luggage of being blocked from narrative continuation that the books were more capable of, and the appealingly adventurous scale that the films presents couldn't go any further in unfortunate matter. But that doesn't mean they're not enjoyable (well, most of them); and joining them is Peter Jackson's new writing visual project with his longtime collaborator Christian Rivers helming the project: "Mortal Engines."

"Mortal Engines" is a huge-scaled dystopian novel taking place few centuries after civilization was destroyed by a cataclysmic event, known as Sixty-Minute War, and cities are now able to mobilize towards the survival of the fittest for resources with London as a giant predator on wheels devouring everything in its path. The only one who can disabled London's engines and secretive, destructive plan of power is Hester Shaw, fiercely-driven with a personal vendetta in memory of her mother. She's later joined by London outcast Tom Natsworthy and dangerous outlaw Anna Fang with a similar motive, while London's head Thaddeus Valentine is in calm desperation to move forward his plan of a supposable key to use increased power to forcibly gather more resources.

It provides an enjoyable thrilling experience by its expected spectacle that settled its own theatrical scale as a way to validate a worthy cinematic experience with visualized set pieces that garners awes, as well visually proved helpful on an impacting scale of the narration that the film delivers in envisioned emphasis. Furthermore, the atmosphere is routinely backed up by Junkie XL's riveting score, and a little from the cast's decent performances, especially Hera Hilmar's breakthrough heroine. Also, there's a subtle interpretation on the dystopian context that led up to a question regarding the rules of the genre of unwanted necessary, solidly strong unity as a sane logical movement. With this amount of imprinting deliverance that a film could entertain, it's however still unbalanced.

Unlike the injected cinematic devices onto the source material, it has left quite a distance from the story not being at the same imprinting level. The structure is clear enough to see how it was initially written, the general story itself enforced the negative tip of the balance scale by the simultaneous soullessness when the spectacle takes the driver's seats with overcoming machines till man re-claims the steering wheel at the last minute. If you were writing a story over the Grand Canyon, how can you justify the immersive offering smoothly while having human drama at its justifying center? That's what Jackson and his frequent collaborative team missed, thus meeting the newly set low bar.

"Mortal Engines" finds Christian Rivers' directorial debut in a similar matter of a production crew role under the guide of an acclaimed director taking on the challenge of helming a project, and he'd reached the acceptable standard with expected imagery and scale of exceptional spirit within a sort-of immersive experience. Even though it has become a new title in the aforementioned book list of ill-fate blocked continuation because the flaws reached towards a level of an unbalanced impression, it still delivers with acceptable enjoyment. (B)

Lars and the Real Girl

First off, ridiculously silly inner story-wise. But primarily on the other hand, the therapeutic direction made it all convincing with caring meaningfulness and brief insight that the mesmerizing script and performances were able to express nicely. (B)

(Full review TBD)


A neat discussion that pushes the false before true love trope with neat thoroughness and meaning of romantic pursuit and growing chemistry, and leading it all is the finely performed chemistry from the main pair in their particular shiny best. (B+)

(Full review TBD)

Baby Boom
Baby Boom(1987)

Like her character in the film, Diane Keaton carries the film very well by not turning the act into pure amusement but also perfectly embodying independent motherhood in unexpected struggles and decision-making, which the latter is eventually where the heart truly blossoms in the solidification of the mostly maintained subjective meaning. (B+)

(Full review TBD)

Mars Attacks!

Tim Burton's visions are generally unique with weird delight, but his attempt at "Independence Day" in spoofing the alien invasion narrative is probably at his most twisted to actually enable the ability to stir up a headache. Besides the 50s homage to how the subgenre got formed, chaos ensued in idiotic destruction and carelessly disposing characterization that squandered the impressive ensemble once interactive contact began. (B-)

Destination Wedding

Dialogue driven like the "Before" trilogy with the similar fueling focus portrayal of charming chemistry under a humbling, slightly unconventional approach by Reeves and Ryder, stirring up humorous remarks that weren't maintained since the first act with the second act's beginning of awkward bumps. (B)

(Full review TBD)


Director Denis Villeneuve at his most unique and subtle when placing himself in decrypting David Lynch's psychological mindset with simplified complexity and trickily committed dual performance from Gyllenhaal. (B)

(Full review TBD)

The Crow
The Crow(1994)

Haunted by the deadly incident, Brandon Lee carried the revenge flick with empathetically darkly-embraced spirit to roam around the Gotham-inspired visual style in countering against the unhealthy parasitic infections without being bloodily gruesome, manifesting what could probably be the darkest treat to enjoy. (B+)

(Full review TBD)

Aeon Flux
Aeon Flux(2005)

Utterly nonsensical and humbly bland to the convoluting point to just mutually not care due to the lacks of efforts, while also too generic in the choppily edited action. (C)

A Star is Born

This contemporary modernization of the story's third round in second retelling may be the least effective when bloated enough for fatigue occurrence, while it's still emotionally effective from the pair's performing chemistry, particularly Streisand's singing vocals albeit her part in the unbalanced kinetic pattern. (B)

(Full review TBD)

Lost in Space

Films like this managed to give the next generation a sense of the original's episodic structure, as well sort of embodies the campiness in the derivative visual style. Unfortunately, as it may be a decent film that is only good when off-topic, this bloated remake only comes across as bland with not much effort in the mediocre performances by distractive casting. (B-)

(Full review TBD)


Intriguing story with a charming cast teaches where true beauty lies in a thoughtful way towards acceptance from an open perspective, albeit the exploitation that validates the genuine sloppy direction. (B)

(Full review TBD)


If you've seen the original and remember the basis plot points, then you wouldn't miss much if you skip to the second half that managed to pick the film up from total blandness that was spreading throughout the first half. The refreshing remake may have little humor beneath the moral sympathy, it later adds some sort of heart in the gender reverse circumstanced structure. (B-)

(Full review TBD)

Rumor Has It
Rumor Has It(2005)

One of those films whereas the plot's initial setup wraps up during the first third and let the rest be run by cliched plot elements, even if this particular film reverses "The Graduate" under a more awkward yet friendly light with laughable humor and convincingly-emotional heart courtesy of the fine cast with their charming efforts that made the film worth watching. (B)

(Full review TBD)


As expected, good-natured with the genre's healing medicine for the heart's blossomy climax in the little magical warmth as the young Harrell maintained with young wondrous innocence, even if things generally tends to get overdone like in any children's film. (B)

(Full review TBD)

The Holiday Calendar

Cornily cliched route that is a little more predictable than the elegant decorative calendar with the usual sense of charm and fittingly occasional for the yuletide cheer from an acceptable watch. (B-)

(Full review TBD)

The Princess Switch

While the televised holiday genre receives countless new additions yearly, this film - led by Hudgens' charismatic heart to become an average holiday film with the seasonal warmth and charm - demonstrates how positively effective the recycling process benefits the particular filmic storytelling when attempted some new spins to the overused plot structure that eventually becomes intriguing as the story progresses despite the cheesiness. (B)

(Full review TBD)

Food, Inc.
Food, Inc.(2009)

Documentaries are placed in a persuasive role to unveil truths and push for a requested immediate action to fix the thoroughly addressed - mostly in most cases - problems. They're generally insightful as well eye-opening when the nicely gathered facts shows a harsher reality if the subject is serious. This particular important documentary elaborates on the existing awareness through intriguing topics that eventually exposes tyranny in the industrial agriculture business who arrogantly only care about greed over consumers' health - and the frequent declines to be interviewed doesn't lighten their troubled ignorant positions except only make them shadier into further implications of the actual truth they don't want leaked out. Even with the message being spread throughout this essentiality, the sensitivity is jarring when choosing to display sick footages of animals losing the outer purpose of their inner souls, instead slaughter gets wedged in-between. It's quite understandable on how that one-third portion could produce an absolute effect for vegetarian conversion, accompanied by suggestible thought-provoking alternativeness. However, no matter what the conversion or the alternativeness produce, it won't shift the tyrannical tide. But this documentary is timeless with awareness that needs to be listened, even though the price would be seeing how graphic a truth can get when it should've alternatively gone subtle. (B)

(Full review TBD)

The Waterboy
The Waterboy(1998)

Self-sacrificial foul play was occurring on the field, making this average early Sandler comedy, with a low IQ, worse than "The Best of Times" by abysmal strategies that's genuinely insulting/unsurprisingly offensive. Even though the comedy scored rare chuckles, it's basically a waste of time and embarrassment for most of the cast. (C)

The Christmas Chronicles

Newly different spins on the traditional yuletide cheer through mostly festive storytelling are always fresh treats for the holidays, and this fun tale is no exception whilst being signified by Russell's charismatically definitive performance and the glowing heart of familial bonding. (B+)

(Full review TBD)

The Concorde... Airport '79

Wouldn't be surprise if this purely campy, dull, nonsensical cinematic equivalent of darts, with horrible aim, is secretly a factor of persuasion that pushed the recall of the titular line of flight besides crash landing the once-impressive franchise after the validated loss of altitude. (C+)

Airport '77
Airport '77(1977)

Still carries the disastrous chronicles' impressive scale with an interesting circumstance that generates medical drama and thrills while the characterization is more decent than the previous bunch but the focus is rather unbalanced amid the overdone reaping, despite being close to the original flow. (B)

(Full review TBD)

Mowgli: Legend of the Jungle

Genuinely ambitious considering its too-soon placement despite the understandable planned procedure with acceptable results while managed to roar its own entertainment value. Definitely inferior to Disney's hearteningly friendlier interpretation with the story's wonder maintained, it still offers a compelling gritty version that is closer to the material, including the reflective journey, with agreeably impressive visual effects, albeit the cartoonish jawlines and stressed poses, backed up by nice voice-acting, as well Chand's young spirited performance. (B)

(Full review TBD)

Hello, My Name is Doris

Sally Field committed herself in an embarrassing role that fueled this inappropriately awkward rom-com's demonstration of unbounded love under appreciation of anti-ageism with a fragile heart. (B)

(Full review TBD)

An Interview With God

The simplistic, pretentious biblical drama's own individual captivating peak is the well-casted, nicely-performed titular interview with not much interpreted revelation to add into the basic knowledge of the inner relationship besides restoring faith. Therefore it's slow, but the gentle reassuring charm makes it worthwhile by distancing from disappointing expectation. (B)

(Full review TBD)

The Meyerowitz Stories (New and Selected)

Director Noah Baumbach continues on unveiling the generational gap with dramatic humor in focusing this time on familial dynamics, bringing the best out of the brilliant though unique ensemble casting to express the dysfunctional, cooperative heart across the socially-reflective, relatable writing. (A-)

(Full review TBD)

The Duchess
The Duchess(2008)

Knightley gave an affecting performance as her probable best yet while gesturing towards genuine subtle feminism, along with Fiennes performing nicely though instigating the unresolved male privilege effects as a counter comment that had roughen the artistically not-so-distant fact-based melodramatic atmosphere. (B)

(Full review TBD)

Touch of Evil

Surprisingly modern like it was ahead of its time as another masterfully impressive feat from Orson Welles has an ordinary routine for a classic film noir ultimately defined by the skillfully helmed talent with tautness across the cinematic devices surrounding the excellent performances, even though the subtext can be received with contemporary difficulty. (A-)

(Full review TBD)


DC Comics made a commitment to follow Marvel's game plan, only to struggle when rushing their slate to find little spectatorship optimism in towards their choices till an open-minded solid reaction surfaces upon a new installment in the Extended Universe. So far "Wonder Woman" has set a peak for the overall interconnected narrative after "Man of Steel", while the rest were chopped out of studio interference to be seen as the most troublesome despite acceptable flaw being seen as exceptions. It seems individual stories works best with less stressful reliance and more explorative focus surrounding one hero's strength and obstacles, and "Aquaman" proves that point - as well defends the cinematic medium over the animated department.

Arthur Curry is half-human and half-Atlantean, who was raised by his father while his mother was forced to answer her royal duties under the sea as Queen of Atlantis. After the events of "Justice League", Arthur must answer to his inheritance of becoming king and dethrone his war-mongering half-brother Orm who is trying to further trigger a war against the surface dwellers. But as he remembers what he learned from the past when facing the present, Arthur goes on a journey that will test his worthiness of claiming his birthright.

From start to finish, "Aquaman" is exhilarating, constantly powered by metallic and soulful vibe through Rupert Gregson-Williams' composed music and a little occasionally expressive jukebox. The music overall is the main element that backed up the world-building that's akin to "Black Panther" in explorative narration - and "Thor" by spirit - into a best visionary experience. Within the whole spectacle, the action is fast-paced with strong emphasizing impacts and stunning scale as part of the overall embodiment of the characters and the story that generates the genre's old-fashioned rising fun in awesome momentum. It has become a rare case for DC Comics when a live action film offers superior entertainment value over the animated counterpart, namely "Justice League: Throne of Atlantis".

While director James Wan helmed the project with increased skills to match the required scale, the finely-casted ensemble radiated their charismatically-energized efforts from deep within the frame's center, further validating the perfect embodiment whilst building up both heart and humor, as well strength. Amber Heard and Patrick Wilson's performances did just that, while the nicely-casted Willem Dafoe and Nicole Kidman performed as scene-stealing guides â" plus the heart from the latter. Yahya Abdul-Mateen II showed ordinarily ruthlessness for an average secondarily pivotal antagonist for the genre. Gripping the spotlightâ(TM)s anchor, Jason Momoa took things further for his iteration of the titular character as the significant driver for the genre's old-fashioned fun, uniquely injected humor, and strong efforts as a way to build up the definition of Aquaman. The cast's efforts and roles basically parallels to "Thor".

The entertainment value, plus brighten qualities, equals "Aquaman" to "Wonder Woman" with efforts being continuously praised towards the shared universe franchise, spirited and role-playing as "Thor" and impressive singular world-building akin to "Black Panther". But what truly defines the film's experience is the exhilarating ride that envelops the spiritually-formulaic structure with its own visionary scale and metallic and soulful vibes, placing "Batman v Superman" in third place of the franchise's overall ranking. (A)

The Spy Who Dumped Me

The storyline's different as in unique to the spy genre while replicating the psychosis of an uninvolved standby expressed through the confusing action and turns with the usual twisted sense. But the engagement runs on McKinnon's riotous hilarity till the second act sees her running low till the built-up momentum, while doing her part in the nice dynamic with Kunis as the reactive effect. (B)

(Full review TBD)

The Man Who Invented Christmas

Piqued curiosity leads to the origins of traditions that the holidays particularly hold while being cherished. The title says it all without disappointing due to not overselling the perfect embodiment of the classic story and the meaning behind it through a thoughtful writing process adjunct to the revealing psychosis, even if it slow sometimes. All in all, a worthy source for yuletide cheers. (B)

(Full review TBD)

Finding Vivian Maier

One of the absolute best documentaries of all time through amateur historian John Maloof's fully committed historical investigation on a mysterious person who possessed a hidden artfully gifted gem accompanied by a surrounded personally declining mystery that soon led to a honorably posthumous legacy, and the film's brilliant craftsmanship and stunning presentation boosts the story further. (A)

(Full review TBD)

Dog Days
Dog Days(2018)

Has a more meaningful setup than "Valentine's Day" in terms of plot structure with actual love towards the subjects in relatable thorough conventional ways of canine companionship, even if they're only secondary as plot devices and the characterization is equally memorable as a stranger passing by. (B)

(Full review TBD)

The Old Man & the Gun

One final tale, ride or/and chapter could be a culmination, or a farewell letter. It's a valuable cinematic experience to witness such premise for a proper, respectful closure on the same art form that helped and presented. As we're getting into that age whereas the veterans, of any field, let the youngsters take the vacant space to shine - along the line of an end of an era - we should be prepared to expect those decisions are bound to be made, particularly Robert Redford's announcement for retirement after one final flick that suits and fits his taste.

"The Old Man & the Gun" is based on a true story that follows a friendly serial bank robber Forrest Tucker, at age 70, after his daring escape from San Quentin that continues into his string of heists, still confounding the authorities while also enchanting the public. Respectively, Detective John Hurt is wrapped up in the pursuit due to being captivated with such committed craftsmanship, and Forrest questions which happiness to settle on or balance the two when he finds a woman who loves him as a person than the chosen profession.

Finely directed by David Lowery, as well written into an adapted screenplay, as this crime comedy shows an unexpected friendliness to an immoral crime that was backed up by moral empathy, which the nature is kind of hard to believe besides the charismatic and intellectual humor that paints the fact-based story as calm. Lowery's two previous works as his most known A-rated films stand around this film in combined masterful direction respectively from talent to simplicity with best reliance on the right source as the main attraction.

Since "Butch Cassidy" and "The Sting" - coincidentally the films that came to mind, Robert Redford continued on displaying a contagious charisma into his excellent performances, and it became a personal reflection in this fitting ride with matching parallels being seen through an indirectly subtle filmic homage. What solidified that very reflective conclusion is his shared role as producer, meaning he'd picked out what story suits best as his last ride on the silver screen in a form of a letter touching the most memorable bases of his career. Joining him for the ride is also the rest of the nicely-selected cast who performed typically well, particularly Casey Affleck and Sissy Spacek.

If you're very familiar with Robert Redford and always enjoyed the films he had made lively, then seeing "The Old Man & the Gun" would be a form of both appreciation and as a respectful thank you for the entertainment he tend to provide from his range of roles. (A-)

Bad Santa
Bad Santa(2003)

If you can sought out the appeal of whatever humor is in black comedies, then this unappealing rotten yuletide is something that even the Grinch would enjoy. As it's genuinely not for everyone, there's very little acceptable humor that made the comedy worked under enjoyment typicality, while admitting to Thornton's casually low effort, subtly caring performance. (B-)

Uncle Drew
Uncle Drew(2018)

Scores with ridiculous points and a predictable turn, the rhythmic dribbling would meet satisfaction for an average, at times fun humorous, basketball flick, especially when it teaches the glory for the generationally forgotten charming style of old school courtesy of the pretentious makeup until that particular lesson forgotten itself as well amid agreeable views. (B-)

(Full review TBD)


May not be around Stone's top craftsmanship and stellar taste in direction due to the possible assumption of not bringing in nor encouraging full efforts for the titular hacker's consequential activist effects, but he still achieved the complexity that is familiarly politically-charged with the additional thought-provoking gear despite the approach being questionable, and providing an excellent cast being led by Gordon-Levitt's engaging performance. (B+)

(Full review TBD)

Boy and the World (O Menino e o Mundo)

The unique, recognizably colorful chosen art is composed by innocent imagination with a whimsical palette to create a powerful stance from view to growth while provoking an emotional response of being delightfully though somberly connected to the positional open-ended young protagonist. (A-)

(Full review TBD)

The Village
The Village(2004)

Shyamalan turned it around with a "Sixth Sense" after "Signs" of aimless wandering simplicity under confusion to offer a nice setting of a periodic societal flick being affected by the literal "fear of the unknown" that barely spiked when it actually flowed like a blur. Despite the twist being already known beforehand unfortunately, it mostly faltered the story and validated the bland state into something pure psychological with what remains by little of the built-up creepy atmosphere. (B- )

(Full review TBD)

Airport 1975
Airport 1975(1974)

An average inferior 20th century sequel, as well the standardization continues in the second flight that most disaster flicks follows today with little time to know and connect with the characters with just a glance of their sudden roles when only going immediately to the disaster. The sequel managed to be enjoyable from below-expectation thrills of a different circumstance that you donâ(TM)t see often, and the performances of Heston and Kennedy. (B)

(Full review TBD)


A scaled disaster classic with standardized minimal simplicity, as well a glimpse into the airport workforce, while the patient establishments of the characterization rises above most of the genre's current spectacle condition, even though few narrative links went missing. (B+)

(Full review TBD)

Bleach: Fade to Black, I Call Your Name (Gekijô ban Burîchi: Feido tô burakku - Kimi no na o yobu)

The sadden twist at the end may have cleared up the questionable direction while also make up for the lack of the frequent emotional resonance aspect for a bonus hidden depth for one favorable character, the third match doesn't add anything to the canon between the cliches and replaying spiritual energies in an updated matter. (B)

(Full review TBD)

Bleach: The DiamondDust Rebellion (Bleach: The Movie 2) (Gekijô ban Bleach: The DiamondDust Rebellion - Mô hitotsu no hyôrinmaru)

There's a direction that the second theatrical coming could have attempted for a more interesting feat but the dated capability continues its predecessorâ(TM)s elevated qualities, including emotional engagement, while offering flashier and personal stake-building action and something new to the lore with a dramatically hefty narrative. (B+)

(Full review TBD)


A positive enforcement towards the ASL communication in beginning forms that actually expresses the title as an insight especially an unexpected empathetic connection being a tying sentimentality of the parallels between two different time periods within classical nostalgia from a certain perspective, despite few questionable approaches. (B+)

(Full review TBD)

Sierra Burgess Is a Loser

Cleverly written in addressing the countermeasures to the current generational ways of communicating, including individual depth being dismissed by automatic exterior judgment, as a pivotal element in an empathetic direction with an encouraged heart that was confidentially strengthened by Purser's charming performance, despite agreeably romanticizing the rationality of social immorality in an inadvertent sense. (B)

(Full review TBD)

The Grudge
The Grudge(2004)

Doesn't stand much on its own when too formulaic with derivative standards being relied on next to the illogic mindset, including attempts to produce creepiness only at a successful minimum for its own individual definition. (C+)

(Full review TBD)

28 Days Later

Among the significance of the zombie genre, this has probably modernized the more thrilling atmosphere within a form of an actual ride with the sick parasitic/carnivorous horror infecting the non-converted, leaving little normalcy between both sides as the sense of exaggerated realism unveils twisted agreeable urges from a disapproving view that eventually clashes. (B+)

(Full review TBD)

Won't You Be My Neighbor?

If you're one of those who didn't or weren't properly introduced to Mister Rogers' Neighborhood, this strong-hearted biographical documentary explores more than just introducing such inspiring, gentle kindness of one man's determination to help not just kids into eased topics but everyone to be philosophically reflected on timely topics, with parallel approaches that are chillingly relevant today in continuous echoes. (A)

(Full review TBD)

Take the 10
Take the 10(2017)

The buddy comedy's pair is well-casted for the majority of the sporadic humor, but that is the only good quality in this purely idiotic, unoriginal picture. (C)

The Cloverfield Paradox

Technically a reboot to "Alien" in setting and attempted thrills while forcibly connected to a "Cloverfield" linkage till the mystery went down to a simple illogic explanation to top off the convoluting narrative as a huge void whereas the conceptual bookends are the film's only strengths next to the casting and some of the performances. (B- )


Disney Channel embraces the legacy of its animated parental root but with mediocre honors meshed with the vibe of a high school musical that was made more for tweens, while the bright side of the enjoyment is the hefty, still-enchanted heart and at least some fun energy to give the tale some acceptance. (B- )

(Full review TBD)

The Driftless Area

One of those cases that the title really says it all by how it was monotonously balanced, enforcing the utter conceptual mystery of the occurring events as the only of the two interest points next to being picked up by the climax. (B- )

(Full review TBD)

Invasion of the Body Snatchers

The remake not only refreshes the story, it had given it a timely modern update to the frightening chills for meeting expectations while adding clearer twists and expanded thematic approach in the retained sharpness, therefore a standardized example of how remakes can be truly effective in an actual functioning matter. (B+)

(Full review TBD)

The Invasion
The Invasion(2007)

May not be as sharp nor as fresh, but this third remake still did enough efforts to be effective while the modern update with timely political themes is terrifyingly persuasive. (B)

(Full review TBD)

The Fog
The Fog(1980)

John Carpenter went from physical embodiment to something elemental that didn't meet the exact thrill-seeking expectations besides the impressive effects to manifest the horrific reasoning of its minor horror classic label, whether dated or not from how illogic it's played out but not without an alarming note. (B)

(Full review TBD)

Money Monster

Captivating, finely performed thriller on a convoluting topic with not much light to ease the understanding of the approach when instead focused on frantically looking for a purpose that went on and off, making a flawed, confusing contradictive argument it tried and turned out to be. (B)

(Full review TBD)

The Breadwinner

A culturally representational narrative simply demonstrates the strength of family love through rebellious survival in an irrational harsh society with unbelievable desperation of strict cruelty. While it is subtlety dark as a norm for the medium, it mostly satisfies with a strong yet fragile heart from the rich animation to graceful performances. (A-)

(Full review TBD)

Solo: A Star Wars Story

Star Wars fatigue? I understand the perception since it's been five months since "The Last Jedi" rather than waiting a year or usually three for the next. Although with an open-minded approach and expectations, I wouldn't use the word fatigue since the second anthology chapter of the epic space opera franchise still adds a worthwhile story with depth into familiarity this time than providing something wholesomely new. "Solo" continues the franchise's recent freshly transformative aesthetic in a fun ride with a worthwhile narration and satisfying efforts to make things lively under the expected charisma.

A long time ago in a galaxy far, far away...

Before Luke and Obi-Wan met Han Solo for his assistance for their mission to rescue Princess Leia, there was a time where Han lived in a life with a dream and a love of two. He soon got motivated to take a chance on pursuing his dream of beyond that would trigger his adventure of daring escapades within the galaxy's criminal underworld. On the way through smuggling missions and getting to know his newfound profession, he meets few familiar faces that would impact his life at interesting turns, along being introduced to a certain beauty to his own eyes, while holding on to his initial motivation.

The previous anthology chapter "Rogue One" adds an emotional weight to the original trilogy, while the main takeaway from "Solo" is the character-driven aspects for further backstory such as where did Han came from, what was his life like before the big shift, and how did he befriend with Chewie, Lando, and acquiring and flying the Millennium Falcon. The only sense of depth this standalone feature offers is the galaxy's dynamic duo's unlikely team-up as displayed in the film and Han's deep connection as a pilot for the Falcon. So when watching the subsequent chapters (Episode IV - VIII), you would probably be thinking about the prequel-functioning backstory to couple characteristic elements that were brought up here.

What makes the film a fun ride overall is separated by three things: the expected charisma in the casted performances, Ron Howard's attempt to guide the Force in more of stylized vibe of a western than something epic, and the visuals mainly for the building action sequences. The latter is scaled down in comparison to the higher soaring action of the episodic films as they are now structural to build up character in experience, particularly the point when the now-experienced has easy expectations after couple of lessons. Those sequences are along the structured style that Howard, through enough shot footages of reshoots and the remaining quarter to claim directorial credit, retooled as a western-like approach to the galaxy narrative with the genre's individualistic elegancy. Adding onto that with other efforts, the character Han Solo showed charisma in the films, and his "Solo" film is expected to retain that which the cast were faithful in their performances, particularly Donald Grover as Lando Carlrissian and the impressive correction of talented worthiness from Alden Ehreneich as the titular outlaw. All in all, satisfying efforts to make it lively like when in Han's seat piloting the Millennium Falcon.

On the side note on what was put into the film is the attractive motifs that nicely recalls back to the other films such as Han's dice and John Williams' themes, leaving the film's score composer John Powell to score and mix in newer music to emphasize points of the story.

It may be early for a new Star Wars cinematic storytelling after how much "The Last Jedi" left us, but "Solo" proved itself to be a worthwhile addition into the mythology as well widening the transformative horizon in storytelling approach. Expectations for upcoming Star Wars stories should be for looking forward to see how the Force is guided in a new, fresh way rather than the constancy of the first seven films (1977-2008). As much an entertaining fun ride "Solo" is, it's ranked ahead of the four prequel films while behind "Rogue One" and the other two trilogies when agreeing it doesn't add anything new to the lore. But it does add new lights and minimal depth to the favorable characters and elements, along with some surprises that adds into the value, that I don't think it was told in canonizing producerly texts. (A-)

What Lies Beneath

It's wholesomely lesser from expectation to the director's taste with nothing much to offer in the lines between spirituality and skepticism in the supernatural communication before unveiling an unseen twisted corruption after illogical, derivative then forgotten turns, leaving the chills being the size of small orbs in comparison to a full apparition that the film couldn't manifest itself enough to be. (B-)

(Full review TBD)

Van Helsing
Van Helsing(2004)

Sommers continue his canonized vision of the Universal Monsters with a battle of monsters at decent exhilaration while also parallel to "The Mummy" in many elements, some actually being a treat, and benefitting from Jackman's performance being the film's own peak at the minimum. However, if this is identified as a fan film from Sommers' perspective then the acceptable approach should have been more graceful than going for contemporary mentality that actually dumbed down the monsters at squandered amount. On the bright side, this interconnecting crossover between the available legends presents a blueprint that Universal should take note of for their withering Dark Universe. (B)

(Full review TBD)

The Wolfman
The Wolfman(2010)

A neatly-casted, needed remake with decent satisfaction in the modern vision and pacing that truly captured the predatory instincts of the titular monster, even though the expected frightening thrill is missing while in present are some exposed weak points alongside the sporadic grisly gores. (B)

(Full review TBD)


Director Steven Soderbergh's secretive demonstration of a film unveils just your average psychological, cat-and-mouse thriller ingeniously shot at different, surprisingly smaller still angles that could mark a milestone for filmmaking's possible capability, despite the harrowing, overwhelmingly nasty storytelling journey. (B)

(Full review TBD)

The Invisible Man

The tackling of H.G. Wells' novel is compelling due to what kind of accurate effects are required and what kind of horror it would be, only to find piqued wonder in the early effects being carefully sharp and the sci-fi horror being a prompt of unseen fear with irrational and weird chaos. (B)

(Full review TBD)

The Bride of Frankenstein

This is actually the most one-of-the-kind in the genre at a surprisingly remarkable level when the horror became reversal with the initial, misunderstanding focus going through a very well-written sympathetic direction that not only standardized a structure for a sequel but also the structure of an empathetic monster creature film rather than a first-glanced horror flick. (B+)

(Full review TBD)


The level of fearful horror may be dated with the plot being directed a bit under convolution, but the standardized eccentric portrayal is genuinely timeless and the finely quiet, creep factor is immortal like the titular monster biting a benchmark into the genre. (B+)

(Full review TBD)

Ocean's 8
Ocean's 8(2018)

At this point as a bonus chapter to a finished trilogy, it's a fresh reminder to how the first film was set up with the same updated slickness to the diegetic plot as well taste in ensemble casting meeting the performing expectation towards a predictable outcome with an added surprising twist that should have been expected through familial genes. However, as experienced the plot may be, it functioned like a first time gig with some problems that could have been thoughtfully countered in better thoroughness like some notes were missing while most were taken from hearing about the previous heists. (B+)

(Full review TBD)

The Stanford Prison Experiment

The film really replicated the brutal atmosphere of the sick experiment to the point early on that you would want it to end but there's an uncovered sadistic force keeping it going as full overdone commitment in demonstrating the ugly revelation of what power could do to the oppressed in short psychological effect. Revisiting the relevant conclusion that speaks in volume towards oppression is worthwhile, particularly when the weight of realization hits you at the end to be shocked, but the journey to reach towards those noteworthy conclusions is rather unhealthy like a mental scar. (B)

(Full review TBD)


The title piqued curiosity to see what kind of horror unfolds in a remade original cursed object, only to mediocrely stagger when stubbornly refuse to stay put for the sake of depressing, sacrificial gores with cheap jolts that cracked the realistic element if trying to promote fear onto the subject besides the illogically imprinted twist. (C)


David Lynch's first feature-length mind game established the expected mindset with a surrealist look at a realistic theme, which is anxiety for parenthood, that doesn't quite match in elaboration on picture besides the knack of disturbances and the first stretched pacing creates boredom. (B)

(Full review TBD)

Ouija: Origin of Evil

It works with whatever the predecessor provided in a beneficial prequel structure that genuinely improves with a nice periodic style followed by a very well-written script towards residual spirituality with well-casted performances for the main familial mother-daughter trio, mixing up uncertain twists and absolutely frightening chills. (B+)

(Full review TBD)

First Man
First Man(2018)

When the final quarter of the year starts, the contending awards race begins, and "First Man" is the considerable first pick to kick off towards the year's end countdown for film. A celebration of the nation's former glory in one of the most significant achievements that was impossibly done in the first manned mission to the moon, including what lengths were taken in a decade of building up to the possibility of succeeding one of history's most dangerous missions.

Director Damien Chazelle gathered up the necessary collaborated talents towards perfection and readied himself to tell a story from Neil Armstrong's personal perspective with similar experienced elegancy of period setting and replicating the triumphant aura. His approach to honoring in memory of the late-astronaut is graceful as he didn't just go right onto the facts for historical accuracy but has taken it further to go right into them, which brings out a rare vision when most fact-based films are usually seen from the general sideline with zoomed-up lenses. The only problem would be the pacing in few areas that could've helped to soar to the positive maximum.

What made Chazelle's envisioned approach possible and felt that way is Linus Sandgren's continuous impressive range of sight being put into the film's cinematography by structuring the tight perspective for an immersive experience that would place the viewer within the same shared space, hence getting into the facts than just on them. The tight perspective isn't limited to manufactured spacecraft for mission carriages but really emphasize the emotional sense of struggle, love and eventual wonder that Armstrong has felt throughout the decade. Sandgren's skilled vision is so far a top contender for Best Cinematography, which he won for "La La Land".

Going along with Chazelle's effective direction is the excellent performances from the cast, particularly the main pair Ryan Gosling and Claire Foy as Mr. and Mrs. Armstrong while overall replicating the usual drama from surrounding the facts like how "Apollo 13" turned out. The performances were well-prepared and nicely taught when backed up with spaceflight knowledge, which enabled them to go with the tight perspective without breaking the formed barrier.

It would be no surprise that Chazelle-directed "First Man" would repeat the "La La Land" success in its own respective field from the same directorial viewpoint's impressive effort and quiet astonishment. Besides the two films sharing the exact same given rating, this film has proven the now expected cinematic force of Damien Chazelle's direction, with intrigued curiosity, that is worth checking out on the initial theatrical scale. (A-)


As an outsider who is now interested in the source material's anime lore, this live action adaptation done things right by showing more faithfulness than prior notorious examples. What prevent it from being a distant separation from the original is by being felt like what defines the original from characterization and energetic in-synced performances for the action and humor, interesting visuals for an unseen reality, and the flow of the narrative structure for new viewers being just perfect. (B+)

(Full review TBD)

Twitches Too
Twitches Too(2007)

Still predictable in the outcome but the journey sets another example on how a sequel intrigues and adds more to its elemental qualities for an increased enjoyment value, even if it had solidified its parallel comparison to "The Princess Diaries" while meeting Harry Potter right before "Wizards of Waverly Place". (B+)

(Full review TBD)


A typically-structured, predictable and, at times, a silly DCOM with a fun charm and a familiarly-developed value. (B)

(Full review TBD)

Don't Look Under the Bed

Disney's early take into the horror genre - particularly as a kiddie version to Stephen King's "It" - met the average dullness but with a compelling concept from its dated controversial stance while under the constant influence that actually uncover a rare heart and actual minimally fun time in the genre, despite the silliness and decent satisfaction to the resolving issues. (B-)

(Full review TBD)

Silent House
Silent House(2012)

Intriguing technological prompt, as well the settled environment for the setting, for the genre seems to instead suffered rather than to impress due to the shaky nature of a mediocre found footage flick and the familiar twist really contradicts itself into just a bad dream void. (B-)


A mysterious place with such a haunting profile takes a feature-length treatment to tell a sampling story with the craftsmanship and approach to spirituality being similar to the televised accounts minus any interviewees. But what makes this less, especially less frightening than the smaller offers, is how cartoonish were the attempts to scare that would make the actual tour of the mansion a walk in the park under falsehood that it's not very haunted. "Winchester" has a well-casted pair to further compel the viewing proposal while following a similar structure with a cartoony approach. (B-)

(Full review TBD)

The Raven
The Raven(2012)

Misled by the given title, the crime thriller is still a treat when it only led to a chain murder mystery with the cliché momentum in thrills - accompanied by further misdirection - and performances, particularly Cusack making a good Edgar Allan Poe. While the vision is nicely-tuned towards the periodic storytelling under decent engagement, its own downfalls are lack of sensible developments and the grisly occurrences that expresses the then appeal for grounded on-street horror literature. (B)

(Full review TBD)

A Star Is Born

A well-performed innocent, romantically complicated affective spin of a rising star before "All About Eve" kept its metaphorical balance scale of rising fame and self-destruction till the scale tipped to a decently satisfying payoff with little triumphant. (B+)

(Full review TBD)


After the disastrous lesser reception for both similarly-crowded "Spider-Man 3" and "The Amazing Spider-Man 2" that ended each once successful iterations, Sony has been trying to refine their webby footing till their stubbornly-kept property found a better home in Marvel with better success. They had plans, and kept some of them to continue on further for cash grab as a contribution into the shared universe without the main character that gave those stories purposes. Sony's first contributive, distant attempt was their first non-Spidey plan that finally found a footing but "Venom" has an unbalanced focus while meeting the supposed expectations without exceeding.

Director Ruben Fleischer ("Zombieland") followed Sony's restricted template with an actual comic "Venom: Lethal Protector" as an efficient source material for an understandable tackle whereas in the film Eddie Brock settled in San Francisco as an investigative reporter looking for a comeback by exposing a hidden scandal. But digging in too deep brought himself to become an accidental host of an alien symbiote that strengthens his capabilities with violent lusts, bonded with the super alter-ego identified as Venom. With the stressful parasitic bond, Eddie must find balance and compromise with the symbiote who is being hunted by the shadowy organization that suddenly leads into an invaded corrupted motive.

On the bright side of the standalone position, the Venom character was finally given the right treatment on the silver screen with most of the mythos remained intact, even when taking Spider-Man out of the character's purposeful equation hasn't made any damage but more of an eventual expectation to maintain the promising value with any true honesty. Doubts were expected, and this project refutes them in presenting how much depth these is to the story that couldn't be handled nor told much as a sub plot if it was a Spider-Man interfering flick. What made the character work on its own is the decently tasteful visual effects of bringing his kind to life as a fresh introduction whilst expressing the challenging capabilities to power the "Incredible Hulk"-like action under monstrous circumstances. And the main element goes to Tom Hardy's excellent dual performance as Eddie and voicing the symbiote with menace, which kind of expresses his acting range.

However, Tom Hardy's performance as the Venom character is the sole focus as the main reliance in a gamble of getting the character right. When giving all the theatrical attention to the titular performance, the film is flawed as evidenced throughout the first half with a slow pacing till it picks up as soon the character fully appears for alarming thrill that powered up the action-packed veins. Then throughout the film's duration, the unbalanced focus in writing resulted in an awkward script that hindered the film from meeting the MCU's minimum. That's not all in writing when humor was pleasantly attempted to lighten up the restricted darkened nature that radiates from the character who has no Deadpool-like free treatment.

"Venom" is an enjoyable treat with an understandable tackle under a similar narrative logic to stand its own "within" a larger universe, while benefitting from Hardy's performance as a successful gamble as a faithfully corrected centerpiece of the action from a still unbalanced focus. Now, let's see what their next move is in not squandering a promised potential they have been persistently considering while maintaining the solo entertainment value for now. (B+)

Interview with the Vampire

The charismatic duo in a gothic vampire horror flick made the film compelling with no disappointment on the effort they had brought when interacting with the stylish visual theme despite the rough edges of the grisly cruelty and the controversy surrounding the overall adapted vision that has an apparent thematic void the source material supposedly holds. (B)

(Full review TBD)


Just like the events in the film, the loss of control sealed its fate. The atmosphere is agreeably effective to put in a freakish aura for alarming thrills and hyper momentum, but the cinematography is probably one of the worst from the pacing of unnecessary stalling and being too shaky as an annoying reflection of the hysteric performances that denies any sympathy - which is before the found footage genre's improvement. (C+)

In the Heart of the Sea

Ron Howard presents a true story behind a frequently-listed literature with a matching scale that need to be seen to believe such tale from the seven seas, to find it as a whale-size "Jaws" in slow thrills towards an empathetic climatic final note, while the sail overwhelms the performances that decently caught up to the level with dramatically rough strength. (B+)

(Full review TBD)

Ghost Stories

The British horror's title easily sets the expectation up from what it's packaged with to an anthological structure that was done with fine craftsmanship to the end where it all comes down to something more twisted but then adds a question mark to the supposed worthwhile value. Either way, the thrills and cautious scares, with patient flows, still manifested the entertainment value, though some of the performing efforts seems to be on par to the televised rate. (B+)

(Full review TBD)


Basically "The Ring" being contacted and conjured into an opened portal through the ouija internet with ridiculous, elliptical narrative. After watching this rushed attempt of another domesticized story of a Japanese tale, it's obvious whilst unseen that the original could be a better offering in terms of deliverance. (C)

Annabelle: Creation

There are some problematic mental twists, but the fourth tabbed chapter on the conjured universe offers an entertaining, finely-done prequel being mainly bolstered by the atmospheric haunting spooks that became thrilling apparitions, which makes this the second best behind the first starting chapter. (B+)

(Full review TBD)


Animated films used to be for everyone with equal interest that makes up mutual enjoyment, till most of the animated 21st century decided to focus on entertaining just distracted children as their main target audience while not intriguing much interest from older audiences. Certain few animated studios, or at least franchises, still delivers and tell stories that entertains both age groups while others aren't offering exactly for general audience. Animated films from those one-sided studios proves themselves to be exceptional, and "Smallfoot" brings back the true meaning of the former glory into open arms, provoking heartening wonder.

The title is a self-explanatory reversal mythic setting when it's actually a term that the hidden yeti community uses to describe humans. Curiosity stirs the snowy village when a young yeti found himself approaching a creature he thought didn't exist, but the discovery isn't enough to persuade the existence of the mystical creatures. So that yeti goes on a quest to find the creature's existence, and what else might be out there in the big world beyond their secured sanctuary.

Unlike some number of other domestic animated films being made today, "Smallfoot" is more fun and inviting from its marketing strategy that gave us some glimpses of what to expect. After few musical numbers and hearing how energetic the voice acting is going to be, especially portions of an overall message being surprisingly topically resonant, the film shows a promising potential of well-written feel-good entertainment that wasn't broken upon seeing it. As expected, it runs on old-fashioned animated veins with a familiar formulaic structure and attached communication - that replays the stance demonstrated in "Zootopia" further with some direct clarity.

Any animation can be charming whilst radiating a subtle wonder surrounding a film like an appealing-looking treat, but it's the inside that matters which is the location of the soul that is usually relied on the efforts of the cast. There is harmonious consistency between the animated characters and the actors under the definitive matching personas to build up the heart and the structural meaningfulness, with the pinnacle expressionism occurring in the energetic, spot-on musical numbers. Overall, the well-selected charismatic cast's efforts is what made this animated tale attractive for an exceptional view.

"Smallfoot" has a special value from its relevant communication through provoked wonder to the cast performing their hearts out to manifest the heart in order to prove how specially fun this show actually is. Underestimation is expected if giving the traditionally-natured animation a pass instead of a chance. Granted, young ones would get the most out of this treat, but older audience would find nostalgia in the storytelling vein as well be attentive to the commentary with surprising parallels. (B+)

Tales of Halloween

The manifestation of the true spirit of Halloween in mostly a horrifying way across different twisted and exceptionally campy angles makes a spooky anthological fun treat with overdone disturbances and scares that much of the genre tend to miss the note of. (B)

(Full review TBD)


Van Sant gets points for effort on an intriguing experimental conceptual, refreshing remake of Hitchcock's superior that revives a shock and a transitioning style, and keeps you captivated with both the resurrected original music and the performances of the nice cast to see how they duplicate the characters to see how modern the story has become, which the pivotal storytelling aspect seems to affect the film when efforts were less than what the script asks for. It may be more entertaining to those who have not seen the 1960 original prior to the update, while it should be given a chance to see how the experiment went despite the inferiority, as a worthy trial to view it back-to-back to the original. (B)

(Full review TBD)

Hide and Seek

A standard tale of a supernatural influence affecting a child becomes more stumping till the twist cleared it all somewhat with an understanding but the execution couldn't find the hidden necessaries for some plot points nor left it with satisfaction. It may be questionable, but it did stirred up the creep factor with Fanning's genre symbolic performance. (B-)

(Full review TBD)

Christopher Robin

For almost fifty years, Winnie the Pooh has been welcomed into enchanting many childhoods under a relatable phenomenon considering how it all started that takes place further back (as noted in 2017's biopic "Goodbye Christopher Robin") and Disney enhanced (though possibly exploited) the character by sharing the contained rich charm. "The Many Adventures of Winnie the Pooh" officially started the visual journey for one kid after being read to, then most likely became the first childhood portal. Since then the characters and stories have grown into further exploration and probable enhancement while being passed down and shared in between generations. But while the old saying of "never too old for..." also applies to the silly old bear with very little brain, what exactly the bear of stuff and fluff can do for those who have become grown-ups? Well, the latest continuation in an uncharted territory examines that as we reflect ourselves on the titular character's position in "Christopher Robin", with expectations met and minimally exceeded.

Sets place in 1940s London, now grown into a working-class family man and facing a difficult deadline, Christopher Robin gets weighed down by the pressure of an unbalanced lifestyle with work over family and has forgotten what's truly important. Stranded in the middle, he soon unexpectedly encounters his old childhood friend Winnie the Pooh, or Pooh for short, who has a problem of his own looking for his friends who are strangely missing. Reluctantly while stuffed with complications, Christopher Robin goes on a needed little adventure that would help him rediscover what he's been lacking for so long.

Unlike the past animated films or any in general genre-wise on continuing one's story, "Christopher Robin" offers childhood magic to those who have grown up connected to the Hundred Acre Wood as well to share such portal to the younger generation(s). Such expectation really hyped up the potential the film could bring, finding out that it has swelled the film's heart in pure satisfaction and joyful delight. It may not be as emotional as few selective films in the franchise from the DisneyToons department in only their climaxes and little afterwards, but the meaningfulness and nostalgia triggered mostly by the emotional attachment ranks this second behind the original starter as a follow-up complementary.

While the inner childhood has been expressed in both ways - one through Christopher Robin's position, and the other through us spectators - the film's original storyline that at least connects to the original stories is very well written with the collision of clear tonal shifts that really expresses differential growth for the titular character's fresh depth under the gentle, passionate treatment. The wisdom that actually come from the bear continues and acts as a push for the former boy's sudden search and true motivation for happiness, which surprisingly applies to the real world's growth such as Tigger in one scene made a fun contextual remark. The plot may be predictable with a familiar route, but this film proves that it's all about the journey rather than figuring out with predictability, hence the inner childhood being nicely expressed with some wisdom of Pooh. This is backed up by a perfect score composed by Geoff Zanelli and Jon Brion, with the former seemingly matching the determined taste as Michael Giacchino in composing music faithfully close to the subject as heard in the instrumental cues of the everlasting "Winnie the Pooh" theme.

As Disney's latest re-imaginative storytelling, it's still a nicely detailed transformation from animation to live action when the critters have been visualized as actual life-size "plushes" - with the apparent exception for Rabbit and Owl. The visual effects seems to have been done in a similar fashion as seen in "Charlotte's Web" and "Babe" with the focus being towards the facial muscles and excessive body movements rather than being pure CGI creation. This smart method adds an extra touch of faithfulness in the adaptation process.

Speaking of the characters, excellence goes to the casting with Ewan McGregor as Christopher Robin and Hayley Atwell as his wife, performing a lovely tonal fit and chemistry along with newcomer Bronte Carmichael as their daughter. Same goes to the voice casting for the critters with long-time voice actor Jim Cummings continuing his voice work as both Pooh and Tigger with the rumbling and bouncing still the same with a bit of aging being heard from just the characters. Brad Garret done a perfect Eeyore; Piglet's voice minimizes a little bit further with Nick Mohammed replicating the insecurity of a very small animal; and Peter Capaldi as Rabbit, Toby Jones as Owl, and Sophie Okonedo and Sara Sheen as Kanga and Roo respectively also captured their characters well in their performances.

This review of "Christopher Robin" may sound biased due to emotional attachment that created a childhood portal through the film but the viewpoint is between being enveloped in childhood magic and looking at it critically (took a viewing for each to solidify a rating). It's another magical treat for the family with a generationally-sharing potential and relevant wisdom to teach from a swelled-up heart to indicate pure satisfaction of its faithfulness. To compare this to Disney's previous re-imagined stories, it's gentler with a new story while ranks next to "The Jungle Book" in spirit - and reflects like "Alice in Wonderland", but it couldn't personally be helped that this is the best, most heartwarming yet for now. (A+)

T.T.F.N. Ta-ta for now

My Hero Academia: Two Heroes

Uncertainty was piqued rather than interest on whether to witness the theatrical debut firsthand on the big screen or not till a smaller availability. But pre-ranking it as a different experience upon its dominated genre and foreign animation's crowned recognition brought the deciding factor into its favor. Afterwards, experiencing "My Hero Academia" debuting on the big screen with heightened power levels in "Two Heroes" turned out to be definitely worthwhile with no regrets when thinking back to the uncertainty.

Takes place between the second and third season, All Might takes his protégé Midoriya to come along with him to I-Island where scientists gathers and showcases their knowledge, especially when it relates to heroic duties. While there, All Might catches up with a concerned old face, Midoriya meets a girl who shares a similar past with him as a Quirkless individual, and most of the UA Class-1A students joins the festivity the artificially-moving island has to offer. But suddenly, a group of villains managed to hack the elite security system and has taken the island occupants hostage with an ulterior motive they're searching that could shake up the society. With All Might out of commission, it's up to the young, next generational heroes to thwart an unclear plot's hostage situation.

Both the anime series' director Kengi Nagasaki and writer Y?suke Kuroda followed an almost average formula of an anime's transition to the big screen with a storyline and setting that only fits as feature length with most of the main favorable characters selected to appear to face a villain that would be narrowed down from a group into an overwhelming threat. A smooth debut with the same production scale and crew to successfully enlarge the show's maintained quality, with the exception of the enjoyment value receiving a respectful boost. Canon-wise, it's a contributive effect for future reference.

With the boost and increased quality, "My Hero Academia: Two Heroes" proved to be one of the finest among the televised anime platform's cinematic transformation with astounding results, as well having enough boosts to be ranked among the certain big leagues, which solidifies how much of a surprise hit it has presented itself to be. The constant animation's increased momentum made it overall amazing, including making the action sequences astonishing enough to be a bit more impressive than what live action films could show. For the English dub, while assuming the original Japanese voice actors gave the same amount of energy, the voice actors, mainly a couple of them, aligned themselves to the risen intensity and emotions with powerful performances. The other contributive accompanied layer through the composed score expressed the sporadic alarming weight during the climatic half.

Now as a typicality with this type of entertainment offer, enjoyment skepticism radiates from the non-converted with the obvious yet agreeable prediction that the converted viewers would enjoy it more. That is true, but this film offers entertainment for both. The television viewers might gain further appreciation towards the show; while the outsiders would be minimally entertained thanks to the narrative being self-contained enough for those who are alien to the show.

"My Hero Academia: Two Heroes" offers a definite must-see viewing under both the superhero genre and the anime medium in a strong punch up towards the rankings around its respective categorization by its bolstered overall quality. While it's a probability that this debut has fared than any televised anime's theatrical firsts, as well being one of the most amazing superhero films, particularly animated, it's a possibility that this very film might potentially be one of the year's few best animated films. (A)

Jeepers Creepers

The horror tale comes with its own unique monstrous call to amp the creep factor by credited creativity and starting things out in its own setting in action with very few alarming shocks till the attempted originality started to lose itself mentally when gearing into pointless - though predatorily - and illogical desperation. (B-)

The Exorcism of Molly Hartley

A gradually continuous though unwanted sequel that delivers better frightening sense and a narrative completion with a mostly satisfying resolution, but the IQ is still the same despite being differently directed under improving skills, along with the addition of unoriginality. (C)

The Haunting of Molly Hartley

Can ghosts ever be offended? They will if they watch this cheapest dumb movie that's only a teenage drama with a contradictive supernatural twist. (D+)


A true story that had faced a sudden drastic transformation in the living condition through the thematic subject of disability, and the cinematic presentation actually made this kind of story cheerful whilst following the difficulty. Most stories of such conditions proved to be a hard viewing, but this one on immobility was given a joyful optimism courtesy of the main pair's chemistry and individual performances to express the genuine fact that a human spirit can't be restrained. (B+)

(Full review TBD)

Mother's Day
Mother's Day(2016)

Occasion celebrative director Garry Marshall attempted his knack for interconnected characterization in multiple relations being still incomplete at the usual level with collisional feelings to both heart and humor, benefitting from a charming cast ensemble, to sum up the special value for the titular holiday but only achieved the meaningfulness at a minimum due to being out of focused from time to time like a switch. (B)

(Full review TBD)

Marvel Rising: Secret Warriors

A well-animated, nicely-performed, pure fun Marvel feature in a returning form as a step forward with the serious weight more tuned to being mostly diverse by delivering social commentary through different insights towards an inspiring general message, which the reactive dynamics of the characterization is what functions the heart. This superhero film focused more on character developments and representational, struggling depths over the action, which kind of went perfect when closer to realism while the action-packed taste generally remained as constant as ever. (B+)

(Full review TBD)

A Better Life

This well-performed father-son drama echoes the Italian classic "The Bicycle Thief" as a modern update with expected but unpredictable parallels in its own narrative turns when testing the bond within social influential impacts (honorable morality vs alternative irrationality), leading into a sad yet realistic and understanding conclusion after a finely acceptable path. (B)

(Full review TBD)

Blood Diamond

Senses vs. quality of focus. You set up a macguffin as part of a political theme at the center of mindless rages, an attempt to depict the violent hardship that was both accurate and overdone, with the true value being more towards honor than being a priceless artifact. Then the main spotlight is focused onto both DiCaprio and Hounsou's performances with rough edges to the required mental strength, making it a beneficial element to storytelling than going all guns-blasting when spikes are getting low. (B)

(Full review TBD)

In This Corner of the World (Kono sekai no katasumi ni)

Periodic wartime dramas present an unconsidered, insightful perspective that radiates emotions to sympathetically resonate with, no matter what side being brought up since two wrongs doesn't make a right during murderous wars and attacking uninvolved innocents. This peacefully revolutionary, mostly feel-good film specifically speaks that when "Grave of the Fireflies" meets "Mrs. Miniver" with ordinary energy and beautiful storytelling animation that really sets the optimistic then eventually cautious and sadden mood. (A-)

(Full review TBD)

The 5th Wave
The 5th Wave(2016)

As an adaptation to the first chapter of a printed trilogy, it lacks cinematic confidence to continue on when efforts were maximum to decent level and the stylistic reliance looked back at other young adult sci-fi novels and films instead on distinguishing the source material's own individual standing in the film library, specifically the said genre. The only separation in defining its supposed unique offering is the executed climatic bookends showing some thrilling value, as well its own twists in turning the aforementioned formula around, and the character arcs. The latter quality also provides a glimpse into an engaging direction as a literal proposal to consider putting the book series into your reading list. In total, the film may be a miss with its derivations between "Divergent" and "Ender's Game", it has some valued spikes solely for the impression of being attempted to check out the books, which unveils a positive spin in the relationship between film and literature if those went with the former medium first. (B-)

(Full review TBD)

Lakeview Terrace

There's a reasonable trigger but the motive as seen in this stir-less thriller just makes Jackson's well-performed character more pitiful as obviously observed rather than a more mysterious route to test the psychosis with suspicious paranoia. (B-)

(Full review TBD)

Inside Man
Inside Man(2006)

Spike Lee's probable most engaging direction in almost a similar narrative structure as his form continues his sense of subtle social communication in the challenging veins of the bigger event that has bitterly turned the table around the expected conventions of a heist plot with intellectually thought-out complex view, while benefitting from Washington and Owen's performances in their sly battle of wits trying to calmly figure each other out, mostly the former as the main casual engine of the film's thrills under perspective. (B+)

(Full review TBD)

Fear and Loathing in Las Vegas

While there are antiwar films, this film defines an anti-drugs flick beneficially through an unhealthy nature of overdosing to the pulp with the trippy mentality visually expressed by director Terry Gilliam's knack for a unique reality; and verbally by Johnny Depp and Benicio del Toro's skittishly fine performances that are more than half of the time amusingly entertaining in their hallucinated quest to drug the American dream without any developmental growth put into effect. (B)

(Full review TBD)


The social setting and coming-of-age milestone used a recognizable form for outside reflective chat that can't be found at home till there's enough courage to conclude a personal arc in satisfaction. What made this form successful this time is the charisma the cast provided in their performances in building up the individually definitive humor, along with some additional insightful senses provided while selective few went for an unseen peak. (B+)

(Full review TBD)

April and the Extraordinary World (Avril et le monde truqué)

The alternate steampunk look at the anti-progression, non-environmental world maintained its mysterious plot till the third act unveils all in an unexpected way with rare predictability, while the animation makes it pure roughly imaginative and as a charming delight. (A-)

(Full review TBD)

20th Century Women

Truly expressive from subtle heft - with some amount of timing humor - to the periodic mix tape, both via fine performances and nice chemistry that built up a relatable vision, including the depressing turn of things in contrast to the first half. (A-)

(Full review TBD)

The Princess Diaries 2 - Royal Engagement

The next royal chapter consists almost the same charming heart with an obvious older though still teenage mindset, a bit more comic and grace, particularly Andrews' performance, but it still doesn't counters the retained half of its spineless flaw for an opportune shine which just proved itself to be a plain silly force. (B)

(Full review TBD)

Crazy Rich Asians

There are decisive factors that persuades frequent spectatorship into certain moviegoing experiences from genres to studio and directorial craft. Story is another, but the sole factor itself is the main one for most films with the anticipation level being bolstered by accessible interest, especially when instead gets sorted into a waitlist for a home viewing since a story is a story with a measured scale that's probably better worth for a rental ticket. Films tend to refute that, even though it can only be seen to agree. That is the kind of case "Crazy Rich Asians" turned out to be, a cross social culture rom-com that has rejuvenated the genre when it has demonstrated what viewing an exotic film is like.

Based on a book by Kevin Kwan, the story follows New Yorker Rachel Chu's relationship with Nick Young being tested when he takes her as his plus one to his best friend's wedding in Singapore, which gives her the chance to meet his family. What she doesn't know is that Nick's family is one of the country's wealthiest, and that luggage labels him as one of its most followed bachelors. Finally getting to know the side of Nick he distanced himself from, she gets thrown into the hidden mess by being targeted by jealous socialites and beginning to lose her confidence in their love when being dragged down by his controlling mother's disapproving attitude.

Romantic comedies has an overused formula that spices the romance(s) towards predictability with the acting of the melodrama being minimally little to occasionally ridiculous. "Crazy Rich Asians" seems to might have followed that familiar routine but with a perfect charismatic soul as a lovely heart that may be difficult to reach in succeeding replication, hence the rejuvenation. It has taken the characterization's human drama and romance to be attached in captivation on the direction of the relationships, which is an act of actually caring for the characters. What made that possible is the majority Asian American casting performing with perfect energy and charisma that seek out the heart to fully blossomed, particularly the main pair Constance Wu and Henry Golding alongside Michelle Yeoh, Gemma Chan and especially Awkwafina in a comedic breakout role.

Jon M. Chu's direction is probably his best out of his moderate sized filmography when balancing between the soulfully-performed heart and the striking production designs, defining an exotic film with composer Brian Tyler's scoring further enriching the heart. Aside from the overall elegancy and perfectly-done efforts, the narrative structure seems like an essay on the line of "money can't buy happiness" when focusing Rachel and Nick's relationship on proving that normal, earned happiness triumphs over wealth. That was showcased in another parallel as a subplot for Nick's cousin Astrid to show the alternative "what-if" as an attempt to express the meaningful loyalty the main romance is built with. With that being pointed out, it could either be further proof that this film rejuvenated the genre or uncovered an aspect that wasn't noticeable till now as a study for the genre.

May not have read the literature trilogy, but the impressive, culturally heartening, talented perfection that "Crazy Rich Asians" turned out to be could be another case of film adaptation over source material. The film itself is wonderfully entertaining by its humanistic soul, which makes it one of the best rom-coms there is. There's enough anticipation towards the next chapter to see this very collaboration again in action. (A-)


The dystopian subgenre expressed different key answers for resolution to deflect the lack of pure humanism, and director Doremus elaborated his own creatively-detailed, decently-scripted expression of a key with a compelling direction and electrically tense score of an engaging romance, which furthers the fulfillment of satisfaction courtesy of the main pair's stoic, emotionally compromising performances with a graceful monotonous chemistry. (B+)

(Full review TBD)

A War (Krigen)

Seems to echo off as an updated retelling of Stanley Kubrick's "Paths of Glory" structure-wise from a typically-handled close-range war film transitioned into a courtroom drama, but more both unclear and morally personal with an added subplot to enforce reason being blended into the difficult perspective of a soldier's decision-making stance on the violent frontlines. Simply put, it was overall very well done in the standardized tense minimal atmosphere and the shifting performances between the film's two halves. (B+)

(Full review TBD)

Body of Lies
Body of Lies(2008)

The story doesn't stir things up much for expected thrilling entertainment when Ridley Scott's attempt into the espionage genre in similar visual environment seems to show that he was trying to figure out how to differentiate his usage of the conventions, including minimal backstabbing twists that only made things a little more convoluting than usual whilst remained unclear. Although it's generally tense and still engaging with rhythmic action pacing, courtesy of DiCaprio's performance then Crowe's since that's the quality that was most relied on towards successful results to find the film with a decent enjoyment level. (B)

(Full review TBD)

The Princess Diaries

An elegant teenage invitation to reflect the unofficially indirect beneficial layer being added to the Disney Princesses franchise in contemporary meaning that Hathaway provided in her breakthrough performance, under Andrews' also charming veteran guidance to help successfully fulfill the heart, tackling pretentiously-resulted clichés and missed countered opportunities due to the sad lack of a spine. (B)

(Full review TBD)

The Glass Castle

The depiction of poverty seems to be almost realistic but teaches how one family man encourages his family to be optimistic by being resilient even though it doesn't help which the mentality of his belief is reflected and expressed through film. While the fact-based story has a sense of sympathetic desperation, it has progressively built strength and relied on the excellent cast to function the heart which they did successfully, especially Larson examining distanced dysfunction and Harrelson putting in duplicated emotions behind meaningful life lessons. (B+)

(Full review TBD)

First They Killed My Father

As a piece of history, there's an unlikely chance of approaching the facts to find and learn about another harsh layer being hidden then added to a well-known already established weight of a periodic war. Film brought it to light under a young perspective that director Angelina Jolie delivers exceptionally with emotional empathy and powerful execution, especially when the main haunting infection of war is distanced from the aforementioned perspective. It gets stronger when the true meaning gets unveiled at the end. Masterful with a tight grip and gritty tensity, it's also bound to be divisively received when going along the traumatized memories of war-mongering resulted hardship with a harsh nature that may be too much for one to handle by sitting through it. It's generally a hard movie with strong efforts and production values to solidify its understandable value at a maximum while the enjoyment level only met the positive minimum. (B)

(Full review TBD)

The Big Sick
The Big Sick(2017)

Genuinely a rom-com at a different angle to stir up a fresh premise with the usual charm across the occasionally clever timing of casual humor and emotionally rare aspectual result of a solidifying heart heightened by a nice cast, particularly Kumail Nanjiani in his breakout lead role as himself reminiscing the factually-based romance he'd experienced whilst authentically expressing acculturation. (A-)

(Full review TBD)

Short Term 12

A balanced drama between the heaviness and lighter tone showcases Brie Larson's emotional motherly strength as the film's centered heart who understands then inspires and encourages others to not be insecurely strained from hopeful healing. (A-)

(Full review TBD)


May not exactly be as riveting by the rebellious nature against the system considering how it accurately kept under wraps with subtle activism, but the emotional tone does the usual justice when building up to a tragic climax with unknown though easy-to-figure-out circumstances that made the story more stand out, and Streep's performances bolstered that. (B)

(Full review TBD)

So Undercover

A predictable chick flick in the spy genre with little humor, mainly from Miley Cyrus's charm that does little to make up for how flawed silly the film succumbed to be. (C+)

My Life as a Zucchini (Ma vie de courgette)

This charmingly impressive stop-motion animated gem embraces how much depth the medium can visually and subtly express in surprising bold lengths whilst stirring emotional resonance under sympathy towards the soulfully-performed characters. (A-)

(Full review TBD)


Satisfaction is an irrelevant factor without a resolution when the main focus is divided to a soldier's hauntingly traumatizing experience, a supposed widow's healing grief, and a brother's path towards redemption, with the latter two pulling a suspicious string as the main source for ordinary melodrama. The film exceptionally emphasized their paths with stirring intensity, and the strong performances, mainly Maguire, fulfilled the characteristic embodiment of the paths with slight emotional resonance. (B)

(Full review TBD)


This dated, pre-diverse Americanization of the actual story injected a melodramatic weight as a well-balanced, ideological value towards the threatened morality through corruption by gambling, which makes the film a decent study with a clever style being powered by charisma despite the inaccurate characterization. (B)

(Full review TBD)

The Cider House Rules

The narrative routine of a self-discovering journey went for minimal and questionable lengths as its own maximal storytelling capability under its own sensible expression of sentimentality that's not well balanced when paired with the rest of the explicitness and subtleness. However, the said sentimentality is the center of feeling the film's qualities with Maguire and Caine's performances being structured as the veins towards the well-natured and tenderly-warming heart. (B)

(Full review TBD)


The attempted sympathetic, bold direction seems to soulfully reflect the subject's damaged mentality and Theron vocally rose up to the manifesting transformative challenge, with Ricci's cautiously wild innocence being voluntarily dragged into the emotional roller coaster through life's harsh scenic turns. (B)

(Full review TBD)

The Unborn
The Unborn(2009)

A broken eerie promise being possessed as a demonic spoof whilst overdoing it thoroughly throughout in silly exaggeration. (C-)


The concept really tests the psychological genre while putting in some of the horror genre just spike things up till the twists and turns positively wound it down to a thriller. It has successful management for mostly the thrilling compartment with little satisfaction and decent charisma when calmed, but the shots are cheap and reactive performances aren't balanced well. (B-)

(Full review TBD)

Life of the Party

A genderbent, awkwardly aimless wandering version of Disney's "An Extremely Goofy Movie" with Melissa McCarthy's expected comedic act that's been scaled down with some occasional amusement. (B-)

(Full review TBD)


The forbidden romantic tale is a seemingly faithful adaptation to its source material that brought out realistically strong, fully committed energy from both Blanchett and Mara, accompanied by the tonally lovely tuned cinematography and score, even though the romance wasn't developed much. (B+)

(Full review TBD)

The Emoji Movie

Despite the blended unoriginality whereas "Inside Out" meets "Wreck-It Ralph" with nonsensically flawed irrationality and poorly-effective pointless conceptual attachment, as well going for the derivative individualism, it's not as bad as I thought when it does receive points for creativity and fun charm from Miller, Corden and Faris's voice-acting. It at least has a heart followed by a sent thumbs-up emoji. (B)

(Full review TBD)


Director Bennet Miller combined his past projects with a tense grip whilst relying on the talented actors' well-performed efforts to match the tone to the chilling style that demonstrates the stressful lengths of meeting expectations and slight competitive legacy. (B+)

(Full Review TBD)


May not be entirely humanistic as first thought when only mostly through the graceful approach to the subject, the film managed to exceed expectations, despite the formulaic predictability and communication, in inviting quality fun, heartwarming entertainment with soulfully charismatic voice-acting from a beneficial cast and bold choices to stir up emotional resonance. (B+)

(Full review TBD)

Jacob's Ladder

A surreal film surrounding a conspiracy theory that is set to trick and leave your logical explanation behind the events placed as a bet till the twist that actually reverse it in a literal sense. It's engaging like a puzzling narrative with Robbins' performance also being decent, alongside the editing being nicely done to portray questionably elaborate PTSD, which brings up the point that the mental state might have been too twisted for its own unbalanced taste. (B)

(Full review TBD)


Eastwood tuned the usual spirit of sports, namely the hopeful confidence of the positional underdogs, to the divided unity that made the story worthwhile through a valuable reflected communication but mainly with Freeman's performance as Nelson Mandela whose sense of wisdom is something to read over twice for a full meaning, and Damon's performance takes that stance. (B+)

(Full review TBD)

Ghost Town
Ghost Town(2008)

A sentimental spin through the supernatural afterlife that became an antisocial accidental chosen one's responsibility as Gervais leads the film with his comedic charm when trying to walk out of the situation with Kinnear as an emotional supportive guidance who represents the weight of what one social recluse is missing. (B)

(Full review TBD)

All at Once
All at Once(2016)

The emotionally-triggered concept has an understandable meaning, except that it doesn't resonate much with little filling to the expected heart. (B-)

(Full review TBD)

Half Nelson
Half Nelson(2006)

A film on innocent shells and intersecting private parallels invaded by countering influences teaches, by little, the unseen effect of social improbability, and the main demonstrating pair Gosling and Epps performed perfectly to that very level. (B+)

(Full review TBD)


A colorfully charming, fun meaningful expression on the pursuit of happiness with sweet energy to live it up, producing a surprising result of an exceptional animated film to view without the predicted childish silliness. (B+)

(Full review TBD)

Like Father
Like Father(2018)

Lauren Miller made her attentive mark in her directorial debut with emotional emphasis well-drawn whilst benefitting from Grammer and Bell's father-daughter chemistry that bolstered the feel-good comedy into something sweet, even when the rom-com clichés were used and twisted in application surrounding the main pair's healing bond. (B+)

(Full review TBD)

The Week Of
The Week Of(2018)

Besides a sweet moment at the end, Rock's comedic charisma and sporadic humor by little, this is probably Sandler's most awkward picture between random silliness and plot-driven decency with a flawed, unfocused aim to random cliché targets. (B-)

His Girl Friday

An early black satire of serious competitive journalism with the electric chemistry between Grant and Russell taking over the amusing romance column in a sly fashion. (A-)

(Full review TBD)

Under the Skin

Even with acknowledged background information on the storyline, Jonathan Glazer presented artistic cleverness when tackling a traditional sci-fi observational then eventual connective routine with the end of "2001" being fashionably repeated in the mental vibes, and Johansson's mostly charismatically casual and stoically seductive performance actually tows it all in an entertaining matter. Although, there are questionable content being aligned with few remained convoluting elements (B)

(Full review TBD)


What makes this a strong romance of forbidden love, in a timely topical matter under a stressed communal circumstance, is the well-casted performances of the smitten pair in full commitment with explicit breathing of hesitance whilst channeling a rebellious nature. Lelio's direction is a graceful expression of both the love and the circumstance that simultaneously unfolds in an engaging matter to see how the past resulted and where it's going to lead. (B+)

(Full review TBD)

Cold Mountain

An accurate war-mongering side of "Gone with the Wind" in a similar epic sense of storytelling like a modern update to the historical facts, strongly both emotional in performances and visual in the brutal cost of a self-downfallen war. (B+)

(Full review TBD)


Scorsese's religious vision finds life with patient development overtime into a powerful journey that tests the strength of faithfulness towards spirituality whilst questioned in its adjacent to humanity in thorough division though convoluting sometimes on what's being pointed and addressed. It's genuinely one of his finest work with masterful exquisiteness in the production period set and direction that replicates Akira Kurosawa like a half foreign film, then leaving the other half literally lying on Garfield's shoulders through his emotionally touching performance that's at a level in a Shakespearean work. (A-)

(Full review TBD)


The humanistic communication gave off a cautious signal out of its potential, realistic sentimentality between Williams' gentle care and De Niro's striving and literally ticking independence - mostly outside of his tough guy image - in this touching, generically rough drama. (B+)

(Full review TBD)

Donnie Darko
Donnie Darko(2001)

One way to describe the utter embodiment of a troubled teenage mind, across both focused negativity and unfocused positivity, is the surrealist ending marking the whole as something and making the mental hazing even more puzzling, while consisting a surprising cast and a perfect soulful performance by Jake Gyllenhaal. (B)

(Full review TBD)

The Only Living Boy in New York

A nicely-made, kinder reverse of "The Graduate" with a little more touching thought that seems to be the main takeaway plot-wise along with reflective and understandable performances from a nice cast, particularly Tatum and Bridges with a sugarcoated approach. (B)

(Full review TBD)

Demon House
Demon House(2018)

Supernatural reality "Ghost Adventures" received a bolder, unrestricted feature-length treatment under the same form whilst embracing the cinematic height of the genre's required thoroughness around the subject matter for a haunting entertainment. With actual skepticism being questioned near the end and may not exactly spike to the show's chilliest, Zak Bagans apparently in genuine went all out to share this investigation to find chilling shocks of true horror and surprising connective depths that makes this a strong spider web. However, you'll be warned to view at your own risk. (B+)

(Full review TBD)

Despicable Me 3

Unlike its chronological predecessor, the third scheme didn't further enrich the contained qualities except the manifesting, charming animation of the constant heart towards the meaningfulness than going for the extra dimensional feels nor for the scaled-down humor, but it's still a surprising worthwhile fun entertainment. (B)

(Full review TBD)

The Lobster
The Lobster(2016)

Prior to "The Killing of a Scared Deer", Lanthimos told another tonally-likeminded story that is more original and closer to a complex social commentary in a satirical way within a standardized dystopian narrative. While the aforementioned film had a more widespread introduction, this preceding eccentricity solidified how established his works are as a gritty take to a Wes Anderson flick. (B+)

(Full review TBD)

The Best Years of Our Lives

The film mostly delivers with a minimally-entertaining post-WWII storytelling that was thoroughly represented with well-performed soulful characterization within enough substance to put up with worthwhile length. (A-)

(Full review TBD)

Mrs. Miniver
Mrs. Miniver(1942)

Dated genuinely inspiring delivery with possible relevancy in contemporary terms while Garson's performance idealized a lovely, mostly optimistic figure under a distant perspective during tough times. (B+)

(Full review TBD)

The Life of Emile Zola

Director William Dieterle didn't hold anything back through the rough story of actual morally good vs immorally, corrupted evil that stuns to be believed when being brilliantly - and satisfying at least - brought to life by the excellent, yet reflective writing, mainly from Paul Muni's soulful performance. (B+)

(Full review TBD)

An American in Paris

This film follows the then typical elegancy and musical formula with the grandness successfully expressed by the talented cast to dazzlingly heighten the numbers than how they were written. It's also one of those films that provides some sort of energy reservation as a sort of buildup towards the climax, which is the titular composition piece coming to life in an astounding scale as worthy payoff with a bonus cap afterwards of true happiness. The main spotlight, which is the ignition of stirring the utterly original filmic musical's true soul, relied on Gene Kelly for making decent premise livelier with his energetic performance, no matter if most of the numbers were low but still in high spirit in a generic required level. (A-)

(Full review TBD)

Paddington 2
Paddington 2(2018)

A pleasant sequel that asks little from its predecessor by going for a different yet almost traditional route of a second chapter that only adds more through further depth as a motivational build-up - and demonstrating a nice message, containing the constant fun and warm innocence whilst upgrading the charm into pure meaningful sweetness. (A)

(Full review TBD)

The Conversation

May not exactly be thrilling as it was in its release but it sure is captivating at the level of "The Third Man" that engaged you to keep on guessing till its somewhat indirect ambiguous end, and Hackman's performance maintains the inner paranoia. (A-)

(Full review TBD)

The Killing of a Sacred Deer

Aside from the disturbingly chilling yet unclear story with a monotonous tone from the mostly emotionlessly family dynamic trying to get around a mystically karmic art for stubborn though narratively sensible vengeance, the further introduced establishment of Lanthimos's authorship/direction really clarified the psychology in this kind of questionable storytelling being filled with eccentric taste in music tensity and spacious cinematography, including the performances being acceptably well done, mainly Farrell, Keoghan and Cassidy. (B)

(Full review TBD)

Ernest & Célestine

Such a lovely picture with rare delight of pure heartening sweetness and excellent parallel in storytelling of the titular pair displaying the best in social meaning of friendship, whose voices were very well-casted to match the overall charm of the animated medium's shrunken attention. (A)

(Full review TBD)

Absolutely Anything

Definitely a Monty Python flick poking fun at the family sci-fi flick formula resulting in laughable mishaps and attempt to teach in ideological communication, alongside the unbalanced decent mediocrity across some aspects through the performances and plainly ridiculous plot points. (B)

(Full review TBD)

Wet Hot American Summer

The intention is understandable with a nice cast to refresh a narrative structure and fun 80s style setting, till it all got squandered when trying to excessively prove its self-declaration - like a hard constipation - as a parody that's actually both parallels to Adam Sandler's worst and an omen to the now lost will of the genre. (C)

Grand Hotel
Grand Hotel(1932)

There's a sense of people-watching on the well-performed juggling, interweaving characterization in one setting brings a casual social storytelling formed by the agreeable "nothing ever happens" bookends. (B+)

(Full review TBD)

Smart House
Smart House(1999)

Generally made with cheesy effects that obviously differentiate itself from theatricality, which therefore solidify its low rate. But independently, the film approached the titular scenario with a mixed, juggling heart consisting bonded human drama being highlighted a few times, and the amusement and concern of parenthood and technological advantage reliance. Things get questionably downgraded during the understandable third act while the piqued curiosity towards the expected circumstance at the end result meets a total creepy radiation that possibly managed to overthrow the "Psycho" twist - courtesy of Segal's live performance. (B)

(Full review TBD)

Max Steel
Max Steel(2016)

The protagonists may be likable but they're part of the film as a whole that's trying to be an average superhero flick when it's only expositional and nothing much was established nor developed enough to counter its own sense of "logic" with sensible plot points, which overall makes it predictable and García's new low confirmed that. (C+)

(Full review TBD)

Mamma Mia! Here We Go Again

Under terms of Broadway musicals, there's an apparent relationship between film and stage with adapting treatment going either way. The most unique spawns are those continuing the story on a different platform rather than the initial starter. We got the eighth chapter of Harry Potter being exclusively written on stage, with denied plans of adapting it on film with the original film actors (yet). Now, marking almost twenty years since the curtains first lifted, the hit musical "Mamma Mia!" continues exclusively on film in "Here We Go Again" - one of those sequels that improved over the first.

The following musical acts as both a sequel and a prequel to the original, providing more contexts behind the characters. Sophie is living in her mother's memory hoping to make her proud from running her villa to expecting her first child, all on her own which worries her if finding herself incapable of doing such. For assurance and supportive pursuit in help and guidance, she looks up to two of her mother's friends, Tanya and Rosie. With the past being reminisced, Sophie learns how much her life parallels to her mother's past, till she faced with an unexpected visit of her estranged grandmother.

The back-and-forth narrative with the present flashbacking to the past has an exquisite balance that actually parallels till both timelines reaches to their climax in one beautiful number before the celebrative finale. Director Ol Parker took a thankful distance from Phyllida Lloyd's chick flick tone into his own sense of united timely sweetness, which is his authorship from his previous known works in both "Best Exotic Marigold Hotel" chapters.

Prior to the reluctant viewing of the film, curiosity was actually piqued on what musical numbers the filmic sequel going to perform, whether they're all new for the film or just replay the songs from the first musical. Regarding the latter, a number of them were performed with a more spirited presentation that improves the initial setting ("Super Trouper" and admittedly "Dancing Queen" to name almost half) - following the old sequel treatment. Then regarding the other numbers to expressively represent the story, this is more of an ABBA film than a "Mamma Mia!" sequel, and the added songs were well picked and gracefully, as well energetically, performed. Although, there were a few being met with lowbrows due to the illogical momentum.

Credit goes to the cast for making the written words, in both story and song lyrics, being fun and lively as ever, especially putting more of a heartening aura along the way. The dynamic of the cast from the first film is like a typical reunion while putting a little more momentum into their performances guising with some sort of excitement from their facial expressions. But the cast that stands out under the main spotlight are those that replicates the older counterparts in the past with fresher charm, particularly Lily James being a younger Meryl Streep.

"Mamma Mia! Here We Go Again" improves the first film by being a more appealing sequel that's more welcoming/inviting with the spirit being more celebrative and heartfelt. It may even be a guilty pleasure for some. (A-)

I Am Paul Walker

A respectfully touching, emotionally-triggering portrait of Paul Walker that goes over his connective lifestyle and preferences as further behind-the-scenes depth to his roles, but the most powerful aspect is the involvement of his family and friends enriching the known charm and accompanying, with permission, home videos - under the nostalgic aura - and backstories. In addition to the presented clips, the documentary becomes more fulfilling when telling a thorough story of one's life with a personal perspective being posthumously told in effective responses that continues the whole flow very nicely with no abruptions. The biographical narrative this presents also leads in its own effect that makes the known finale more chilling as a little extra weight to the tragedy. (A-)

(Full review TBD)

Brad's Status

Unbelievably relatable in unheard spoken volumes with some awkward curving vibes, and thoroughly insightful through agreeable and assuring observations when in Stiller's mesmerizingly performed position. (A-)

(Full review TBD)

Bill and Ted's Excellent Adventure

Just what to expect from a cult comedy classic: charismatic humor by the relied performances from the leads when driving through an acceptable nonsensical plot that's mostly not flat or engaging. (B)

(Full review TBD)

Blazing Saddles

Only a slight percentage contains offensive and cringing humor over a serious topic, while the rest at a greater majority is genuine laugh-out-loud hilarity towards the original, non-targeted parody of the western genre that is backed up with a brilliantly demonstrated ideological message of unexpected sense of unity. (A)

(Full review TBD)

Valerian and the City of a Thousand Planets

In a different spin of blending the space of "Star Wars" with the imagination of "Avatar" - as first felt in "John Carter", Luc Besson went above to invite us to explore an illustrated world with amazing visuals that colors the attraction before seeing the functioning creativity that runs it. Its simplicity is almost like any straight-forward independent film, till the blockbuster effect bloated the narrative to exaggerate long enough before it all somewhat logically ties into the final action; therefore relying on the aforementioned visual exploration and the nicely-casted decent performances to keep us satisfied. (B)

(Full review TBD)

November Criminals

This crime drama under a personal perspective that gives out emotional resonance is a void of unclear, forgotten intentions and forced tackling of a relevant social discussion that was only handled with predictability through social typicality and unoriginality in storytelling; so basically nothing new here besides relying on Elgort's leading performance. (B-)

(Full review TBD)

Fathers' Day
Fathers' Day(1997)

While the plot is silly in exaggerating and stalling away from the simple route towards its own eventual deconstruction that twisted the events to nothing, the main attraction of Robin Williams and Billy Crystal's comedic dynamic doesn't disappoint when decent hilarity still ensues as expected from the first glance. (B)

(Full review TBD)

The Curious Case of Benjamin Button

These kinds of films are special occasional storytelling with an epic length of one character's growth through gentle complexity, even though this story may not be as great as "Forrest Gump" under similar taste with different heart and mental comfort. Then as a bonus, the performances being generally well-casted and nicely done put its two leads in a light that spells more than just one of their best but also most definitively unique at the most range. (A-)

(Full review TBD)

A Ghost Story

Amazing simplicity that actually deconstructs "2001" into something more engaging with similar patience towards its depiction of the paranormal - and ambitiously the afterlife in a glimpse - in an artistic, more mysterious glance with poignancy and what-if alternative in a poetic sense. (A-)

(Full review TBD)


It's an ordinary attractive offering out of the superhero genre with an unfamiliar approach to those who haven't read the graphic novel. Even that may be, the film showed an apparent sense of being faithful to the panels that furthers celebrates the novel through impressive visuals that does justice under Zack Snyder's vision of grit, and providing a satisfying spaciously unconventional narrative to wove enough backgrounds and story. (B)

(Full review TBD)


Despite not being empathetically thrilling enough, the cinematic treatment of a true "jungle" survival tale combines the thrilling scenery and pace from "The River Wild" with on-land disturbingly gritty survival from "The Revenant" towards a chilling twist while Daniel Radcliffe continue his resume expansion with another fine performance that shows determined commitment. (B)

(Full review TBD)

The Love Guru

If for comedic purposes as Mike Myers's attempt to return to some sort of form, why was this even made? Never seen a film like this being flat-out dead and actually a cinematic representation of pure garbage. (F+)

Shutter Island

Martin Scorsese's trademarked embrace of the cinema tackled both genres of noir and psychology in a stunning way with no holding back on the guessing thrills under the engaging investigation till the twists turns them around into something more chilling under a perfected tied-up coherency. The elegancy and mastery continues as one of his constant finest works, with the help of the relied contributive performances from the thriller's main players DiCaprio, Ruffalo and Kingsley. (A-)

(Full review TBD)


Spike Jonze's projection of a screenwriter's mind resulted as a thoughtfully entertaining perspective, with some amount of inspiration, as a cinematic behind-the-scenes look that mixes in well-performed dueling dual psychology in approaching a source material. (A-)

(Full review TBD)


This perfect family film positions the invited viewers into the family's place to get to know the titular bear better and later charmed in easy acceptance to find the interaction sweet and typically fun with expectations met then exceeded through communicated ideology in obvious definitive terms. (A-)

(Full review TBD)

Mission: Impossible - Fallout

Good morning/afternoon/evening, fellow film spectator/movie viewer. Your optional mission, should you choose to accept it, is more of a recommendation that involves riding on the added set pieces of tracks that furthers the ride of a franchise known under "Mission: Impossible". If you have ridden through the first five missions, particularly the fifth and essentially the first and third - basically the odd-numbered missions - you should feel that the sixth mission under operation "Fallout" had heightened the adrenaline and complexity under the constant push over the last.

Here's the lowdown of what's happening: After a mission gone wrong because of good intentions, the choices comes back to haunt and tests agent Ethan Hunt and the remaining available members of his IMF team. Conflicted with familiar allies while being monitored by the accompanied CIA agent, it becomes a race against time of overcoming obstacles that questions those usual motives to resolve the human error that would really put the world at risk.

Director Christopher McQuarrie has been steering the franchise's wheel for two missions since the fifth, which is more than those who previously helmed the past missions as mostly one-shots. McQuarrie's constant direction between the two missions has gotten a little heavier when still further pushing, testing and questioning what the filmic missions and tactics stands for, while also involving more personal stuff into the characters. The said push resulted in the aforementioned heightened complexity through thoroughly thought-out intelligence still pulling out twists and turns, as well planning out the action sequences to generate thrills as adrenaline's the main component to the push. The stylistic and subtly dramatic approach also went onto new testing grounds for the action genre.

Single-handedly grasping the adrenaline, Tom Cruise continues his usual risky take as an action movie star that's astonishingly gripping with tighter and larger space, delivered by taut cinematography in expressing the aura of the individual situation. But when he's not straining his muscles in stunts, he still performs almost at a same level in strength with his known casual charm.

In addition to Cruise's energy as part of the operation direction's furthering things particularly the emphasis on the inner and outer importance of the characters, the rest of the cast, most of them returned from few previous missions, followed well along that line of minimum expectation that Cruise set. Henry Cavill joins the team by literally punching into the game in attempt to credit the well-choreographed action with equivalent rivalry formation and reflective suspicion as part of a partially predictable twist till the confirmation around the surprising turning point. Returning from the previous mission, Rebecca Ferguson continues the favorable aspect surrounding her character while fulfilling another's half and breaking more of a barrier that improves the franchise's taste in casting.

Should you or any of your party not find the time to experience what's being agreeably hailed as the best mission yet in the practical action franchise that seems to glorified the genre, knowledge of your decided actions will not be disavowed but to your own under the shrunken effect that tightens "Mission: Impossible - Fallout" to the acceptable minimum that will still deliver the thrills and intelligence. This review will self-destruct if something occurs in your present device that would make this unavailable. Have fun experiencing the thrill. (A+)

Monster Trucks

Derivative from generic structure and development to characteristic tones that in a way transforms "Fast and Furious" into a fun, charming family filmic treat under a creative literal spin. (B)

(Full review TBD)

The Fourth Kind

Heavy skepticism regarding the questionable credibility that the film tried to sell as its lead for the decent craftsmanship structure in presenting and handling an intriguing new take of an alien abduction narrative, while also painting the general state of skepticism towards such claims along with few shocks - and supposed insensitivity to the acknowledged actual historical background - within a thin bland line. (B-)

(Full review TBD)

Straight Outta Compton

Director F. Gray Gray really took the meaning of "Fight the Power" from Spike Lee's "Do the Right Thing" to a fully-committed powerful height in a well-suited biopic that revived the riveting, rebellious spirit and depth of its time while also being apparently relevant, courtesy of the solid cast's energetically terrific performances in demonstrating tough stances and the musical power of hip-hop. (A-)

(Full review TBD)

America's Sweethearts

Even though there's some ridicule around and towards the eponymous honesty of elegant realism, it unfolds nicely to further the satisfaction, with brief unexpectancy in the direction, while being sporadically funny and charming from its appealing cast. (B)

(Full review TBD)

Charlie's Angels

Seems to have followed the "Mission: Impossible" cinematic formula in bringing back something from the previous generation's television set for the new with a modern update for generational tastes to be met. The filmic revival is driven by nicely-casted characters with usually known charisma, well-toned subtly volume jukebox that carries their stance while expressing how modern the update is besides the more comedic effect that works, and the action pieces being well-paced in a recognizable trendy fashion. After watching this, it gives the idea of the original program, along with the sense of the original's more dramatic effect that was obviously replaced. (B)

(Full review TBD)

The Darkest Hour

Nothing new being presented here with some kind of effort, with not much development to unflatten the players of the alien invasion survival flick, besides under a different take and intriguing territorial predatory display that interests towards the outcome rather than being initially thrilling as it was supposedly planned. (C+)

(Full review TBD)

The Last Unicorn

What possibly makes this the best imaginative storytelling offering from the Rankins/Bass Productions is individually the fine performances particularly the heartfelt touch from Mia Farrow, as part of the the constant elegancy and gentle approach in the subject matter, with surprising bolder choices; joining the array of similarly-toned animated pictures within the generational ten-year span. (A-)

(Full review TBD)

Monty Python and the Holy Grail

Still a humorous classic to this day that pulled off unconventional filmmaking despite the aging that gives the dated portion an agreeable tonal remark, which dissolves the comedic distraction to find it weirdly uneventful. (B+)

(Full review TBD)

Scott Pilgrim vs. the World

Purely whimsical in the zany, visually stylish action and the charming performances building up the energy for the supposed balance. (A-)

(Full review TBD)

Game Night
Game Night(2018)

Possibly the funniest black comedy there is by how it was literally played as full, fun expression to the title as a maintained objective with such twisted cleverness adding into the twisted wound towards unexpected turns and plays, charmingly played by the energetic cast that did a splendid job as active players along with comedic timing. (B+)

(Full review TBD)

Mission: Impossible Rogue Nation

Each Mission: Impossible film pushes more than the previous mission. The first "Mission: Impossible" was the update of the 60s' TV series that introduced the characters and their methods. Four years later, "Mission: Impossible 2" focused more on the action and was the first mission to push things up a bit, and it was also the first of the series becoming just Tom Cruise's extreme, action-packed vehicle. Six years later, "Mission: Impossible III" done a farther push with more thrills and a little more action whilst Emotionally balanced. Five years later, "Mission: Impossible - Ghost Protocol" strengthen the aspectual combined push further. Now four years later, the latest mission "Rogue Nation" push it all the way to the point of challenging and twisting the traditional elements with unpredictable outcomes.

The position "Rogue Nation" put itself among the films is being the best when challenging what's been known and displaying the best of its ways of being entertaining. Before describing what kind of play it'd played, it's worth pointing out that this installment is a throwback to the second installment with similarities. The second installment was the least received of the series, but provided action sequences that were one of the respective genre's best. So as the latter was balanced with the action and small attention to the substance, the latest mission improves it with more excitement and thrills through the twists to the known style, otherwise inadvertently erasing it.

The way it was pushed was done with complex writing that was well-handled to make things such as the twists and quick action work, as well blending in some comic without losing concentration. With the concentration unbothered, thrills were resulted. But there's another source that fills those description that made this a great movie is the great cast, with the returning Cruise, Rhames, Renner and Pegg with the additions of Rebecca Ferguson and Alec Baldwin. The obvious standout is the driver himself, Cruise. His performance and stunts should get him recognized at least for a nomination for Best Actor as he felt the real adrenaline that channels him whilst performing. Also, give an Oscar contender to director Christopher McQuarrie as his direction helped the pushing as well.

"Mission: Impossible - Rogue Nation" is the best Mission yet by pushing the style of the action and intelligent complexity writing to crack the limits to generate the thrills, excitement and occasional humor, and the cast performed well to stay at that level. Now, it's your mission, should you choose to accept it, to see this before it gets minimized for available viewings on smaller screens since the kind of scale this Mission has is a big-screen ride. (A+)

The Death of Superman

Been a while since the last Superman centered film and it's a pleasant shift of production pace to grant the man of steel one. The first part of a two-parted reboot of "Superman: Doomsday" with more faithfulness to the source material explores and balances Superman's world and impactful relationships that briefly defines him when there are no punches to fuel the action. The main action sequence in the climax vibrates the intensity as probably the most memorable in the animated universe; capping it off with emotional resonance at the predictable outcome before being left hanging. The latest in the DCAMU improves the characterization and storyline's adaptation with the animation being typically well-done by the constant scale that managed to increase an actual tensity to the action. Although, not sure it matches last year's "Teen Titans: The Judas Contract" in terms with the connected series, but it sure is one of the best towards Superman when also being thoughtful and the most captivating. (A-)

(Full review TBD)

The 15:17 to Paris

May not be at Clint Eastwood's top craftsmanship despite the good intentions and the most memorable aspect being the casting of the actual individuals re-living the short event in dramatization, followed by the blended-in archival footages, that sort of unbalances the scale with the film treatment being inferior. However, albeit the choice of story, it's more about the structuring of heroism as seen throughout the film to know the story that built the heroes up and mentally gathered in one moment to seize the chance of preventing further maliciousness - alongside with perceptually restricted militarism. Flawed craftsmanship in storytelling, but still well delivered with strong enforcement through the casting that furthers the credibility of accuracy/authenticity, especially when seeing how traumatizing the sudden occurrence was. (B)

(Full review TBD)

Ant-Man and the Wasp

In what instance has a franchise provided a break mostly within a new chapter away from the main occurring arc - besides the release gap? The latest chapter in the Marvel Cinematic Universe takes place in conjunction to "Infinity War", which clears up one absence and gives a proper introduction to another heroic alter-ego. Respectively, "Ant-Man and the Wasp" is a nice, fun break from recent scales and stakes with positive characterization and the usual excitement in the action-packed creativity.

After the events of "Civil War", Scott Lang, aka the current Ant-Man, faces the consequences of his voluntary actions and takes things further towards a full redemption in order to be able to spend time with his family, namely his daughter, while restricted in his pleaded sentence. His chance to make it through the near end of his sentence gets complicated when confronted by Hope van Dyne and Dr. Hank Pym in an urgent matter to bring back someone lost from the past. Putting his suit back on, and teaming up with the now modified Wasp, the pair work together to uncover secrets in order to fulfill the mission before few other parties reach them.

This sequel to "Ant-Man" follows a typical boost for the story when adding more to the predecessor, particularly increasing and reusing retained favorable qualities with increased energy and shine. The storyline's basically a race to the targeted macguffin - literally at a keyword of an unusual size - that attracted few parties to pursue it from the protagonists - with one motive being forgettable but memorably needed for couple of triggers - which positioned the film within its own boundaries rather than causing outer attention like mostly others. In other words, experiencing this film is like watching the Marvel television universe. This direction indicates director Peyton Reed's intention of positioning Ant-Man's character arc as a palate cleanser.

Each of the Marvel films show generic taste and style of visual panels with their own individual boost in order to stand out with a definitive experience (i.e. exhilarating "Black Panther", strong "Infinity War", grounded Captain America, out-of-this-world Guardians, etc.), and "Ant-Man and the Wasp" adds more creativity to the ideal play with sizes in shrinking and growing, and transparent, action that delivers the fun in the punch.

As part of the returning crew from direction to writing to score, most of the cast returned, mainly the pivotal characters with known charisma and expected dynamics that goes further than the initial interactions. While most performed at their usual, particularly veteran Michael Douglas and comedic fast-talking Michael Peña, Paul Rudd and Evangeline Lilly fulfilled their titular dynamic duo's teamwork with such chemistry that did contemporary justice in effective achievement that broke the genre's cinematic tradition of singularity in recent times.

As powerful and heavy "Infinity War" turned out to be, its conjunct follow-up "Ant-Man and the Wasp" provides a complimentary relief while still continuing the Marvel-ous run with the behemoth franchise's continuous, aspectual overall taste maintained towards a minimum entertainment value that managed to get expectations exceeded. In another note speaking of which, the very final outcome was predictable but the whole film made it more twisted and mostly chilling. It doesn't reach a peak that "Guardians of the Galaxy Vol. 2" contains as a fun sequel, but it's around second place in that specific ranking, thanks to the combined efforts as the obvious main source of bolstering fuel. (A+)

Robin Williams: Come Inside My Mind

A finely-crafted, well-structured documentary reflects off of its subject matter besides just going over the history. This touching portrait of the great comic Robin Williams chronicles his milestones with more antics being uncovered in form of hidden gems if mostly seeing him in film form and whenever he's away from the camera, fulfilling an individual range in completeness of one's story with deeper depth that actually stems to the gifted persona. It's probably one of the very best posthumous documentaries by the retained recognizable spirit towards the expected emotional punch. (A)

(Full review TBD)

I Am the Pretty Thing That Lives in the House

Ruth Wilson's narration rivets the repetitive, somewhat aimless script as the only fine quality that this questionable "horror" has to offer with very few rare static shocks amid a mysterious atmosphere that's only eerie with a "2001"-like pacing, helpless from the convolution and exaggeration, including boredom. (B-)

Veronica (Verónica)

Questionable credibility that started the average bland horror tale that tried to swerve itself away from clichés in similar occurring events only to conjure up its own atmosphere and minimal twists through little captivating expressionism. Considering its dubbing as "the scariest movie ever" that made an uncertain number of horror flicks compelling based on the exact reused comment, the horror genre has simmered down to minimal thrills without intention to scare due to the lost footing. (B)

(Full review TBD)

Under The Shadow

Home-bounded cultural familiarity in film that's driven on subtle, genuinely timely subtexts while trying to put in some sort of ghost story that didn't do much besides lengthening persuasion with leakages of supposable chills in a small amount. This could be a persuadable instance in approaching a different, namely foreign, film with acknowledged background information to keep up with the period setting and urban legend. (B)

(Full review TBD)

The Boy
The Boy(2016)

Occasional creep vibes were apparent towards a predictable twist with little clarified substance to the looming mystery, making the titular doll easier to smash by how empty it is than the supposed earlier female counterpart "Annabelle". (B-)

Jurassic World: Fallen Kingdom

In 1993, "Jurassic Park" was groundbreaking in visual spectacle for bringing dinosaurs back to life in our reality through the filmmaking lens like a hidden augmented reality. Though science fiction if still possible considering the current technological advancement, the stakes and thrilling presence under caution matches to that of "Jaws" and the disaster genre for instance of something to occur enough to shake your nerves. Now this time, the humans must help the dinosaurs rather than running in fright or mostly putting them down, and we spectators find our emotional intelligence placed in the middle of the film's debate as a main theme.

"Jurassic World: Fallen Kingdom" is the fifth Jurassic chapter that turns against the residing, surviving dinosaurs on the abandoned Isla Nublar when the island's dormant volcano started roaring to life. The extinction clock alarms Jurassic World's former operations manager Claire, making it her mission to recover these creatures as part of a cause stemmed from her grown respect, also bringing former trainer Owen along to find Velociraptor Blue who is missing within the massive wild. With the clock ticking as lava rains down, the pair uncovers a conspiracy that doesn't exactly free the dinosaurs, not even when saved.

The stakes are replayed with predictable turns, expected thrills - in visuals and rarely attempted terror as the next level for the franchise's settled taste - and connective emotions touching back to the original while bringing up a debatable question, including the timely topic of genetic coding. This debatable question, regards whether to let the formerly extinct creatures perish or be saved, has been asked and eventually answered in the narrative bookends, courtesy of Jurassic Park original visitor Jeff Goldblum reprising his role as one of the film's standout performances that settled the whole situation's weight in just two scenes. In between those bookends, our emotions, experienced and connected after four films, are tested throughout the narrative funnel to the question - then probably reflected to the aforementioned thematic topic in our own reality. Director J.A. Bayona heightened his directorial skills to the blockbuster scale, and he had tuned the latest ride into something more inner thought-provoking restricted within a cinematic articulated reality. Fine touch in the overall approach while occasionally overdoing things to the fault.

Franchise-wise, the genetic coding of "Fallen Kingdom" is similar to the previous two Transformers films in giving a new direction in a surprising way while connecting back to the original chapters in a refreshing way; paralleled to the second chapter "The Lost World" in narrative funnel and setting; and the last Star Wars chapter in present time "The Last Jedi" in politics. Some genetic coding that built/influenced this film.

While Goldblum's appearance is minor, the other standout performances goes to the returned Chris Pratt and Bryce Dallas Howard with the same charm but more "armed" and prepared; later paired with the introduced Isabella Sermon whose role became a representation of the film's thematic topic and a meaning of expressing the connective emotions. Although, her character's depth could have gone a bit deeper in familiar connection to add weight to her twist. Others in the protagonistic force performed well in fueling the little heart and the occurring thrills showing difficulty, while those in the antagonistic force are basically parallel to the real-world political equivalence - hence the genetic coding portion of politicism from "The Last Jedi".

"Jurassic World: Fallen Kingdom" is a satisfying continuation of the long-running franchise that's currently running its course with one more chapter that's actually more anticipating than the previous films considering how this one concluded. The direction was rather interesting to say the least with a narrative discussion considering the circumstance, despite being felt overdone in some areas. In addition to that particular aspect, the thrills applies the same while meeting short of the promised expectation of the chapter being more toned to horror. The fossil may be rusting away and trying too hard, but it's still strong with some discovery value remaining. (B)

Lost In London Live

Woody Harrelson's positional debut as a filmmaker impressively brings a more realistic approach to the "Birdman" story and pace with the restaging of his past experience that brought out a thoughtful reflection of actors, as well the expected comedic charisma and emotions out of his casual performance. (A-)

(Full review TBD)

Post Grad
Post Grad(2009)

The narrative bookends are the only (decent) parts that focused on the squandered premise that instead swerved into an average conventionality after the petty painting of postgraduate reality - alongside with pointless plot points. It managed to be funny sporadically by occasion throughout the average, pointless bulk by charm from some of the cast, even if it's not enough to tip the questioned worth to its watchable favor. (C)

(Full review TBD)

A Million Ways to Die in the West

The intention has been communicated but muddled with a weak grasp that lacked an aimed direction on how much of the Western genre to put a comedic spin on that's rather unfulfilled/incomplete - or it would have been further bloated. The attractions that led to the viewing for expected laughs and the charm of the ensemble cast still satisfies under a faltered effect. (B-)

(Full review TBD)

Tower of Terror

Typically cheesy under the limited, dated television scale, but it's quite faithfully perfect of its kind of Disney expanding a story to an attraction which resulted into a considerably nice depth manageably without the initial "Twilight Zone" format, and a recognizable production value adding into the same type of experienced fun. (B)

(Full review TBD)

Monster's Ball

Truly a somber story of unseen connective commonness that exercises an individual's own buried depth to be voluntarily dug up by another with willingness in empathetic access, and the demonstrating chemistry, both in and out, between Thornton and Berry was splendidly performed, particularly the latter with her deserved win. (B+)

(Full review TBD)

Drag Me to Hell

Utterly campy that gives off an annoying vibe while Sam Raimi returned to crafty terror with modern jolts that rarely works in the genre, overall reaching the mediocre level of satisfactory. (B)

(Full review TBD)

The Forest
The Forest(2016)

"The Blair Witch Project" without the shaking camera tackling an urban legend surrounding a somewhat mystical environment under a wrongfully terrifying light around a plain mess of its narration inconsistency. (C)

(Full review TBD)

Away From Her

A sad love story of difficulty towards the subject of Alzheimer's and the importance of smiling in happiness as a reasonable sacrifice of the aged love with mesmerizing gentle performances and a thoughtful, yet probably relatable script. (B+)

(Full review TBD)

As Above, So Below

Unoriginal as a manifestation of derived tonal shifts such as starting with a "National Treasure" hunt to the mythical "Mummy" to get to the underground "Blair Witch Project" in the catacombs, which is the main event the film wanted to get to already and be all cheesy in pointless clichés that totally faltered the value of the still undecided potential for the eerie tour with a wrong sort of light. Also, the form of the found footage is starting to prove how lost the presentational credibility is nowadays as some or most pale comparisons to how it started. (C+)

(Full review TBD)

Let Me In
Let Me In(2010)

The other side of the Twilight craze besides the fandom is the supernatural vampire phenomenon in film, and this film stretched it as contribution. A remake of a Swedish film adaptation to a source material, it's seemingly faithful in that angle without an exact plan of seeing it. In another angle in seeing it solely without the other existing materials, it's a reversal youth romance of "Twilight" with sweetness from the chemistry of the young stars but also occasional drops of blood from the irrational, grisly violence. (B+)

(Full review TBD)

License to Wed

Typical Robin Williams comedy just as expected with a warm welcome of laughs and questionable but understandable morality in the center of ridicule. (B)

(Full review TBD)

American Made

Embodies the 70s-80s transition spirit in a reflective laidback attitude and an increasing weight towards a conventional tale's end of one's profile. This is probably director Doug Liman's most relaxed, while meeting his taste of running crime, to the point of being fun from Cruise's always appealing charisma. (B+)

(Full review TBD)

Ghost in the Shell

Perfect embodiment of the anime through designs and performances, with Hollywood's typical taste of action being put into the mix while still following the original storyline in a way which the live-action film seems to be conflicted on what direction to pick till it got settled once the interesting mythology got refreshed and pushed forward. Again as predictably usual, the decently entertaining live-action adaptation attempt doesn't match the more impressive animated form. (B)

(Full review TBD)

Red Eye
Red Eye(2005)

Wes Craven kept things under the radar in a tight spot of two seats occupied by Rachel McAdams and Cillian Murphy solidly performing a realistically probable approach that stirs up an emotional resonant in positional worrisome, generating a quiet thrill ride with a heavy weight of a nasty health disorder. (B+)

(Full review TBD)

The Woman in Black

Daniel Radcliffe went directly from Hogwarts to the Muggles' world of mystery in a terrifying form of a ghost story under a recognizable contemporary narrative presentation with occasional filmic jump scares. Without interfering with the viewing whatsoever, the film actually accomplished the true fear factor with an eerie atmosphere at best. (B)

(Full review TBD)

The Four Seasons

Interesting social observation of driving a wedge in between long-lasting friendships by a charismatic cast and some humor being balanced with reflective drama while the rest is plain casual. (B)

(Full review TBD)

Blair Witch
Blair Witch(2016)

Grittier in creating a maintained creepy atmosphere to really stir up fear with horror thrills and affective tone echoing from the original that both actual pushes the mythological story forward and contradicts it into a different identity, while the credibility of the found footage genre's logic is questioned to the flaw. (B-)

(Full review TBD)


Engaging narrative direction to the end with a creative satirical twist - both angles in the genre and social irony - but the displayed animalistic gores with thorough authentic senses are generally off-putting. (B)

(Full review TBD)


Distanced, incomparable quality due to the gap but it refreshes the relevant plot points joined by an interesting analyzing approach to the mythology, alongside with few built-up thrills, including a summed-up twist to make this decently enjoyable. (B)

(Full review TBD)

Terminator 3 - Rise of the Machines

A third chapter that really circles back towards the twisted inevitability in a tense revelation while functioned as a satisfying follow-up with decent performances and slight ridiculing of the continued previous depth through acceptable humor amidst the destructive action taking advantage of the updated CGI. (B+)

(Full review TBD)

Last Days in Vietnam

There are stories that are best told by those who went through those events, protecting their perspective emotional value from the risk of the cinematic treatment with actors acting out the emotions. That way, stories are passed down and spread to a wider range of listeners finding out about what they had experienced, and reflect on how it can teach and inspire others about the subjected value. This emotionally-affecting documentary unveiled a hidden epilogue to the Vietnam War with harrow and the negative kind of thrill out of apparent hopelessness while hoping for something to turn up, sympathizing with the affected people, both mainly the South Vietnamese and the conflicted soldiers, through the perfect chronicling accounts and archives for the visual and emotional impacts with amazing results. (A-)

(Full review TBD)

Avengers: Infinity War

Seen all the MCU films? Check. If not, then that's mostly fine - probably.
Read the main comic storyline? Preferable while optional.
Are you prepared? Either way, you would need personal mental reinforcement.

The potential impact of one film is well known enough to turn the excitement of anticipation into nervousness because of the dire consequences that could happen when the impact occurs right in front of us. This case can only be felt if the attachments towards the characters through knowledge and experience has grown like a bond between film and mind, prepared by little to be emotionally shocked after connecting through multiple films. Now for those who aren't very familiar, or haven't grasp, with the interconnected narrative mythology, it's a ride with heavy stakes and emotional strength to make sure the biggest threat doesn't reach the goal. The mutual one-word description from both sides would agree that it's altogether powerful - but various tastes would go random.

Ladies and gentlemen, this is "Infinity War".

The Marvel Universe continuously faced multiple threats from the grounded Earth to the infinite side of the cosmos, and they all been thwarted by heroes and occasional team-ups. But everything they went through, the fights and challenging obstacles, led them to face Thanos, a new danger with a lingering presence makes himself known in his quest to collect all six Infinity Stones, each containing unimaginable power that are aspects of the universe's creation. With the fate of Earth and all that exists threatened by how Thanos see fit, most of the Marvel heroes must prevent him from reaching his goal or it's all over.

Expectations have been typically met, usually exceeded in a familiar fashion, but one aspect met short. As tradition, an Avengers film is a culmination of what occurred since the previous team-up. But this time, directors Anthony and Joe Russo presented what's literally a culmination of all the films that were building up to this one in all angles: referring back to the past events; consisting at least one character from one character's solo outing; and combined entertainment values blended altogether into one. It's powerful to the epic scale of the action and characterization, particularly the emotional weight and heavy circumstances to bring out their strongest strength, especially when the spectacle has spontaneously grown.

While "The Winter Soldier" is merely a political thriller with more grounded realism and 'Civil War" is a step-up as an emotional game changer to Midgard, the Russo Brothers did it again with an increased scale but handled it all just fine with supportive help and guidance into the characterization. Cinematic creativities varies by director's taste and vision that mostly excels, and the Russo Brothers continue their masterful direction to prove themselves worthy of the broken Mjolnir for doing justice on expressing the scale of the story and the characters, with some artistic filmmaking to boot with the visual help of their frequent collaborator cinematographer Trent Opaloch.

The credit should also go to screenwriters Christopher Markus and Stephen McFeely for finding such grasp to handle with a solid script and the layout of the emotionally epic scale as well balancing plot points as the film narrows down to three plots once the characters are grouped to diegetic strangers before down to two in the climax. Not only did they do the characters right but how they had written in connective references to all 18 films before this one can be seen as a beneficial access for those who have seem most likely little to none of the cinematic universe, which is almost like how seriality is done on televised dramas but straight to the main plot and being patient to be caught up. With that being said, this is more for those who have experienced all the films - and television series to lesser extent - and would understand more behind the spoken words that described the past plot elements and impacts briefly. But the converts fills the experience to the maximum while the non-converts, who don't follow the films pretty much or not at all would minimally experience while still feel the power.

Composer Alan Silvestri presents another component next to the Direction Stone and Written Stone with the Music Stone that nondiegetically expresses the overall soul. He scored the first "Avengers" that really, more clearly, kicked the main narrative arc off that started forming this film, and it's a pleasant return when further emphasizing the weight and amped-up the excitement while also expressing both the general scale and emotions. The power is felt through the music, and Silvestri did it masterly when treating the story being some sort of an opera, which is pretty much is considering the epic scale and impact in thorough senses of different levels from emotional attachment to shocking impact to the heavy-paced action.

Now for the Human Soul goes to the gathered-up cast, mostly reassembled and some assembled together for the first time. The dynamic of the latter assembly is what made "The Avengers" exciting when crossing over characters from different films, and the major third team-up returned that feeling to see different worlds colliding at entertaining, occasionally amusing results. Although, the main downside of this whole film is that there wasn't much interactions as hoped, as well some characters were underused with shorter spotlights and few were omitted; but understandable since this is only Part 1. But the one character that went through all the plot branches and interacted with the heroes is the most compelling: Thanos, greatly portrayed and composed by Josh Brolin. As it was pointed out, "Infinity War" is genuinely Thanos' film, and Brolin justified that already by his performance being the standout of the huge cast. Taking second place behind Brolin is Chris Hemsworth doing the same in a more personal level for his character to really rise to the mighty title; followed by Benedict Cumberbatch, Robert Downey Jr., Zoe Saldana and Chris Pratt. The rest performed at their usual level with more required strength.

"Infinity War" is best to be seen as a theatrical viewing in order to truly feel the power level before it hits the shrunken effect, even though it'll still be entertaining no matter the screen size. As an ensemble crossover, it ties to "The Avengers" over "Civil War", while standing between the former predecessor and "Black Panther" as MCU's tops, peaking at how powerfully emotional it is through the expressive spectacles and performances towards the heavy weight with combined previous elements. But based on the lasting impression the film left off after the first viewing, it's so far the heaviest film there is as far as I know and what I have yet to see as of now. (A+)


So while the Avengers and Guardians were fighting against Thanos, Hawkeye was playing a childhood game of tag.

A film on a simple game of tag came out of nowhere and piqued interest on what direction it would go that could be somewhat similar to "It's a Mad, Mad, Mad, Mad World" with a simple chase being bloated enough to tell a story. The note that pointed out it's based on a true story really stir up curiosity, especially when backed-up with a "not kidding" note. Then when the trailer came, laughter ensued, anticipating a definite viewing instantly. The story may be personally hilarious within the real group, but the cinematic sharing is truly hilarious like almost purely laugh-a-minute.

A small former group of classmates have been playing the same game of tag since 1982, downsized the playability into every month of May, just so they can be kept in touch in each other's' lives, even if it means to travel across the country to unexpectedly approach one of each other. But this particular year is different because the tag virgin Jerry is said on planning to retire from the friendly tradition, so the rest of the group must race against the clock to tag the still untagged Jerry.

"Tag" is a hilarious story of friendship and childhood that really means well in most of the fun times, which redirects the comical simplicity of the game by providing a deeper layer, right beneath, of related stances in agreeable points and hidden problems and reminisced callbacks. Thanks to that very layer, we receive a heartening sense of friendship that blossoms in the nostalgic end. The laughable fun worked due to the charismatic cast tapping into their inner child to get into the game while building a convincing grown chemistry like they really embodied the originals' playful, grown (overly-)competitive but very friendly spirit.

To make things really funny, Jeff Tomsic at his directorial debut added a perfect usage of slow-motion for instant sport strategy being put into played, resulting in clever comic to garner laughter at a guarantee. It would have been interesting to see the action at normal pace for instant replay after the occurred slo-mo. But it's fine the way it is in an okay matter since it achieved two important goals: tell a story and generate laughs.

Next to the usage of slo-mo, the most creative idea is inserting how the story became known with a Wall Street journalist, who's probably the sanest outside the childish play. "Tag" is probably the most unique fact-based flick with familiar elements of the genre being put into comical matter that puts accuracy as irrelevant since it's all about having fun. It does provide a screenshot of the source material in the mid-credit actual footages of the original ten players (it would have been too much if not five on film), without needing to do the notes of currency. (A-)

Make sure to stay till the very end for an extra treat - or you'll be it if you don't.


Curiosity intrigued, then answered and wondered slightly further through a realistic approach in pacing while guided by a nice cast, except for the potential in exploring further into the interesting, persuadable concept to only be downsized with nothing much to perceived besides the supposedly subtle commentary and amusing differences in apparent sizes. (B)

(Full review TBD)

Incredibles 2

In 2004, I started going to the movies with "Shrek 2" being my first full experience, followed by "Shark Tale" and the tensest film that heightened the beginning of my moviegoing journey, with the surround system booming to my little ears, was "The Incredibles" - also the first superhero film I have ever seen on the big screen. Since then, my perception on film has grown into critical lens towards the deeper layers than what is just shown. Not only the personal relationship but within the 14-year gap, the genre has grown along with the advanced animation. The sequel states that while continuing the exhilaration and family theme on the subtext scale putting the superhero genre as both a subtextual occupation and an interesting study.

With time jump refused, "The Incredibles 2" takes place right after its predecessor and follows almost a similar structure but altered in reverse on Helen Parr's - aka eLAStigirl - favor as a chosen advocate for bringing back superheroes into the spotlight which she's taking over. While the wife is off working, the "Mr. Mom" subplot comes in when Bob Parr becomes a stay-at-home dad for his three kids, only to find out he has to handle it like it's a heroic doing when it doesn't ask for a superhero. As the Parr family is dealing with life, a new villain hacks a dangerous plot through testing Elastigirl.

Pixar sequels are written for further story completion whilst flipping the character focus in some of them. One thing about Pixar's attempt in the superhero genre is that the genre seems to be some sort of a subtext amidst a family story with love and drama like any family story beneath the drama genre, and that's feel like outweighing the action than a typical superhero flick's way of balancing action and personal life. This kind of narrative may be a theorized interpretation but it makes the films somewhat most realistic under Pixar, particularly how the reunited dynamic was relatedly scripted and gracefully performed, stirring heartening and humorous moments. Director Brad Bird retained that elemental family value with additions keeping up with discoveries/new experiences under new and/or unused ideas after the first film - accompanied by composer Michael Giacchino's further experienced, still faithfully-close score to the subject with the returned theme.

The superhero genre as a general form besides a label shifts around the passenger seat before taking the wheel for thoroughly accurate action. Obviously grew, an emotional response to the exact standardized moments was the accustomed excitement that other superhero films built during the 14-year production gap. After many films, we're treated with one that actually responds under an interesting study regarding the heroics effects of genderism in differences of handling things and the said perceptions by new character telecommunication tycoon Winston Deavor (Elastigirl being centered matches the received quality of the lines between "Wonder Woman" and assumingly "Captain Marvel").

Aside from the presented study, the film contributes to the superhero genre with enhanced animation to being an increase amount of efforts for the actions that now asked for more kinetic energy to the motion, with the fun still being apparent in the creativity. However, with new characters' intentions spelling out positive meanings, suspicions already get kicked in to predict the man behind the mask till the prediction became a one-sided reverse when the structural twist came in.

It would take a double feature of the two films to indicate which of the two is the best. In an honest way when comparing it to the rest of the Pixar library, it's the very best second chapter next to the completed narration of "Finding Dory". This sequel isn't tensely fresh as the original - as well questionable whether it's a biased response towards the action after numerous superhero films since then instead of being independent - but the entertainment value is retained with the thematic family value taking over with the benefit of advanced animation. The characterization fueled by the cast's performances is the true soul to feel their interactions being like a typical reunion. To sum it all up with predictable simplicity, the power of "The Incredibles 2" is pretty much self-explanatory in the title. (A)

WARNING: "'Incredibles 2' contains a sequence of flashing lights, which may affect customers who are susceptible to photosensitive epilepsy or other photosensitivities."

Thor: Ragnarok

As the current interconnected arc is nearing its end, the Phase One movies are neared to their end as well. Both Iron Man and Captain America finished their stories, while the strongest pair of the bunch Thor and Hulk are in-synced of reaching the end of their own journeys that the cinema has to offer. The storytelling style of the Marvel Cinematic Universe scrunched up multiple comics of singular heroes, either flawed or perfectly blended together, showing how quickly it was for the characters' defining, relevant stories being told in just a couple of movies. Next up in the Marvel threequel attempt is Thor in "Ragnarok", displaying his mightiest thunder.

We find Thor at the end of his Infinity research looking at a conjunction of a prophecy that foretells the end of his homeworld and people of Asgard but gets sidetracked when an all-powerful new threat has been unleashed. After an encounter with the locked Hela, Thor lost connection with his mighty hammer and gets imprisoned in the other side of the universe whereas he's being seen as a contending gladiator. As Hela is setting her plan forth by fitting Asgard to the image she used to know, Thor must survive his gladiator fight with his missing ally Hulk so he can get home in time to prevent Ragnarok from happening.

"Ragnarok" departs the Thor trilogy away from the fantasy genre into the cosmos as a cinematic exploration of the larger territory of the beyond - mostly with the Guardians of the Galaxy usually as our guides. Speaking of which, enforcing the departure in genre tone is the unique vibe that places the God of Thunder in a "Guardians" film, which is seen as a nostalgic ride back to the past namely the 80s, and the music takes it further by sounding like an 80s video game whenever the action picks up and the familiar motif is being played at the same time - with two occasions of Led Zeppin's "Immigrant Song". Composer Mark Mothersbaugh increased his musical scale to perfect a third chapter's scoring that touch bases to the previous themes, while enforcing the overall feeling.

Director Taika Waititi also increased his taste in direction into a mainstream blockbuster - as well self-inserting himself into a supporting character - to bring pure fun as part of the envisioned lighter tone despite the title's meaning being "the end of all things". It's rather a questionable tonal shift by the increased comedic energy that sort of felt off to the taste in the trilogy as a unique end than the other two aforementioned trilogies. But Waititi managed to balance it out with extra kinetic energy in the action to make it up, in adjacent to garnering entertained laughs. Not only that but the other excelled element is the impressive display of character development that Thor seems to still show but more impactful as part of the film's expressive theme of loss alongside with gain in untouched power to show why he's called the Mighty Thor. And there's Hulk's mental growth as the first part of his three-parted story arc.

In addition to the growing character development that the film presents, the characterization was well performed, particularly Chris Hemsworth being an equivalent to the whole film's balance in personal energy. The other standout is Cate Blanchett in a greater villainy role that she totally pulled off within the genre's standards. The conflicting familial dynamic between Hemsworth and Tom Hiddleston continues more peacefully with a grown heart, probably mostly courtesy of the comedic shift. While still discussing under the terms of characterization, the one flaw that was bothersome is the first quarter being rushed with opportunities of better shines to characters being quickly passed out of impatience. Although both parts are understandable when power level is being unusually expressed.

"Ragnarok" is a perfect solo outing of the Thor films, as well the best by looking at the characterizing growth and the balancing of the excitement in the action and purity in fun - albeit questionable for tonal reasons. In comparison to the previous threequels, it still goes around the sole character's standards while (mostly) circling back to the beginning chapter of their journeys (Stark's reflection, Rogers' intersecting world), and this is quite an epic film to the godlike thunder punch with the same Marvel excitement, particularly when set as a preparation for the certain War. (A+)


Dated vision with a workable structure that assures potentiality of rooted connection and a good-enough breakthrough performance from Slater as the on-screen heroine, but it only matches in power level to "Superman IV" with its own utter nonsense and simplicity of cheesy effects when trying to go for the easy route. (C+)

Batman: Gotham by Gaslight

Stylishly animated and adapted period thriller, despite rare stirring for the subject matter as the grisly center, while also justifying numerous Batman centered films being made to express how grounded and close to realism the Caped Crusader has. (B+)

(Full review TBD)

Batman Ninja
Batman Ninja(2018)

Unique storytelling expressed by otherworldly Japanese animation to the comic mythology with a potential route till it got literally disrupted by an unsuitable cliché that doesn't fit with the period nor the characterization. Flawed climax in comparison to the first two-thirds, but the matter of perspective with the elemental deepness being granted to understand Batman's thought process in resonance. (B)

(Full review TBD)

Batman - Mystery of the Batwoman

A genuine mystery with an unexpected twist as part of a well-written story accompanied by lovely unusual inserted music for the titular subjected heroine, although at the same time not as deep, on any level, as the other films on the caped crusader when it's more on the influential side this time for a fresh introduction. (B+)

(Full review TBD)

Superman: Brainiac Attacks

Although non-canon despite the pleasant return of a modern animated style and vocal energy, except on how the secondary antagonistic force was portrayed, it's mostly satisfying from the looks of a considered future direction with a thrilling pace that matches a portion of the genre's current taste in action. (B+)

(Full review TBD)

Batman & Mr. Freeze: Subzero

Utterly constant towards the qualities from the characterizing voice-acting's charisma and action continues the pleasant viewing of the animated series, but the short-offering bonus is the transitioning animation with a one-time technological upgrade continuing the cinematic canon storytelling in a quick and smooth way to bring a humanized villain's arc to satisfying completion with a warm heart. (B+)

(Full review TBD)

Deadpool 2
Deadpool 2(2018)

Remember California Adventure's former musical spectacular "Aladdin", and how the Genie actor performed freely with humorous timely jokes? Well he's a spirit animal, or a prior example, behind the Deadpool character in relation to the superhero genre since 2016 from poking fun at "Batman v Superman" to co-star Josh Brolin's other Marvel character in the sequel's self-parodic humor. Knowing it was during the post-production phase when James Cameron remarked about the superhero fatigue, I couldn't help but ponder if the film actually went with that fatigue. Never a superhero film ever felt tiresome enough to make your eye lids heavy for a couple of minutes, resulting in losing track of the journey before the predictable destination in one little middle portion.

"Deadpool 2" follows the regular ingredient of a sequel in adding another weight of emotional attachments and obstacles onto the character, who by the way must deal with loss and the meaning of family including what it takes to be part of a team. The official, more serious given synopsis, by note, is Wade Wilson, aka Deadpool, decides to put together his own team of similar-natured mutants to protect a young mutant from being hunted by the angered time-traveling cyborg Cable. But that's only telling less than half of the direction since the character himself is truly a wild card of the Marvel brand.

Well, the superhero comedy is surprisingly less inappropriate while it still is along with clever, parodic humor when subtle, but it's actually tiresome and occasionally annoying to make it solidly decent at a surprising low rating since the "Fantastic Four" reboot (*insert Deadpool gasping*) - although still offers more entertainment value at a B level. As a responsive consideration, additionally referring back to the wild card remark, this is probably the most unique of the genre's modern turn by being a self-parody that still causes groans like any feature-length parodies but the amount of laughs overall, either to the parodic jokes or not, unbalanced the scale to its favor. Because of that style, it's one of two factors that departs from the "X-Men" franchise's thematic taste that even the predecessor possesses, but it's understandable if Deadpool wants to be his own franchise by distancing from the parenthood.

Adjacent to its relation to the overall franchise, what's also a departure is adding another element to the grown narrative through Josh Brolin's character Cable, who literally shifted the franchise's time-space continuum with a recognizable connection of an experienced, still-superior narrative. Ryan Reynolds may have had the spotlight from before and was given an enlarged role to the film, both creatively behind and in front of the camera, with a pleasantly-given stakeholding human drama and still fun as ever with comedic energy, as the the film's main soul, it was Brolin who again stole the spotlight from the titular character - singular this time - by introducing a more freshly compelling character who hasn't been introduced cinematically. Another scene-stealer who stole the spotlight ahead of Reynolds is Zazie Beetz as the lucky mercenary Domino with a charismatic performance that's fresher than Reynolds'.

Behind the keyword "fresh", the meaning is referring to the film's dimmed freshness from its more preferable predecessor. The sequel stumbled through the parody genre, in an occasionally over-constipated attempt of being funnier but failed to instead become annoying, and the aforementioned departure in tonal narrative differences. The main aspects that were relied on as persuaded main attractions through the generic taste of action and energetic comedy by Reynolds' charm, and the former of the three increased surrounding the cause-and-effect mayhem from Cable is proof of the original freshness. The rest worked with some struggling to only find decreased acceptance. This isn't because of change of direction from Tim Miller to David Leitch ("Atomic Blonde"), it's a plain aura and notion that sequels doesn't meet up to the original. Speaking of direction, complimenting Leitch's direction is rather difficult when there's a sense of convolution on the overall craftsmanship between his or Reynolds's expanded creativity that is more under cynicism. (Reynolds probably proud of himself to have this film to be luckily seen the second time to find this out another day).

After experiencing the sort-of overhyped "Deadpool 2" that was funnier through the marketing campaign that promised to be as funny as the first coming, the character has lost a viewer into unsure skepticism towards the likelihood of seeing another Deadpool-centered film in the theaters, being a definite maybe for a fitting price of a free or discounted ticket instead of a full-priced ticket. It may be a resulted worthwhile addition with the expected qualities that made the original entertaining in a slight decrease of presentation, but it also strays and bores away from the expectations. (B)

Suicide Squad: Hell to Pay

Though violently grisly, this animated take on Suicide Squad as part of the DC Animated Movie Universe punches its way up to the top out of the three existing films for the humanistic take and similar humor from before with enough story to be engrossed in the action-packed animated patience than the flawed cinematic rush. (B+)

(Full review TBD)

Batman: Mask of the Phantasm

Even though a contributive film to the Batman mythology with its own, apparently more meaningful, most humanizing interpretation with such astonishing depth and scale, it's actually more for the animated series' viewers because of the constant production value's familiarity and thematic quality at cinematic heights, with unseen twists and turns ever attempted, to actually be considered the best filmic outing for the caped crusader right next to Christopher Nolan's trilogy's peak. (A)

(Full review TBD)

A Quiet Place



As I look at horror films as thrill rides, taking the thrilling feeling to the next level, I have never seen one on the big screen. Only the smaller screens at home, and the most common result is a shrunken effect in attempt to receive more than just a couple of thrilled breaths. But when (finally) seeing one on the big screen, the effects seemingly multiplied because of a bigger atmosphere towering over you like you're trapped in the horror's shadow. But what horror tale would be worth seeing on such scale? The concept's already piqued your interest. Then the heightened popularity and in-theater experiences being shared is convincing enough to go see "A Quiet Place".

Mostly a silent film with minimal outbursts when being silent too long because in this family survival tale they must not make their presence literally heard with a slight sound or they will become prey. They are threatened by these mysterious creatures that hunts with predatory hearing and no known weakness to combat against them.

Couple of recent critically successful horror tales within a few years tackled and enlarged humanistic elements to generate actual terror that were placed in unexpected places that were elemental. I'm mostly referring to 2016's both "Lights Out" and "Don't Breathe" as the most frequent examples by thought; and "A Quiet Place" took after the latter film with conformed horror norms but with a more meaningful value that was nicely expressed and connected. This film is a definite thriller with a resonant gripping grasp over a simple element of required silence, accompanied by the importance-emphasizing value of family love and the diverse, filmic progressive communication of ASL - with subtle social commentary.

The cast is very minimal with (real-life) married couple director John Krasinski as the father figure and Emily Blunt as the mother figure, along with surprisingly actual deaf actress Millicent Simmonds as the deaf daughter and Noah Jupe ("Wonder") as the son. Their thematically connective performances altogether were terrific with perfect parent chemistry to get through the horror in tightly-handled silence while the stakes are heightening for non-stop thrills. Same weight to the younger innocent half who responds and must be guided.

Expected to be scared like a typical norm to the genre from the story itself, but it turned out to be not that scary only through the main reliance of Marco Beltrami's score's ("The Hurt Locker" and "Logan") purposeful filter of mainstream familiarity, conflicting its role with effective expression to emphasize the terrific performances and the emotional, atmospheric weight. Because of that reliance, the film went into cheap lengths to be scary by creating cheesy jump scares for pretentious terror. If the main aesthetic that masks the film is the horror element of silence, the diegetic silence would have been more authentic to provide a more realistic, true terrifying experience. Although, it's an understandable move for Krasinski's first directorial project in the horror genre with conformed impression.

After seeing this film, while it is a true horror tale consisting a dangerous situation harmed by monstrous creatures, it depends on the viewer's own definition on what is scary. The tight gripping response is a correspondence to the film being genuinely frightening but not scary enough to stir up fear when it's frightening in a thrilling kind of way. In order to really be delved into the film as it is, it's more effective in the theater like the trippy "Interstellar" - under a separate sorting - and "A Quiet Place" is a worthwhile amped cinematic experience before its widen availability with a shrunken effect. (A-)

(*heard a distant growling*)

Uh oh

The Greatest Showman

A typically-energetic musical treat at the attractive cast's best on the spectacle field, within a direction of satisfying decency that teaches individualism in an emphasized, timely matter - assumingly the main aesthetic. (B+)

(Full review TBD)

Star Wars: The Last Jedi

The Star Wars franchise always welcomes new minds to guide the immortal Force and new wondrous souls to explore the galaxy far, far away. This is pretty clear since "The Force Awakens" started the Sequel Trilogy, followed by "Rogue One" to even make the lore much fresher from the new aestheticizing approach to the traditions. Now next up in the present timeline after the Original Trilogy, replicating the middle chapter placement anticipation-wise, "The Last Jedi" tends to remind us how far, and twisted, a middle chapter would go for in the narration as a whole.

With the Resistance crippled after the devastating destruction of the Republic, they're struggling at the end of what they stand for as the First Order gains the upper hand with Supreme Leader Snoke finding an easy flex for his grip on the galaxy. While the Resistance struggles, hope still stands in a meanwhile when Rey has found the self-exiled Luke Skywalker, hoping that he can bring a stop to the First Order's thorough reign of terror. But the focus gets shifted when Rey finds herself under the legendary Jedi Master's reluctance guidance.

The latest chapter in the saga heightens its predecessor through all aspects by an unconventional approach through a gracefully written direction, albeit admittedly less fresh but shines more as the storytelling progresses. It touch bases to what makes the franchise great from the anticipation matching the excitement that was assumingly felt towards "The Empire Strikes Back" to director Rian Johnson mending the lore in his own embrace that expresses a typical fan's relationship, which was subtextually celebrated - along with hidden political jabs. With Johnson helming the journey with resulted overall perfection, he'd added complexity and ambiguity into the said approach under a certain merit towards mainly the characterization for emotional depth and brief poeticism, including the newer blood while the original blood was given an extension to their arcs. He has also added acceptable amount of humor for a lighter purpose into the claimed darker storyline, but the humorous level is reassuringly below average than the contemporary superhero films.

Responding to what's been interpreted on the script, the cast, both old and new, performed with excellence and aged wisdom. One of the best aspects that powered Episode VII's nostalgic ride was the prime returns of the original heroes, weighing the chemistry and pushed diversity with the cast's fresh blood. Mark Hamill made a triumphant return of his character who was now radiating a wise, mysterious vibe, performing at a similar level as Harrison Ford but more personal within Luke's circumstance. His "twin sister" Carrie Fisher performed her final role right before her passing, and her spirit was given an honorably loving memory while the actress performed at her typically great charisma. The newer blood added more energy and emotions to their characters as each were given an arc that took them through tougher obstacles.

With the narrative being mainly character-driven, the usual action sequences are seemingly fewer this time, responding to built-up turns and energized by stunning visual effects (and production merits as part of the traditional usage of opportune practical effects with the scale measured by nice cinematography). The character-driven format is the story's reflective meditation, downsizing the amount of action to be outbursts that really expresses the opera part of its genre when it gets too powerful, as well being exhilarating with increased thrills to the point of gripping. Those two typical plot offerings share a connection through John Williams' composed score that still brings out the film's inner magnificence in a scene. The new Star Wars chapter sure did raised the bar for an exciting ride.

The sci-fi franchise continues to offer new experiences since 2015, with the latest "Star Wars: The Last Jedi" containing a significant addition into the lore with twists and speculative ambiguity, favorably delivered action and further dynamic of the updated characterization, through the explored and reflective depth, along with the continuous nostalgia to make this the most fun despite the intended darker route. That route may not be heavy at first but it's justified by the overdone grimness, which is the only lingering problem - and also a little to the sense of purpose on few narrative elements - that was taken a little too far in the weight. After watching the middle chapter, "The Last Jedi" leaves you wanting more into the final chapter of the current trilogy after resulting to be at least the best, by most favorite, Star Wars yet. (A+)

May the Force Be with You

A Wrinkle in Time

The cinematic relationship within an adaptation between a book and a film tends to attract spectators to the film before knowing there's already a book at the first thought. Should I read the book before seeing the film to see whether or not it's a faithful adaptation? Or just go straight to the film and read the book another time? It should be based on the level of your own anticipation towards the upcoming film that you may like to see in the theaters before reading the book.

"The Martian" provided an interesting narrative while "Wonder" showed a heartening promise, and both films apparently proved to be subconsciously faithful without reading the book. Then there's Disney's latest dive into the fantasy genre as a new film form of imagination that's based off from the pages being transformed under Disney's magical hypnosis effect. "A Wrinkle in Time" was earlier compelling, along with a nice set of announced cast, by a possible mysterious concept that may be concerning time travel. But after seeing the film, after being compelled to check out the book a week prior, it may have been a different experience below the initial expectations.

The story focuses on a young girl named Meg Murry, who been dealing with the disappearance of her father Dr. Alex Murry for five years since he somehow discovered a new planet. Her wandering little brother Charles Wallace meets the mysterious astral travelers Mrs. Whatsit, Mrs. Who and Mrs. Which; then the two siblings, joined by Meg's classmate Calvin, got put into a dangerous journey to bring back their father under the travelers' guidance. It would take the kids' bravery to get through a planet that possesses the universe's evil soul, while the siblings' bond will be put into an eventual test along the way.

From what I grasped after the first viewing, "A Wrinkle in Time" is rather complex to the meaningful soul mainly by the abrupt folds in the narrative flow, lacking any smoothness for the characters and the overall approach. It's another of those attempts made by Disney to be ambitious only to occasionally falter when created a visionary void with not much to fill the rest for balance that's relied on to the writing and the cast. The descriptive and emotional human soul noticeably provides repetitive moments for the heroine's understanding of the surrounding circumstance with communicated lines that tried to go beyond, only to turn out to be awkward writing.

Thanks to the writing, it had affected the nicely-selected cast's somewhat squandered talents, but not their charms when putting literal-balanced energy into their characters. Respectively portraying the astral travelers, Oprah Winfrey, Reese Witherspoon and Mindy Kaling did their best to guide through a fantasy scale while radiating pleasantness in their known presence. Chris Pine energetically performed fine when setting the idea up and trying to put it all to rest. The main, most-energetic spotlight goes to the young stars Levi Miller and breakthroughs Storm Reid and Deric McCabe as they venture throughout the given flow and gave it their best than the veteran actors, though still part of the unbalancing. Simply put, the appealing cast performed decently at the film's average.

Director Ava DuVernay's intention with this project besides going into the adaptation and having fun along with the rest of the cast is to express a message about diversity and female empowerment, with Jennifer Lee from "Frozen" as one of the writers. She did that nicely well amid the visionary void through the characterization under her own spin, especially when providing an insightful understanding as a moral pinch of social commentary salt - hence the meaningfulness. Accompanying that approach next to the characters, along with occasional unique style, is the elegantly fitting music that seems to express the encouraging spirit that composer Ramin Djawadi didn't need to heighten.

So yeah "A Wrinkle in Time" may be questioned regarding its faithfulness to the unread source material as it would take another viewing then a reading of the book to fully grasp it. But as of the first viewing, despite not really being engaging as hoped, it's a decent film for visual entertainment with a subtext in the veins as part of the celebrated soul in reflection form. How flawed it may be at the front with qualities to enjoyably appreciate, it's more important that the cast and production crew had fun doing the project. Otherwise if they didn't, it would be a bad movie. (B)

Justice League

What are the expectations being laid upon a non-Marvel's equivalent team-up ensemble? The Justice League's main contemporary entertainment has been animation, now it's finally coming to life for "Batman v Superman"'s subtitle's completion. But since that film's grim disappointment that managed to be entertaining by how it was done, expectations for the incoming semi-culmination were vague - even if it wasn't helped by the bar-raising "Wonder Woman". So as a result, "Justice League" is decently entertaining while at the same time can't shake off the inferior vibe.

After Superman's noble, humanizing sacrifice, Batman, with the help of Wonder Woman, is set on recruiting metahumans to defend their world from an incoming otherworldly threat. They recruited Cyborg, Aquaman and the Flash, and the team of five becomes the Justice League, learning their differences and obstacles along the way - and a definite key to stop the threat.

"Justice League" is entertaining but not exciting as it hoped to be from a waited anticipation towards a team-up ensemble. It actually doesn't live up to the notable animated universe that built its name - and familiarity for the characterization's expectations, which is due to the flawed slate being rushed (similar to each animated films' flow). Marvel (couldn't help with the old Marvel vs. DC bout) went beyond by how "The Avengers" was built up across numerous solo films for most of the members' arcs. This film however didn't went in that very route with only the Infinite Trinity being given much well-known spotlights for them to already be seen working together in "Batman v Superman", while the other members were only built up through cameo appearances and narratively have their arcs clashed. Although the characterization is satisfying from selection to respective depth of each arcs. In a way, it's a narrative advantage to how the film expressed the team-up culmination by how well-connected it was to most of the previous films while attempting to establish future arcs, amid the unoriginal plot under the DC brand.

The obvious clash that can be felt, if acknowledged, is the directorial creativity. The initial director that did most of the work is Zack Snyder in his third round of the franchise he started, and his craftsmanship isn't much impressive as the other two stem films he directed. He still delivered something entertaining with his signature tone of darkness being improved in a more lighted manner. However, "The Avengers" director Joss Whedon came into the picture to look after the rest of the film during Snyder's absence, which assumingly resulted into a different cut of the overall tone with minimal damages for inserted humor purposes (accompanied by an okay re-scoring by Danny Elfman) that were unneeded. From that, the debatable preference leaned more towards Snyder's whole vision of the film that's marked through more than half of the picture, which led to the controversial debate of his cut to be release. The direction may be conflicted, mainly Whedon's experienced input and Snyder's being the lesser of his Superman trilogy, it mostly still delivers for a maintained entertainment value.

It was something kinetic for the action sequences by the visual effects usage, even though it's gotten overused from the blown unoriginality including the troublesome antagonist to the bothersome facial structure for Henry Cavill from effective reshoots. The pacing of the visual effects' resulted kinetic energy can be considered a pro advantage for the film's noticeable elemental rush under a small runtime for such scale, declaring the particular visual effects usage for the action sequences being well done.

Next to the action and the rushed pace, another faithful aspect from the animated filmic universe is some or mostly the performances of the cast - with some experienced being rather mixed. Ben Affleck and Gal Gadot returns as Batman and Wonder Woman with further dynamic but the commitment seems energetically downsized when comparing their performances here to their peak from before with more effected towards the former than the latter. The newly-casted Ezra Miller, Jason Mamoa and Ray Fisher all performed at the right level for their characters towards the right tone with their own added energetic input. For Cavill, as it's worth mentioning without spoiling the exact, his performance for his scenes more-or-less improved towards better justice that's more recognizable.

The live-action "Justice League" is anything what you would expect from viewing multiple other animated films regarding the team from the (kinetic) pacing to the characters, but the energy to actually bring it to life may probably erase your worries over the flaws to be become something acceptable. So the film didn't do justice at the level it wanted to land on amid the conflicted vibe in front and behind the camera, resulting to be ranked above "Suicide Squad" before Snyder's two other works in the shared franchise with enough strength to reach up to a 4-star rating. (B+)

Avengers: Age of Ultron

Director Joss Whedon said that there isn't a post-credit scene - except a usual Marvel note - since the shawarma scene at the end of "The Avengers" three years ago couldn't be topped. That's agreeable considering that it's not often to see superheroes going out for lunch right after a fierce battle. If the shawarma scene couldn't be topped in the Avengers' second outing at the end of the credits, could the second outing top the previous outing? Well after watching a bunch of trailers and clips, it was already topped. But after seeing the whole presentation of the film, there's an answer to that question: a game of leapfrog between the two team-ups, till player two lost its energy behind player one. The latest treat/entry in the Marvel Cinematic Universe, "The Avengers: Age of Ultron", only settled to be at the same rating but slightly inferior to the previous team-up while the main asset is seeing Earth's Mightiest Heroes re-assembled.

After the Avengers retrieved Loki's scepter from Hydra and briefly ran into the experimented Maximoff twins - Wanda/Scarlet Witch (Elisabeth Olsen) and Peter/Quicksilver (Aaron Taylor-Johnson) - Tony Stark saw a grim vision and started re-developing his peacekeeping program in order to avoid the vision from happening. While unaware of the system's self-completion, the program, labeled as "Ultron" (voiced by James Spader), went awry and was bent on human extinction. Proceeding towards his plan with the Maximoff twins at his side as they hold a grudge against Stark, the Avengers are pitted against their toughest foe yet that'll put them to the ultimate test amongst themselves if they want to overcome Ultron's reign of terror.

"The Avengers: Age of Ultron" may seem more fun at first with the experienced dynamic reunited for more, but it's not at the same level at the feeling when comparing it to the "The Avengers". Back in 2012, the Marvel Cinematic Universe reached its first destination of bringing the heroes together after appearing in solo movies. Attempted for the first time on the big screen, which spurs the awesomeness and excitement to be a film that's tough to beat. Then when they re-assembled three years later after another batch of solo outings, it's only more fun with more action sequences and furthered dynamics within the team. The film went on to official introductions of new characters to join the bunch. (Does the saying "the more, the merrier" applies to that?)

However, the main factor over its fall is the overstuffed, unbalanced writing with corny lines and multiple threads as a demonstrated improvement for "X-Men: The Last Stand" and "The Amazing Spider-Man 2". In the bar-raising original, there was thoroughness as the balance's core. This time, you're just stuffing it up while decently maintaining the same thoroughness, but couldn't pay much more attention to the balance, which produced flaws when trying too hard, thus failing to raise it more like the potential that the trailers presented. We got a couple key action sequences that builds up towards the climax, then the energy restores in between. That's not the unbalanced part when during the energy restoration, the Avengers reflects and a few times characteristically developed to their depth. That process is the Avengers responding to the aforementioned "ultimate test" that Ultron puts upon them.

Now the antagonist Ultron, motion captured and voiced by James Spader, is a great villain of the Marvel films in general, but the portrayal just seems underperformed albeit looking at the logics of the character of being more human that's still evolving yet advanced towards his motives. The characterization isn't only an asset but a typical quality that's based on how well-known they are through the comics and films, and how successful the portrayal was, which includes Ultron's position of being the Avenger's greatest threat yet. The character also has his moments of standing out in the script that supports to how threatening he is.

"Age of Ultron" may've been less received than the first Avengers because on how noticeably flawed it was, but it relies on the "Agents of S.H.I.E.L.D." episodes that'd aired around the film and thinking logically behind some parts while knowing the intentionality and fulfilled purposes of a role. Your eyes as you watch the film gives you the awesomeness and the fun excitement of the film, while your thinking cap would show you the logics, thus bringing the film up to its full assumed greatness of the entertaining value that may be at the same level. There's no such total disappointment of the written direction when it still satisfies what it delivers and combines the various qualities seen in the prior films. So seeing most of the MCU characters in one event is always exciting and fun with great friendly dynamics in-between and stirring up bunch of humorous moments at the right time, while energized by an epic soundtrack to pump things up.

Other qualities that powers the film are how the very well-executed action sequences were given some intensity and such speed to the amazing, eye-popping visual effects. But coming out of those qualities is the only flaw of miss-opportune writing that could've been written in a better fashion, except one that can be forgiven at the end that was intentionally cut off before it was completely phrased.

"The Avengers: Age of Ultron" stands as the MCU's center pole for its foretelling of story threads as it foretells Phase Three from a sneak peek of Marvel's Civil War to the Infinity War. There's a lot more where that came from as the MCU is expanding with more Marvel knowledge to learn and be quizzed on when coming to these film events. With more excitement coming up in the franchise, this particular ride had only met most of its predictions of being one of the year's best film. It may not be the franchise's absolute best, nor in Phase Two, but it's quite an acceptance for its plain "smashing" good time with the constant enjoyment and excitement at first glance. Simply put, it's lucky to be given the same rating as its predecessor, but still leaning in a threatened matter into a lesser rating. (A+)


A new original Marvel property being put into focus to introduce a new hero making an entrance to the cinematic universe in a similar fashion as "Guardians of the Galaxy". But this time it's a solo ride since "Captain America: The First Avenger", which was the previous introduction before the former. The latest, fresh new addition to the Marvel Cinematic Universe, "Ant-Man", takes the honor of ending the franchise's Phase Two with expectations exceeded and met, which isn't much surprising.

The titular shrinking hero communicates and works with ants. In the film, the original Ant-Man Hank Pym (the great Michael Douglas) found out that his former protégé Darren Cross (Corey Stroll) built a military version of the Ant-Man technology under the name of Yellowjacket. To make sure Cross doesn't go any further with the dangerous suit, Pym recruited the well-meaning thief Scott Lang (Paul Rudd), who was just released from prison and has estrangement trouble that's keeping him from his beloved daughter, to become the new Ant-Man to steal the Yellowjacket suit as an act of redemption. With the help of Pym's daughter Hope Van Dyne (Evangeline Lily from "The Hobbit" trilogy) and Lang's old cellmate Luis (Michael Peña) and his crew, while Lang trains to get used to the way of the Ant-Man, the planning of the heist takes experienced skills and further complications in order to keep the Yellowjacket technology from being activated outside of the lab.

The latest Marvel-ous treat possesses the same qualities as the previous heroic outings. It's typically exciting and awesome, at a minimum, to make this a pretty fun ride with almost the same entertainment value. The qualities that fulfills those particular descriptive words are the generally well-executed action sequences and the well blend-in humor at the level of hilarity, both especially in this particular case at a smaller scale that looks like normal size at the strength of the sequence. Another quality that was seen in this film is the handling of the heist genre writing for the film, amped up to the MCU level of being very well-written based on Marvel knowledge. Now the other qualities are the visual effects direction that supports the action.

Besides the kind-hearted soul from the frequent usage of humor and the action, another aspect that fuels the excitement is the important one of the MCU: characterization. It's not just solo rides any more like the ones in Phase One, it's now on a similar approach as the very source materials whereas another character from another property appears, especially a high-ranking one from a certain team. Just like the visual effects supporting the action, characterization is usually supported by not just Marvel knowledge but a nice cast to create dynamics and soul by good performances (mainly by very well-known actors that do their own league).

What stands out in terms of great acting is Michael Douglas having a pleasant presence thanks to his reputation from a nice filmography to make him an excellent choice to play the original Ant-Man. Next to him in terms of awesome appeal is Evangeline Lily as Pym and the original Wasp, Janet's daughter Hope Van Dyne. Then in terms of comedic breakthrough is Michael Peña as Luis, Scott Lang's old cellmate. Finally, in terms of impressive performance in the heroic role with comic and charm is Paul Rudd as the titular hero. Each of those aforementioned actors represents the aspects of the film in their own ways.

The exhilaration of "Ant-Man" reached up to the level like any other solo films while almost at the same slight rate as "The Avengers: Age of Ultron" and "Guardians of the Galaxy" in entertaining terms of awesomeness and fun excitement, despite the two being large-scaled. If you enjoy anything the Hollywood benchmarking franchise have offered prior, then "Ant-Man" is a must-see, promising ride with no reason to not enjoy it. (A)

Blade Runner 2049

This enlarging update of the 80s dystopic cult classic appeals mostly to cinephiles, the original's converts and adventure seekers, with patience as this generation's "2001", to find how much were retained without any act of recycling into something new for narrative purposes, within an astonishing scale of production merits and graceful handling for impressive cinematography and performances following the familiar aura. It may be a long revived continuation as a callback, but it's worth going through with enough satisfaction throughout for a really good result. (A-)

(Full review TBD)


Stylized like an 80's flick with a coming-of-age subtext and intellectual craftsmanship of decent tactics to deliver the frights and chills like a fresh approach to the genre, while the energy is frantic due to the performances being very well done. Despite being mostly faithful to its unread material with supposedly few satisfying improvements, it's generally not for everyone as the nature isn't healthy like a contagious blood within a vein flowing. For those looking for a frightful story at a seemingly different height, there's a balanced reception between fright and satisfaction as its reputation doesn't disappoint while genuinely scary under certain atmosphere to feel the full intended effect, amidst some amount of discomfort. (B+)

(Full review TBD)

Thor: The Dark World

The sequel regarding the mighty Thor isn't as strong as the predecessor with a decent attempt of doing so by the feeling, next to being the most bothersome next to "Iron Man 2" thanks to how flawed the structure turned out that could easily been sensibly improved. It may not be felt as great as the first, but the overall quality offers a slight more enjoyment with exciting thrills, mightier action, few surprises and humor. So as a result, "The Dark World" continues the MCU's entertainment value as a worthwhile sequel with efforts. (A-)

(Full review TBD)

Iron Man 3
Iron Man 3(2013)

The "Lethal Weapon" creator put in some in a balance of grounded and minimally soaring action, and humor, as a culminated humanistic approach for the Iron Man trilogy that tells another meaningful story for Stark's character arc trying to figure himself out within a sudden bigger universe. It seems to follow the usual format of a trilogy's supposedly last chapter, till it went downhill for a statement of a decent twist that squandered potential for an unidentified creative reason. Nonetheless, it's a fine direction with a bump in the qualities after a certain previous impact, improving over its predecessor by solo narration but slightly at the same level of the starter original. Meanwhile in another note, it's better than Marvel's previous threequels, "X-Men: The Last Stand" and "Spider-Man 3." (A)

(Full review TBD)

Gedo senki (Tales from Earthsea)

Goro Miyazaki, the son of master storyteller Hayao Miyazaki, makes his directorial debut with "Tales of Earthsea," a fantasy adventure based on a series of books that the studio been wanting to adapt. His debut is a decent start and a good first step on following his father's footsteps, including attempting to duplicate the "Princess Mononoke" experience of the dark fantasy approach from Ghibli. But there's one thing Gor? Miyazaki was unable to duplicate: the fun Ghibli magic.

In most of other Ghibli films, there's usually a fun, blissfully wondrous magic in their atmosphere (or at least sporadically in some). "Earthsea" is actually treated as a fantasy film that can work fine in live action stressed into the animation medium. It's rather the most mature under the Ghibli name as well the most flawed by its flow that an average fantasy flick wouldn't even go with. It's an okay combo for telling a story, as long Ghibli doesn't lose their animated touch.

"Tales from Earthsea" works well as a fantasy film with nice animation that Ghibli is known for, but it lack their usually-felt magic and fun moments with heart. (B)

(Full review TBD)

Mary and The Witch's Flower

Traditional animation has ceased in favor for the dominate preference of computer animation, with the exception of couple of studios keeping the tradition alive and relevant. Japan provides that sort of entertainment through anime with Studio Ghibli being frequently seen as the cinematic pinnacle. The Ghibli influential legacy grew in the newly-introduced Studio Ponac with their first feature-length film "Mary and the Witch's Flower" that follows tradition when stemming off from Ghibli's roots.

Based on a classic children's book "The Little Broomstick", the story is about an ordinary young girl named Mary who's stuck in the great country with her great-aunt after a recent move. She's practically bored of her life with no friends to go adventures with till it took a turn for both better and worse when she followed a strange cat to find an old broomstick and a mysterious flower coated with a magical power that's yet to be discovered. Put those two findings together and it's becomes a key to a hidden world that Mary never knew existed, which soon to be found out that's not quite a bad thing.

Magic has never been approached with such mystical and whimsical wonder. "Mary and the Witch's Flower" follows the Ghibli tradition of impressive entertainment at an obvious minimum with director Hiromasa Yonebayashi's ("The Secret World of Arrietty" and "When Marnie was There") elegance in charm and the storytelling's unveiling narration. It also has the drawn lengths of the story putting together Ghibli to meet the wizarding world of Harry Potter; hence the aforementioned magical approach when comparing the adventurous beginning of Mary to Harry that couldn't be shaken off, as well its Ghibli roots.

The production at Studio Ponac consisted mostly of former employees from Studio Ghibli. So the roots being the beautifully animated soul that was drawn to really impress across most of the Ghibli films has a mark in this film along with visual callbacks like a homage during the said studio's hiatus. The main callback that was frequently felt throughout the film in similarity to the involving genre's heart is the reminiscence of Ghibli's earlier classic "Kiki's Delivery Service". It's a good start for a first feature of a studio, but they did make sure to create an element as their own trademark for creative separation, which is the apparent whimsicality in the vibe of the animation - and cartoonish somewhat.

In relation to the experienced animation from a relative origin, director Yonebayashi continued his mentioned directorial traits from his two previous films, particularly the unveiling narrative depth that was witnessed in "Marnie". Although, "Mary" didn't exactly meet the peak of those two but still really well as another addition to the director's furtherly-recognized profile that could compel you to see more of his works like Hayao Miyazaki.

Next to the animated soul is the human soul that the cast builds up with their genuine emotions and energies into their characters. The listened dub stars Ruby Barnhill ("The BFG") as the young heroine protagonist who really carried the film that push her acting career further when captivating the spectators with her energetic charm while giving a good value of life regarding magic that most of the fantasy genre couldn't admit. Watching over her when in the hidden world are the Academy Awards winners Kate Winslet ("Divergent") and Jim Broadbent ("Harry Potter" - further amusement) playing masters of the magical school with hidden agendas; and there's Louis Ashbourne Serkis as the typical boy next door.

The magical presentation of "Mary and the Witch's Flower" is a delightful gem with a fresh approach to magic and experienced traditional roots that you're already familiar with from the stories that were told from Ghibli. From here, Studio Ponac shows an intriguing promise, as well Yonebayashi with further attention span. (A-)

Battle of the Sexes

Believable energy by charismatic performances going well into the game that regenerated the thrill and thoroughly well-tackled from the executions of factual deliverance and the parallel topic of sexism to bolster the story's relevant revival. (B+)

(Full review TBD)

Pitch Black
Pitch Black(2000)

Not as thrilling as I hoped it would be considering its premise which nearly squandered the initial pitch into a decent survival ride of the usual foredoom and sci-fi storm with minimal thrills, captivating visuals and a promising breakthrough performance for Vin Diesel's stardom. (B)

(Full review TBD)

Captain America: The First Avenger

The final puzzle piece of the MCU's first climax goes back in time with exquisite period setting of an old-fashioned war flick that greatly captures the patriotic roots of The First Avenger. While the starter "Iron Man" is equally entertaining, this film stands a bit over when offering more into its overall stylized quality within the exhilarating adrenaline in both the old fashioned action pieces and performances by the excellent cast as well the narrative structure. Basically it's a war genre with a below average shorter time frame mixed into the main superhero genre. This introduction of an Avenger amped up the 4.5-star run to the start of the 5-star run by how entertaining the film is before the assembling of the five films begun. (A+)

(Full review TBD)

Three Billboards Outside Ebbing, Missouri

It takes a film that's small-scaled with a given decision to wait for a home viewing to instead be given a chance to see a theatrical viewing thanks to its growing, literally award-winning reputation, particularly during the helpful awards season. Presenting the latest dramatically crafty cinematic experience that proved theatrically worthwhile is "Three Billboards Outside Ebbing, Missouri".

The supposedly dark comic drama tells a crime story that rages war within a small town community between an unsatisfied mother looking for justice and the local law enforcement with a sympathizing, ailing chief. Around the aftermath months of her daughter's death and rape with no justice served due to no culprits turned in, Mildred Hayes (Frances McDormand) took a bold action of renting the three billboards along the town's entrance path with a controversial message directly addressed to the town's revered Chief Wilhoughby (Woody Harrelson). His second-in-command Officer Dixon (Sam Rockwell) becomes the bad cop when getting involved with a taste for violence and fueled the war-mongering flames between Mildred and law enforcement.

You'll find "Three Billboards" a similar experience to a typical drama with the said dramatic craftsmanship and occasional expressions of the filmic power's peak, and it's the usual pick to hold it off till it's available for a home viewing. But that's the case of underestimating the value that turned out to have a perfect decent scale at the cinema. It's that good of a movie filled with tense and committed emotions along with a touch of unsatisfactory but passable truism, memorably by emotional impact with a gruesome point and sealed fate.

The only work I've seen of writer-director Martin McDonagh is his short film "Six Shooter", and his directorial skills from there had enlarged through the unseen "In Bruges" and this film under the consideration that it's easily his best yet with a unique scale that was presented. The atmospheric tone from still wide shots at different angles to a personal aroma perspective is expressed by the elegance in music, with the original score composed by frequent collaborator Carter Burwell (who deserved the current award-winning recognition). There's a sense of perfection in those scenes, stylized by excellent cinematography, with a fitting jukebox and charming score, displaying the usual powerful peak of one dramatic story with a continuous shot of harsh grief, and difference in lighting from after a pivotal flashback.

One of the few main factors that drawn me into seeing this film is the cast glorifying the reputation with their excellent performances into really good characterization. The performances of the cast really has a way of putting a spectator in their shoes within their spaces to separately feel their mentality and reacting to their actions that are gripping and unnecessarily irrational - with one action being formulaically predicted based on the heat of the case. The obvious standouts are McDormand and Harrelson, and Rockwell in particular as the latter radiated a lot of energy into his provoking actions while the former shows conflict in her ideal emotions that are understandable.

"Three Billboards Outside Ebbing, Missouri" excels with a storytelling value that teaches filmgoers to not underestimate one film by its scale. It consists impressive cinematography from craftsmanship and aesthetic direction that positioned the three billboards in a symbolic meaning, along with the human soul counterpart bringing out emotional performances from its excellent cast. Although it could've been rated higher if it weren't for the irrational acts despite that they proved pivotal to where it ended up and make the film beautifully powerful with grit, which genuinely makes this one of the very best of 2017. (A-)

Home Again
Home Again(2017)

Uneventful with a generic formula, but the clearly-marked directorial debut for Hallie Meyers-Shyer continues the charming taste of her lineage. (B-)

(Full review TBD)

Kingsman: The Golden Circle

Heavier sequel than any with heightened stakes and quality that offers a decent balance of flaws through recycled creativity in aligned plot points and improvements through the stylishly constant merits from the characterization and the action to both the charming comic and timely clever topical satire. (B)

(Full review TBD)

An Inconvenient Sequel: Truth To Power

This refreshing update of a follow-up to the award-winning, eye-opening documentary continues with the chilling scientific facts that can't be ignored (arrogance ignores it) but with a stronger, more inspiring impact. The presented power of the sequel that reflects a decade later of how much the world has changed environmentally and what actions being taken and considered makes the impact more as a further push for movement. A riveting experience for a documentary that addresses the unacceptable occurring conditions of our home. (A-)

(Full review TBD)

Iron Man 2
Iron Man 2(2010)

The follow-up still impresses in story and effects with an emotional meaning for Stark's character arc that could've gone better rather than ridiculing the impact, which is why this doesn't have the same energy when it "tried" too hard in its self-emphasized elements. It still offers with a stable entertainment value that actually established a cinematic low bar of the shared universe franchise, even during its growth spurt in this particular installment. (A-)

(Full review TBD)

The Post
The Post(2018)

In the film when Ben Bradlee and his fellow reporters of the Post were going through the disorganized Pentagon Papers that weakened Nixon's presidency before the certain destructive follow-up scandal, they were at an incredible speed to go through those papers, which is just like how Steven Spielberg did with his casually masterful picture that was made in less than a year. The project's a literal immediate form of a film to be timely thematic and topical at an impressive pace, as well in addition to being an effective stance on film reflecting reality.

"The Post" is one of those complex deliverances in the biographical field, rapidly giving out facts from the past in its own pace than your own during your own research on an assigned topic. The cinematic delivery refreshed those facts surrounding the Pentagon Papers with the mental parallelism of today's politics below-average presidency being reflected upon various points enforcing not just the reborn relevance but also the belief that history repeats itself. Thanks to Spielberg's taut direction, it was an effective timing to take the usual pacing into something exhilarating that bolsters the film's compelling intelligence, especially when ending it before a clever bridge with a line to hold on to regarding the First Amendment being threatened.

Also driving the exhilaration is Spielberg's recurring collaborator John Powell's composed score that's majestic as always when outside the science fiction genre in a tone of the other side of the Spielbergian coin. While the fact delivery was driving the narration, Powell's score enhanced it with a majestic score that made the thrilling ride exhilaratingly captivating, when it really starts to pick up. In addition to that merit, my mother noted that the musical score goes back to the depicted period's recognized sound.

While Spielberg has an elegant taste in overall craftsmanship to easily reach up to excellence when tackling fact-based stories that are timely and worthwhile as one of the extent of the two, his typical aspect is that he excels in is the beneficial casting. The cast as a whole predictably performed exceptionally, particularly when witnessing the collaborating dynamic between the A-listing Academy Awards winners Meryl Streep and Tom Hanks respectively as Kay Graham, who led the Washington Post for her family's legacy, and Editor-in-chief Ben Bradlee. The performances runs the pacing and bolding the uncovered edgy facts, emphasizing the importance of their position, which creates some back-to-back dynamics, specifically in a few scenes on phone lines that were crafty like looking left then right then back to left.

"The Post" is Spielberg's latest nonfictional masterpiece since "Bridge of Spies" two years prior with an engaging spirit of parallel comparisons in an anti-propaganda fashion that made it timely thematic with compelling intelligence for its sudden value. It's a great movie that excels through its aspects, including in its structure acting as a prequel to Alan J. Pakula's 1976 "All the President's Men", and as well to the year 2017's top ten films. Whether you're left or right, or just simply a human being, this is a movie that's promisingly entertaining and worthy. (A)

(If I could, I would've place that unburied line right here)

The Kid
The Kid(2000)

Surprisingly a film that struck you in a touching way like a coming-of-age but as an effective life reminder in a reflective, ideological fashion with a charming human soul and an incomprehensible fantasy element throughout when it became solid. It's one of those Disney tales that passes around a similarly-functioning heart in the veins of their live action family films slate. (B+)

(Full review TBD)

The Incredible Hulk

After the cheesy "Hulk" that was released five years prior, this reboot is a smashing improvement with the right treatment that includes spectacle-leveled action and effects. Its soul was given an attempted creativity on being a monster a film that focuses on human drama and understanding the emotions surrounding the mythological roots upon approaching the subject, even though the narrative structure is the most unmemorable of the shared franchise. The creative approach differs from its connected predecessor "Iron Man", but it's also a great independent addition that still creates the excitement to the descriptive title. (A-)

(Full review TBD)


It's the time of finding and figuring out yourself through individualism. It's the time of diversity and inclusivity acceptance. It's the time of requesting peace and kindness; goodwill towards man. The better social option when approaching and meeting, and treating, people is to #choosekind. From director Stephen Chbosky of "The Perks of Being a Wallflower" comes another film based on a book with a coming of age vibe that surrounds on the school grounds, "Wonder". It's your typical wonderful film that speaks the tale of friendship and supportive family.

"Wonder" tells a story of a boy going on an inner "space adventure" in a new world of education that's public school after being home schooled prior due to the fear of unable to blend in. You see, he was born with facial differences that prevented him from going to a mainstream school, making August Pullman an unlikely hero when entering the local fifth grade. He faces harsh reality due to being different, but still look up towards the silver lining to unite the struggling community of finding compassionate and acceptance to prove he was born to stand out, encouraged by his family and new friends along the way.

Even prior to the film, it's already emotional and wonderful when you watched the trailer feeling the uplifting potential and brief cheerfulness, staring Jacob Tremblay from his breakthrough performance in 2015's "Room" being paired up with another great mother figure Julia Roberts along with Owen Wilson as a fine father figure. Already sold to see it. But one day found out it was really based on a book, so the theatrical experience was to be similar to "The Martian": see the movie then read the book - which will goes the same for the upcoming "A Wrinkle in Time".

The emotions felt in "Wonder" ranges from the expected feelings of a melancholy story to what you would feel when a family film goes into a cheery direction with an inspirational ideology in a form of a concluding paragraph. The characterization provides pivotal perspectives, although not thorough but seemingly faithful to the structure of its source material. It's an anticipating process by a pattern when the characters have their own arcs and we like to engage ourselves learning more about those characters. Only four were given their own chapters, but it would've been more pleasantly understanding if getting to know few other characters with convoluting arcs lacking rare resolution. (Maybe the book provides more context). Nonetheless, the triggered emotions are sympathetic and empathetic sadness with heart-wrenching moments at the spikes to heartwarming joy.

The credit behind the triggered emotional responses is obviously given to the committed performances that were excellently expressed from the cast with their respective usual charm. Julia Roberts continued with her grown motherly role accompanied by a contagiously loving aroma while reading her lines like she perfectly wrote them. Owen Wilson's role is quite experienced when going back to his fatherly role in "Marley & Me" along with his trademark gentle approach and comedic energy that fathers would relate. As those two and the rest of the cast that simply performed really well, the main spotlight goes to the young innocent Jacob Tremblay as Auggie, despite being accompanied with questionable accuracy of the role's condition that seem to draw some criticism from those with craniofacial disorders.

"Wonder" is a one-of-a-kind, apparently insightful film of a young complication towards acceptance with difficulty and encouragement, being symbolically meaningful and inspirational for the inner self to #choosekind. You'll soon find yourself emotionally uplifted when you experienced the "Wonder" of this wonderful film with a perfect talented cast that put the true emotions on point. (A-)

Iron Man
Iron Man(2008)

You'll expect the same level of enjoyment from Marvel's previous films but it's actually bolder as in being experimental with such entertainment value from the refreshed brand. Its greatest strengths comes from Favreau's game-changing direction for the genre to the energetic, perfectly-casted performances and the effects through both the narrative and visionary aspects matching the inventive atmosphere. It's basically more than just a usual Marvel film as it starts a new, smartly planned franchise that's the start of the great cinematic universe, and became another benchmark of Hollywood today and the start of Marvel's longest run of greater moves since this film established the peak of awesome entertainment. (A)

(Full review TBD)


With its Transformers-like effects and spirited tone with a little G.I. Joe blending in on those battleships, it's another treat based on a Hasbro product line that's bigger than G.I. Joe and at the same level of the Transformers trilogy, with a respect of the war genre. (B+)

(Full review coming soon - with better wording probably)

We Bought a Zoo

Director Cameron Crowe went into family sentimental territory for an inspiring gentle story of wonder and heart warmth, and the decent efforts of the cast also makes this fun. Upon first viewing, it's a great film when feeling emotions that differed after a couple of viewings with critical lenses. Nonetheless, this is considerably the pinnacle of its release year's being described as the year of wonderful flicks. (A-)

(Full review TBD)

Meet Me In St. Louis

The musicals that were released in the three quarters of the 20th century are commonly grand by the scale of the said adjective in their performances/talents of doing the number. But they had the challenge of keeping that energy constant without breaking the flat line to go down. The number's the source of energy of a musical to bring that bar up, while the substance of the break between the previous and the next number sometimes can bring it down when it's becoming a little somewhat bland. But the reason behind that is so that the stars can rest and restore their singing energy to have enough to lift the bar back up to the level of a film with an A rating.

"Meet Me in St. Louis" has a beauty in its story and heart with few good numbers that sticks to that grandness. While the substance between those numbers may be what I was just went over, this musical managed to receive a rating with a letter grade of the A by its beauty and some grand. (A-)

My reason watching this was that it stars Judy Garland sometime after "The Wizard of Oz." This is the first film I've seen of her outside of that Dorothy costume, which made this a compelling musical to see if you haven't seen any of Garland's other musicals.

(Full review TBD)

Monsters University

The return to the world of "Monsters, Inc." is pleasantly entertaining in this colorful prequel that was fashioned in a similar style of a prequel in the storyline's exploration to being better than the original as this is Pixar's unique classic in that form, as well being one of the best of the college flicks. (A-)

(Full review TBD)

Jumanji: Welcome to the Jungle

Films that were released in the last century are bound to be eventually watched, discovered and observed by the next generation, so their cult values would therefore increase. Stemming from that, interests builds up to the point for the studios to resurface a film preferably in an original narrative that continues the original, while also not relying on the audience count that seen the other before. Few films came out this year benefitting and relating in that case, and one of them is quite special in the comedy genre: "Jumanji: Welcome to the Jungle".

"Welcome to Jumanji"

"Jumanji: Welcome to the Jungle" is both a sequel and a reboot to the 1995 adventure cult classic "Jumanji", which starred the great, late-Robin Williams. The film at 22 years of the original is challenged on doing it right without losing the apparent charming fun of the original that Williams ran. This new offering stars Dwayne Johnson, Kevin Hart, Karen Gillian and Jack Black with Nick Jonas as the main players of the game's fresh twist from a board game to a videogame that solidifies this being a modern update with a reversal complicating action setting place in the middle of a Breakfast Club.

While the original at the time offered Williams and a visually extravagant adventure, this film is an equivalent offering with the cast and sense of adventure but being heightened into actual entertainment and fun at a 4-star level. "Jumanji" overdid its effects and plot surrounding the board coming into our world, which resulted a 3.5-star rating. But for "Welcome to the Jungle", it also did the act of overdoing in a positive light by not only refreshing the concept matter but also improving the entertainment value when giving us the sight of the inner world of the game than outer.

It's not because of the change in narrative that made the film a sequel that improves upon its original, the pinnacle of the filmic energy is the cast's performances and what the humorous body swap twist meant for the characters. As the four main characters - Spencer, Fridge, Bethany, and Martha - got into a Breakfast Club-type situation and procrastinate with Jumanji's dusty new videogame form, the avatars they'd picked are against-type, but there's a meaning behind the twist that's not stated but noticed as the avatars represents their inner selves they weren't aware of (my opinionated assumption/analysis). The perfect cast for the avatars in the game are in Williams' place as guidance into the jungle, and their performances turned out really good as the fun energetic source of hilarity and occasional action sequences. One talented instance on how they were performing during their first few minutes onscreen is discovering themselves for the first time, which proved amusing, particularly Black's channeled "gender-swap" performance.

The main genres that this film is categorized in has managed to place itself to the top over what this year has offered - excluding some that are deemed slightly greater but unseen. "Jumanji: Welcome to the Jungle" provides fresh storytelling with a well-handled direction by director Jake Kasdan - whose directorial career consists small-scaled comedies - and improved senses of adventure while riding on some sort of nostalgia - and a certain heartwarming tribute, benefitting from the cast's performances that blossomed the characterization. The only flaw that I can only pinpoint is the sense of logic in some places. Even though it impresses with an apparent perfection, the film's enjoyment level only reached to 4 stars, which is entertainingly plenty enough to be persuaded to hop onto the ride that truly defines the word "adventure". (A-)

"Game Over"

Anchorman 2: The Legend Continues

Another of those films to both refresh the original/predecessor and follow the typical formula for a sequel in its own spin till it resulted to level equally to the film it stemmed from. The charm from its predecessor continued in a more ridicule but funnier fashion. (B+)

(Full review TBD)

Table 19
Table 19(2017)

More of an apparent human study than being partially a social commentary when sorted into that situation. Just like the characters becoming dimensional thanks to the cast's attributive performances, you'll find yourself attached to them when getting to know them, as well laughing through some comic towards a satisfying, heartening resolution. (B)

(Full review TBD)

The Santa Clause 2

Felt cartoonish as in mostly silly in number of places, but while it's good as its predecessor in family fun and holiday cheer to be treated with a comedy that's ever charming, it explores/expands in its own established alternative mythology that means well including the characters. (B+)

(Full review TBD)

Office Christmas Party

Like the party in the film, it's gone out of control plotwise from ridicule transitions. But that only been noticed after seeing the film whereas what you were expecting prior can be reassured in satisfaction when the cast delivers genuine laughs - even through the unprofessional inappropriateness. (B)

(Full review TBD)

12 Rounds
12 Rounds(2009)

Mostly unoriginal and overblown through all aspects being a mix of some action, cat-and-mouse films such as "Shoot to Kill" and "Speed", but John Cena's take on "Die Hard with a Vengeance" managed to deliver a thrilling, fast-paced, though overwhelming - as in being tediously nasty - ride with decent satisfaction. (B-)

(Full review TBD)


Admittedly impressive and okay funny on how far they'd stretched stupidity in a unique, creative dystopian look as a satirical reflection with a slightly better entertainment value than director Mike Judge's "Office Space", even though it'll mentally makes you feel annoyed and disgusted like you're surrounded by idiots. (B-)

Almost Famous

Crowe took on "That Thing You Do" into a rising wonder towards stardom from a young journalist/fan's viewpoint and supportive efforts with pretty much the same charms from "Jerry Maguire" being set in the setting period as a meaningful glimpse to the past's musical subject while putting a relevant argument for today's journalists. (B+)

(Full review TBD)

45 Years
45 Years(2015)

It feels like "Amour" with such splendid realism towards the romance but more on the line of questioning the years of dedicated love in gentle subtleness. (B+)

(Full review TBD)

The Others
The Others(2001)

Purely twisted from Kidman's psychological performance and the simplistic reversed supernatural in a solid circle, even though you have to go through the stressful unfolding process till the worthy reveal. (B)

(Full review TBD)

Pirates of the Caribbean: At Worlds End

An enlarging, exhilarating entertainment at the trilogy's peak with the usual third chapter formula that was growing especially when in attempt to have much of an epic scale as "The Return of the King" but turned out overall excessive, and heavy with plot threads that soon tied together and made sense at the end. Its epic scale/enlarged entertainment value overshadowed its flaws that were soon assumingly fixed towards a perfect end, which makes this the best of the series - and the last of its established glory. (A)

(Full review TBD)

The Possession

Masquerades as a contemporary remake of "The Exorcist" with hysteric, exaggerated ridicule and the genre's abrupt energetic clichés chronicling the dybbuk box. You'll be better off for an actual suspense when watching the "Paranormal Witness" episode's more accurate, first person account of the artifact. However, the film does offer effective human drama and a visual shock near and during the climax. (C+)


Another "Final Destination" without any premonitions, brought to you by the Ouija board. The cinematic treatment of the game is similar to "Battleship" in rough, dramatic exaggeration than being smooth as it usually was depicted, but the "smooth" instead was put into the slow eeriness. What the filmic board managed to manifest are the chills and decent scares, but without a fright. (C+)

(Full review TBD)

Steel Magnolias

There's a case that the original is better than the remake and the remake vice versa, there's the third case of both visions being equally entertainment. This faithful television remake resulted to be really good in its overall capture of what made the original memorable in a refreshing reminder of what it was. For a television film, it managed to capture the theatrical scale, while the fine all-Black cast performed well capturing the characters' souls and emotions. (B+)

(Full review TBD)

The Informant!

Like with another viewing, the second half is more absorbing and much clearer than the first half's lost in translation delivery of setting up what's little known today while Damon's reliable performance is the main attraction that garners interest towards seeing this satisfying fact-based, uniquely comedic film. (B)

(Full review TBD)

The Santa Clause 3: The Escape Clause

A good, meaningful finale that could've done more exploration in the plot and shouldn't stand as the last chapter when there's at least one more story to tell as the trilogy was still in the process of wrapping without a bow on top to complete the present and be placed under the tree when it's done. Furthermore, it's not as great as the last two when it lacked the Christmas spirit majority to create the same amount of warmth, even though it took "It's a Wonderful Life" in the mix. But it's still quite enjoyable and fun with a really nice cast to energized the sleigh. (B+)

(Full review TBD)

A Merry Friggin' Christmas

Well, not all Christmases are the same in traditions and apparent mood in cheerfulness. This Christmas comedy, as one of Robin Williams' last couple films, only put the laughs of the comedic energy and yuletide cheer solely into the reconciliation of a dysfunctional father-son relationship, while the rest is just what can be considered a crappy Christmas unfortunately. Though it's probably still watchable. (B-)

(Full review TBD)

Bicentennial Man

Definitely a sentimental film of a story of a robot that evolved into an android pursuing a pure human soul. It's a worthwhile tale with an amazing timeline, a parallel heart that was emotionally felt, talented production value of makeup and costume, and next to the said heart there's a mechanic charm radiating from Williams as his usual comedic self. Give this film a chance so you can get to know it like meeting a human soul; that is this film's statement. (B+)

(Full review TBD)

Love the Coopers

There's no recalling when the last time there was a film that's this cheerful, and funny altogether, with family value during the most wonderful time of the year, mixing in modern classic narrative points of other Christmas classics being family films to make what's probably the best in recent memory which also thanks to the excellent cast. (B+)

(Full review TBD)


Actually, the main attraction for this film that saved it with a boost in entertainment value isn't the mystery game but the plot twist that led into another after couple of twists and turns, whether you heard of it vaguely or not, it'll still shock you and make the viewing worthwhile. (B)

(Full review TBD)

Forgetting Sarah Marshall

A nontraditional rom-com that's raunchy enough to gross-out but still generate laughter through the given moments for each cast within the duration of attempting to demonstrate the reality of break-ups and move-on with a change in resolution and inappropriate, exaggerated viewpoint humor. (B)

(Full review TBD)


The compelling premise doesn't disappoint as it turned out thrilling and tense from the well-acted chemistry of the leading pair finding themselves while in an assumingly dead-end situation, even though it was also sporadically bland along with questionable credibility under the suspicious act of being formulaic. (B-)

(Full review TBD)

Pokémon The Movie: I Choose You!

A review reflects from your thought on a film, but, if applies, there's favoritism based on familiarity towards the frequent studios, genre, franchise, and/or program the film's based on, and you'd try to at least balance the lens between yourself and a regular. In my theatrical bucket list, I can check off "Pokémon", even though I'd stopped watching the anime around a year-and-a-half ago. So why did I saw the new movie "I Choose You!" on the big screen? Well, it was under appreciation since I've seen the beginning and was mostly with it since. But with the still-current lack of interest and reluctance on the possible audience, my lens towards the film are balanced between familiarity and regular. At the end, "Pokémon the Movie: I Choose You!" is worth a view, especially since it's a reboot, even though it's more for the enjoyment of the converted.

In this reboot, it goes back to the beginning of the anime, altering the first journey/season into a different continuity. The obvious protagonist, Ash Ketchum, starts off on his journey to become a Pokémon master, with his first Pokémon being a stubborn Pikachu, which also started a beautiful friendship when Ash wants to be friends with him. When their bond strengthens after an act of loyalty and prevented sacrifice, a legendary Pokémon, Ho-Ho, flew over them. The two vows to meet that Pokémon someday, and so start their true journey of meeting, befriending and battling more. This may sound like how the very first episode went, but the course afterwards is almost mostly different exclusively for this film.

"Pokémon the Movie: I Choose You!" is the twentieth film for the franchise in celebration of the anime's 20th anniversary, which is a similar case to how Dragon Ball celebrated in the respective anime's tenth anniversary with "The Path to Power", especially how both films retold the stories in slightly alternate continuity. With that being said, the rebooted structure focuses on crucial moments of Ash's journey that didn't remain constant (like his "aging" in the show) while taking the direction to a different focus that became the climax's location of the film. Even though it was directed by the same director Kunihiko Yuyama of the whole film series, this one is sensed differently and probably the most enjoyable yet by its heart with the additional qualities being in heightened art and attached emotions, though not the very best when few others offers some little more. Also in one intriguing expository look, there's a "what-if" universe with the Pokémon not existing.

Usually, a Pokémon film has a tone as an aspect than a quality, but some, particularly this one, evolved that tone to be complimented into a quality as a heart. It's generally meaning that it's heartwarmingly sweet and solidified as a pure feel-good film when it's not restricted to just be enjoyed by fans and children - with the latter being the presumed majority of the anime's audience. The turns this film took to build its heart up is through the bonds of friendship seen onscreen to be emotionally attached in sympathy and empathy. The former feeling is emphasized in one backstory that's part of the film's darker narrative, including occasional moments that generates emotions when the established gentle atmosphere gets harshened.

Another production aspect is the animation that either brightens to the maximum over the televised standard or remained constant to the anime, but the animation for this film placed it within the franchise's endpoints in-between its standardized approach for the fans' tastes towards the series and an average anime film outside the franchise. To elaborate where it stands, the animation, being at a minimum of beauty above the usual standards previously experienced in the other films, has a look that says it was possibly influenced by Makoto Shinkai's hit 2016 anime film "Your Name", including the sense of logic. The replication of that success might've took place during the usually year-long production of a Pokémon film that immediately follows the finished predecessor. Anyway, whether it was influenced or not, though most likely, the animation in "I Choose You!" is undoubtedly the best in the franchise as a delight upon viewing.

Besides the storyline that differs from the original, there's a noticeable exclusion of Ash's two original traveling companions, and that's fine because it works. The characterization for this film is still generic like most of the previous films with constant interactions, but it's thankfully fresh and briefly nuanced.

In one more merit that was noted upon seeing "I Choose You!" is the performance from the current voice actress for Ash, Sarah Natochenny. Her predecessor Veronica Taylor didn't return to voice Ash like she did for the first eight seasons, which would have purify the nostalgic element that this film brought, but Natochenny performed really well - as an improvement - to duplicate the original dubbed voice for Ash. Her performance has her character to display an innocent aura of childhood that wasn't felt in the original beginning.

I may have stopped watching the anime, as well stopping at fifteen films with the sixteenth being skipped, "Pokémon the Movie: I Choose You!" is a glorifying, nostalgic treat for fans that grew up with Pokémon. For those who are outside, this film is still a worthwhile treat as it's a well-animated, heartwarming feel-good film. There are some moments that would be predictably considered silly, which I would agree on, including flawed occurrences, but its entertainment value has a result of being at least enjoyable. Otherwise, you're underestimating this film without looking at the heart. (A-)


The Kids Are All Right

Not much going on but being a casual topical approach of the progressive era at the time with few themes mixed in that works for the nicely-performed familial dramedy. (B)

(Full review TBD)

Four Christmases

Not too realistically sweet or too ridiculous, it only sways in-between as a well-structured holiday treat that's surprising therapeutic for the main pair being at the receiving end of karma. It's funny and your average charming film like a number of other holiday films with some amount of yuletide cheer, even though the performances may seem overdone. (B)

(Full review TBD)

Dumb and Dumber To

Sillier within the plot's flow and dated cartoonish slapstick, but this decent sequel provides well-meant moments and refreshing laughable fun as it expected like the first film being powered by the still-energetically-dumb dynamic of the returning duo, no matter how humiliating it gets for Daniels. (B)

(Full review TBD)

Dumb and Dumber

Stupidity being expressed through some gross-out humor and performances trying to be dumb while sneaking in a few more IQ points to the characters makes this Farrley Brothers' best known comedy worth watching, starring the duo of Carrey and Daniels delivering what's expected to find funny. (B)

(Full review TBD)

Daddy's Home
Daddy's Home(2015)

The approach of stepdad meeting the dad went out of proportion to be rather satirical with unfunny results due to daily ridicule, but it still managed to be acceptable by its hilarity and the odd couple chemistry from the dynamic between Ferrell and Wahlberg. I think it would be more enjoyable to those who relates to the duo's positions. (B)

(Full review TBD)

Quest For Camelot

Charming animation and acceptable musical personality that follows a similar formula that's exclusively outside of Disney, but it's unmemorable and more enjoyable for youths. (B)

(Full review TBD)


Over the years since computer animation became a new medium, Pixar welcomes us with enriched storytelling that opened up new worlds from added sentimentality to something that's further wondrous. Our toys have feelings, it's tough to be a bug, monsters comes out of your closet from their world, finding family under the sea that covers most of the world, family of superheroes, what it like to go fast and slow down once in a while, what rats think about food, a cleaning robot healing a dystopian environment, an old man granting a late wish for an adventure, having control of your fate, knowing your emotions, and what if dinosaurs weren't extinct. And now, Pixar presents a story that's probably the most special out of the rest when telling a story around a cultural tradition with an enlarged meaning. Ladies and gentlemen, both dead and alive, embrace yourselves for the heart in "Coco".

The story gracefully embraces, with much respect, the Mexican cultures with the pinnacle being the traditional holiday known as the Day of the Dead. It follows the young 12-year-old boy Miguel (voiced by newcomer Anthony Gonzalez) trying to follow his dream of music like his idol Ernesto de la Cruz (voiced by Benjamin Bratt), but is forbidden to go down that path since it caused devastation of abandonment in the far past to his family. So the ban on music has been passed for generations in the family to avoid the heartbreak and the destructive ego for the individual that wants to go down that path, even though Miguel's heart is pure and loving towards his family, and desperately passionate towards music. His chance to prove his talent led him to the Land of the Dead, where he'll find out there's more to his family story than what any, both alive and dead, have known.

It's always an insightful experience to interact and getting to know a different culture besides the one you're automatically accustomed to since birth, and Pixar delivers that feeling through another of their masterpieces. "Coco" is more of a step-up for Pixar in their qualities that are like blood cells flowing in the veins through the films: animation's more beautiful and creative, excellent performances and music, humanizing characterization, thematic elements, and heartfelt emotions; emotional soul with an adventurous heart. The addition of culture is now another of the added quality that broadens Pixar's storytelling capabilities. "Ratatouille" and "Brave" may have expressed culture but only in minimal aspects that doesn't really touch base to the origin beyond the film when it was just senses and fate in a fantasy setting, respectively. "Coco" manifested the Mexican culture through soul (animated and music) and vocal (talented voicing), as well meaning.

While the main concept surrounds the Day of the Dead that branches out thematic elements across the film, the main theme is the love and value of family. The story of love and family is familiar in past animated films, as well when it becomes stressful if the protagonist has to be rebellious for a dream, this film follows that routine with emphasis on the stress part and a loving understanding that would exclude the supposed harshness. There's an eventual twist that occurs near the climax, and the rest from there make it more emotionally heartfelt and meaningful. The theme of family is perhaps the most outstanding quality that you won't stop thinking about after the film ends, and you'll look forward on seeing it unfolds again next time.

In addition to the Mexican holiday, the film is utterly faithful to the culture in numerous aspects from the music to the performances. Probably one of the best music composers in most recent time Michael Giacchino continued his acclaimed talented taste for music to be closer to the story in tune, and this time the musical instruments were those of Mexican culture. It helps the film to be pure culture from story to tradition to solidify the soul as something special and unique from the generic presentation of others on American soil attempting culture - with not much known as of now. The vocals accompaniment were stellar and well-performed, both singing and non-singing, thanks to the all Latino cast (minus regular John Ratzenberger, whose voice wouldn't be detected anyway). Those performances put emphasis on the film's defining aspects, particularly the emotional heart and value of family, with Gonzalez's breakthrough spirited performance as the young protagonist being the standout.

What manifested the culture the most, particularly the holiday as the film's concept, is in the Land of the Dead as the always-astonishing animation humanizes the skeleton characters. The reason why the skeleton characters are being given such attention for the animated merit isn't just because more than half of the film is Miguel's adventure, interaction and pursuit in the Land of the Dead but because of what they represent and how they can get attached indirectly by family ties due to the emotional embodiment of the characters. Creativity is also in the mix with the random persona of the skeletons clacking and briefly transforming their bone structures; which is another of the step-up element in the film from the masterfully detailed animation that you would expect as another special treat from Pixar.

"Coco", directed and written by Lee Unkirch and Adrian Molina, is just your average Pixar originality with greatness and such attention to all aspects for the purpose of a heartwarming, wonderful storytelling. Actually, with the thoughtful and faithful respect for the Mexican culture being an added-on that paints over the typical production merits and narrative qualities, and while it's obviously and definitely this year's best animated feature, it's perhaps the best from Pixar over "Toy Story 3" and a tiny bit over "Inside Out". (A+)


This unusual sports drama that went to the aftermath of the games refreshed the impacts of its argument to become a filmic revelation if wasn't aware but worth knowing, even though the credibility is somewhat questionable towards a few. The main quality being Will Smith's performance as he took his dramatic acting half to the next step in a mesmerizing way that powers the revelatory when unveiling the emotional atmosphere through his character's perspective. (B+)

(Full review TBD)


It follows the familiar routine of an old TV show from the previous generation to receive a comedic/parodic modern update like the superior "21 Jump Street" in comparison, resulted to be inappropriate with some disgusts that took most of the deemed innocence out of the equation, but it managed to be hilarious thanks to the buddy cop pairing and some decent speeding shots. (B)

(Full review TBD)

Baby Mama
Baby Mama(2008)

A typical comedy of tackling a topic into its own direction to create further situations - which is a nice touch as it can touch base to actual occurrences - and relying on the leading pair as fuel for laughter to form a comedic chemistry that work, but it only resulted to be funny above minimum slightly below expectation. It's simply a good film that was well-written around the middle to a satisfying resolution, including the very final minute being crafty. (B)

(Full review TBD)


The titular friendly ghost generally made this ghostly flick the friendlist with heart and correct theories of the paranormal being somewhat expressed in adjacent to "Ghostbusters", but also typically silly. (B)

(Full review TBD)

Cats & Dogs: The Revenge of Kitty Galore

Even though the original cast didn't returned, it seems that the sequel's a bit better with about the same comic and an addition of unity to the series' storyline with an addition of dull/eyes-rolling moments, some lack in the same-leveled usage of the visual effects and direct 007 references to make it more silly. (B-)

(Full review TBD)

The Founder
The Founder(2017)

It's rather a story like "The Social Network" in the fast food business than a portrait on an originated achievement that's very well known today. Usually it's framed as a cheerful story when rooting for the main figure that's the biopic's focus, and it later turned out it's a sympathizing portrait on the secondary characters being the decaying source of inspiration. When watching it, you just let it flow and enjoy the performances while witnessing the rising of a name. To sum it up, it's well-performed, smart, and occasionally whimsical, on how it addresses the story in a different fashion that exposes a corruption later on. (B+)

(Full review TBD)


The main attraction is watching the elements of the game being overdone beyond the board, even though it fuels the adventure aspect of the fantasy film that was struggling like the inner occurring narrative. The slightly overblown effects has pleasantly resulted into an adventurous fuel, which was given an extra lighting by Williams' guidance from his soul and comedic charm. (B)

(Full review TBD)


Ridley Scott's son Luke at his directorial debut is decently understandable when trying to mix in his father's previous, superior ideas into one to find his footing, which resulted in something pointless and mindless from lacking development and an idea both plot-wise and towards the majority of the human soul. The film also became a stoic star vehicle for Kate Mara, being patient as the film was only building up towards a bland, action-packed climax and an eerie, predictable twist. (C+)


Ironically, it's a perfect holiday treat for those that relates to the depicted dysfunctional family and lacks yuletide cheer - and probably the brief opening madness. For the rest outside that are filled with Christmas cheers and family love, it's a devastating picture to watch a victimized family dropping. The Christmas horror's only qualities are the tamed, bloodless gores, very rare humor, and the tricks to pull off the concept's corrupted festivity. If you're on the moral nice list and love your family, skip this disturbing devastation. If not, then it's a perfect treat to teach you something. (C+)

Personal Shopper

The ambiguous back and forth nuances seemingly took the psychology of the questioned self to something unconventional within a story of mourn and desire, with a subtly suspenseful supernatural twist, even though moments of the nicely developed approach sometimes went off-railed while Stewart performed at her constant's best. (B+)

(Full review TBD)


The topic of war brings a general complicated relationship for anyone due to its costly nature of semi-involuntary sacrifices in order to gain (noble) victory. For film, it's the filmmaker being challenged to authenticate the war-driven atmosphere onto the screen without glamourizing it, and the relationship gets based off on whether to see it on the big screen for scale or on the small screen due to the downsized interest. No matter the story with worthwhile value on a soldier or emotionally-imprinted areas, to garner mainstream audience to attend the big screen showing would probably depend on expected style in direction and level of performances, rather than indirect additions that comes from unrelated genres (ex: superhero).

After "The Dark Knight" to "Inception" to "Interstellar", writer-director Christopher Nolan continues his well-known cinematic mastery in the fact-based territory for World War II in "Dunkirk". Like most or some war films, this one's unique in its own standing when not on the battlegrounds but away from it en route to home, with slimmed hope. The title speaks for the evacuation that took place on the shore of the titular French town with the Allied troops waiting for, and trying to find, a way to get further away from the Nazis' grasps. The narrative structure consists three stories that later intersects along the way in a nonlinear fashion such as: two young soldiers from the Mole are trying to find a stable sail without meeting continuous circumstances in a week's time; a father and two boys going on their own into the war to help out, till they get into conflict with a shell-shocked soldier they'd rescued, in a day's time; and a pilot fighting off Nazis jets on limited fuel while getting to France in an hour's time.

The nonlinear structure more or less proved effective when refreshing the immersive suspense through few different perspectives/angles that's really captivating and somewhat thrilling. It's also a narrative element that Nolan seems to go for as part of his excellent talent of turning something simple into something more complicated in a way of an equation to keep track of, which is apparently on occasions the main asset to go for. However, it also proved convoluting at the same time while trying to keep track, which is attempting to rearrange the narrative into something more linear in some parts. (Same goes to the general convolution of a war flick based on identifying characterization). That complication of the narrative quality was played around in one of Nolan's early, smaller films "Memento". So putting it simply, the simple element of the nonlinear structure that's convoluting whilst refreshing is like figuring out a complicated mathematical equation with an entertainment value.

While making this film, Nolan wants to make it a different experience apart from the battleground equivalence "Saving Private Ryan". When I say that, I mean "Dunkirk" takes place away from the war mongering fields, and the cinematic techniques parallels, or replicates, to those mostly heard and seen by little almost 20 years ago from Steven Spielberg's own auteurship. Nolan's own spin from the director's chair and as a writer is typically masterful, and that adds into the war genre through his first take with the special effects, including the sound editing and steadily-rushed cinematography, being perfect from the recognized filmmaking that gets followed.

Speaking of recognized filmmaking under Nolan is the music being composed by his long-time collaborator Hans Zimmer. It tunes fittingly like the previous films the two worked together on with the composed notes being a reminiscence of what was expressed in those films based on the scale. One of Zimmer's greatest hits goes to the pleasantness of working under Nolan, with the tone resonating the basis dramatic approach that one runs on, then later escalates nicely around the climax till the concluding "paragraph".

The frequent word that appears as a way to describe Nolan's filmmaking is "scale" that increases in each film he makes, particularly "The Dark Knight Rises" having a mass count of extras, with the actors in front and center, in one setting. "Dunkirk" follows that in a synchronized formation within a range of frames from wide to small, and the massive human body (the acting) of the film still impresses that make it seems that Nolan can achieve without digitalizing the crowd. This brings up another elemental merit that's typical is the performances and stamina from the cast - half being well-known while the other half are fresh showcases. It's a usual vision in his films whereas the aura of the energy from the performances goes along with the dramatic approach, and the characters expresses the script well with probably cheesy one-liners that are backed-up with further meaning and emotion at the same time. Overall, the performances were very well done as always, especially when capturing the emotions of the harsh, violent reality inside a war.

Christopher Nolan's latest masterpiece "Dunkirk" is genuinely one of the best war films, including one of his best by a slight decrease, and a nice cinematic experience for the genre that fits and nicely broadens the mainstream taste. To elaborate on that, it (personally) became an experimental proof from the spectatorship that auteurism can be a selling point for a film you probably wouldn't see often on the big screen, outside the story (i.e. "Sully"). It's great in its own way with a similar substance that requires from the genre that may be a little heavy as usual, but the epic art doesn't disappoint from the expected entertainment value. (A-)

Very Good Girls

In the constant blandness with not much response, there's an unconventionally-driven drama being kept at minimally subtleness with few turns that still surprises and one understandable outburst after a blurry bit of eroticism and fluff within a coming-of-age procession, with the main appealing spotlight focusing on the two female leads and their chemistry. (B-)

(Full review TBD)

Lights Out
Lights Out(2016)

Despite the troubling solution, this horror tale manages to be one of the best of the genre in recent memory for not just tackling an actuality as a trigger for genuine suspenseful thrills when looking for fresh scares but with excellent narration towards utter understanding and nice, very well-performed characterization to connect with. This summer popcorn entertainment of 2016 is the coin half to "Don't Breathe" and can be considered to be ranked next to 2014's "It Follows". (B+)

(Full review TBD)

Don't Breathe

Continuing on, whilst breathing on, the fresh trending air of an actuality being put as a fuel for fright next to "Lights Out", this twisted tale is like the aforementioned film in human drama, only to be almost like the night goggles scene from "Silence of the Lambs" that went nearly dark, and resulted to be probably the most humanistic for the genre. Though it doesn't non-expectedly scare but rather thrills and grips coming from a breath-stopping pace of the cinematography that radiates the dimensional atmosphere from an effective simplicity. (B+)

(Full review TBD)

Madagascar 3: Europe's Most Wanted

Same charms with more hilarity and heart, same goes to the silliness that's not a big bother this time. All colored by the beautiful animation that makes this the best yet of the zany series. (A-)

(Full review TBD)

The LEGO Movie

There are bricks that represents the silliness, but it's been built over by bunch of other bricks representing the film's ingenious creativity by the amazingly well-done animation, supported by the charming humor from the voice-acting, while being fun like the toys themselves with a message it's echoing. (A-)

(Full review TBD)

The Haunting in Connecticut

A different story that's deemed to be true with similar televised craftsmanship, before it became frequent, doesn't offer much but the main attention goes to how it was expressed that made it actually decent. It's frightening by empathy through the human semi-melodrama with a very nice score to accompany, while the core of the horror genre failed with cheap scares as an ineffective attempt to fill up its already set creep atmosphere. (C+)

(Full review TBD)

The Circle
The Circle(2017)

After last year's "Nerve", this film continues the exposure on the evolving technology, mainly towards mobile devices and social media, with pros and cons as a conflicted propaganda for both sides in a timely topical matter. The nature's less sickening due to the casting's decent addresses and whimsical innovative ideas that were presented, even if it's not enough to express its source material for the characterizations or addresses other points for a thorough argument. (B)

(Full review TBD)

Phantom of the Opera

It creeps through both build-ups whilst setting up and shocks at the revealing manifestation, and impresses through the rest of the elements from the production merits to the performances to the finest narrative structure of the genre, thus outweighing its aged inability to scare. (B+)

(Full review TBD)

Before Sunset

The meet-up and catch-up encounter of the favorable loving pair not only continues the natural element of the charm and script but also adds more by setting its time through realistic (and technologically updated) reflections, both briefly topical and mainly thematic, in comparison to the first meeting but with a little more layers to the conversation. (A-)

(Full review TBD)

Before Sunrise

Casually dialogue-driven as a charismatic showcase for both Hawke and Delphy in the chemistry they showed that speaks modern language under romance without straying into being romantic like most of the genre would. (A-)

(Full review TBD)

The Last Days of Patton

Most sequels following winning titles in the second half of the 20th century tends to falter due to the unreliable casting that doesn't capture the original, or just turned out inferior. Thankfully, this sequel to the 1970 Best Picture winner proves itself worthy towards completeness, despite the smaller scale as a television film that breaks itself like how old serials worked. George C. Scott continues his portrayal within the original range as a definitive portrayal for the titular figure, with more emotions added into his character while leading the rest of the cast's decent performances. The storyline is the same as well in a way of being historically accurate - even though the credibility is slightly questionable - and the technical supportive structures (aka cinematic devices) expressed things well as usual, even though the overall scale isn't quite as epic as the original. But it's understandable considering that it's solely chronicling Patton's memories and reaching up to his final moments. If you've seen "Patton", then "The Last Days of Patton" is a worthwhile second part of the double feature, just to avoid a lengthy amount of time in-between the two. (B+)

(Full review TBD)


The true story of the titular general was nicely told through A. Scott's straight-forward performance and the cinematic narration in some points, both under the fashion of being an epically-scaled war flick to strengthen the biopic with telling the general's defining successes and outlook. (A-)

(Full review coming soon - with better wording probably)

Captain Fantastic

Truly a unique family drama that went from a rebellious, thematic nature that formed conflicted views towards the agreeable sense of morality all while within a coming-of-age tale from a father's unconventional perspective. It's a film with the usual heart under keyword conflicted, some humor to go along with it, and fine performances to express it as well, which is enough towards a satisfying resolution. (B+)

(Full review TBD)

Pitch Perfect 2

With the usual substance from its position as a sequel, it adds into the sweet humorous charm and energy of its predecessor to boost the pleasant return of the favorable characters, including the welcoming of few newer ones, with some meaning put into their performances. (B+)

(Full review TBD)

10 Cloverfield Lane

Interesting addition to "Cloverfield" under a different narrative style as a psychological thriller that builds up based on suspicious belief within an effective setting, drawing tense energy from the small cast that performed really well in the said small atmosphere. Although it's not as suspenseful as it was posed to be, nor as thrilling to its spiritual predecessor until the final few scenes whereas the thrills started picking up. (B)

(Full review TBD)


Even though published a couple years prior, the film adaptation turned the lesser-known book into a topically, timely approach that was admittedly well done when being depicted as today's (hidden) force behind behavioral teenage shenanigans. The appeals for the film are the satisfying payoff and the charisma coming from the main pair being likable leads, but it's unsure if it's enough when having to watch the film's nature, whether realistic or not, being sickeningly worse than "The Truman Show" in a way of teenage dystopia through the eye-rolling addiction of mobile devices. (B-)

(Full review TBD)

Hot Pursuit
Hot Pursuit(2015)

Works as an ordinary odd couple comedy that relies on the experimentation of clashing charisma as its source of fuel towards acceptance over its own few clichéd twists, and the result is successfully funny even though it felt unbalanced on the performance level. (B)

(Full review TBD)

World Trade Center

Admittedly at first, thought it would be insensitive based on its 5-year sudden portrayal of the horrifying event with such devastating content. That thought may be frequent prior to seeing the film while it's more welcoming than its earlier supplemental companion "United 93" that won't get a view. After being compelled on seeing it, the atmosphere takes you back in time and feel the emotions like it just occurred, with the tensed devastation and heavy atmosphere throughout the 24-hour period of the darken day, which makes it timeless no matter what age. Director Oliver Stone delivered something outside of politics while still on human defying drama as a glorifying tribute while immortalizing the emotions with stellar direction and production merit; and same goes to Cage's performance, as well the rest of the cast with exquisite efforts of authenticity. It's generally hard and sad to watch, depends on the emotional level, but it was really well done and nicely performed. (B+)

(Full review TBD)

Mulan II
Mulan II(2003)

A typical Disney direct to video sequel that brings back the favorable characters and extend their stories with heart, charm and comics, but it couldn't escape from the blanket of totally minimizing the original's power and going much below the standardized nature with obscure silliness. To further explain about the nature, it's something rom-com audience would accept their invite to watch this small flick, while the original's viewership would still find enjoyment in the sequel if they chose to approach it. (B)

(Full review TBD)


A look into a person's life/profile not only tells his/her story but also giving us a look into the inherited culture. This celebrated biographic documentary does that for Bob Marley as some sort of refreshing statement for the genre, though it strays a bit farther from the subject. It's introductory into the jam, culturally insightful, and hearteningly optimistic till it gets to the chilling end. (B+)

(Full review TBD)

Youth in Oregon

The dramedy benefits and drives reliably from the relatable familial dynamics it stems on, as well an outlook on life's supposed instinctive finish tried to be expressed through a letdown, melodramatic atmosphere and pessimistic truth. The thorough progress of the plot brought out really good performances from the cast to show heart and emotions, along with some brief tonal family sitcom. (B)

(Full review TBD)


Kirsten Johnson proves herself to be a passionate filmmaker in the cinematography field through some film studying that may have gotten her to watch "The Man with a Moving Camera". The said film couldn't stop being reminded of as I watch this disguised modern remake/update based on the structure. The effect of the update refreshed the 1929 original in more of a fresher sight that asks for more depth this time. It's worth interacting with from time to time when following it up with the films listed at the end to piece one to a presented clip that Johnson made. (A-)

(Full review TBD)

While We're Young

Just as it was predicted prior to seeing it: a film of two different generations in pairs for the younger to show how life can be enjoyed to the older. The well-casted relatable characters' points are accurate between humorous and slightly poignancy when realistically agreeable, depends on the age spectatorship. Simply, it's an updated filmic outlook on life. (B+)

(Full review TBD)

Pawn Sacrifice

The Tobey Maguire-starrer met the expectation of being a showcase for his performance, but it then turned out to be a film of self-destruction over an unconventional sport of concentration through a sympathizing, though ridicule, direction that interfered over the usual grip of observing a game. (B)

(Full review TBD)


An overbearing film of pure devastation with responsible power being felt through the production merits in an overlong tale of romance being the first half and disaster filling the rest, which doesn't fit for most spectatorship's tastes. Although admittedly, it's worth another viewing for a second chance, like "The Silence of the Lambs" ending at that limit. (C+)

(Full review TBD)

Kiki's Delivery Service

Another Ghibli treat with the same qualities of heart and warmth with spirited moments of cute and fun, and a nice message(s) that was expressed through the coming-of-age - in its own way - situations that the titular character faced. (A-)

(Full review TBD)

Pitch Perfect

It has a more comedic approach and more flash in the musical numbers than the earlier 2012 musical "Joyful Noise" with the same foot-tapping like "That Thing You Do!" as this cover musical is a contemporary crowd-pleaser for teens and up. Also worth noting, most of the comedic approach was caused by Wilson's performance, while Kendrick brings in the film's charm. (A-)

(Full review TBD)

The Sea of Trees

The main setting in the film was compelling as a ploy of garnering interest to see how it gets treated and told in a cinematic style. The result is rather conflicted based on credibility, both naturally and emotionally, while the decently-performed human soul is meaningful though melodramatic and convoluting when the twist gets reached. (B-)

(Full review TBD)

Something's Gotta Give

It now seems that Nancy Meyers has a tact of telling relationship novels that are realistic and multi-sided complex. Out of her seen works, this one is probably her best yet when benefitting from the charismatic chemistry of Jackson and Keaton that the film coasts on with comic and self-reflective meaningfulness - though minus the tears of hysteria that occurred in the beginning of the final third. (B+)

(Full review TBD)

The Witch
The Witch(2016)

Last time I've seen a period film being possessed by a twisted folktale is "The Crucible", and that's a mediocre film that leaned more towards bad. This compelling film isn't any better by being more disturbing and violent, which is enough to overshadow the praising of the merits. First-time direct Roberts Eggers captured some spooky triggers as the genre's tropes throughout the steady pacing with well-researched craftsmanship and okay performances. While it's astounding on how the whole production went through with this film without getting scarred when not holding back, the result of the final product isn't for the faint of heart as it's rather a miss-or-you-get-cursed. (C)

Nosferatu, a Symphony of Horror (Nosferatu, eine Symphonie des Grauens) (Nosferatu the Vampire)

There are visual spooks and a very nice portrayal of the titular monster, with enough narrative qualities to prove its influence, but it couldn't help but be another unfortunate victim under the teleological perspective that erases the originally intended effects. (B)

(Full review TBD)

Breakfast at Tiffany's

It's added into the rom-com sorting as an additional influence with the main asset being the charming performances, mainly Hepburn in her usual shining with slight corruption, and occasional comedic moments. "Breakfast at Tiffany's" would falter a bit from your expectations somewhat, but its reputation doesn't disappoint. (B+)

(Full review TBD)

War for the Planet of the Apes

From the beginning of time in 1968 when Charlton Heston crashed land onto a "mysterious" planet to the humanizing reboot series that depicts the beginning, it's an act of cinematic-style evolution. While the original films provided an ideal setting for the film series, the reboot trilogy today became the more definitive, most captivating approach towards the Planet of the Apes. (And genuinely as one of the best trilogies through the cinema). The latest end of a trilogy, the latest blockbuster offering, the latest chapter of the Apes, "War for the Planet of the Apes" adds into its predecessor's mastery with more power and emotions, including sensitivity this time that circles back to "Rise".

About two years since "Dawn" whereas the US military got contacted, Caesar and his tribe of intelligent apes got forced to fully defend their rightful peace and harmony close to the moving enemy lines against an army of humans being led by the ruthless Colonel. When the deadly conflict struck into the heart's chords through the suffering of unimaginable losses, Caesar's morality gets into conflict as he struggles against his darker instincts to avenge the losses of his kind. As he wrestles, he's soon given the Colonel's perspective of the matter as the two leaders of the species goes through leadership and what's best for their respective species that would determine not only just the fate of the two but the planet's future.

The third chapter has a balance of graceful beauty and power through the slightly heightened aspects while overall intellectually masterful, with director Matt Reeves returned with more to be felt and said after the previous chapter that established the expectations for this film. Coming along with the established expectations is the expectancy of how the film will turn out considering how the pinnacle finale of a trilogy is most of the time the best when circling back to the first chapter for narrative completeness. However, the chapter's path not only filled with culminated plot points that approached a narrative structure differently, there were sensitivity in a way of attached emotional resonance to the few most unexpected turns, including the literal sensitivity upon the developmental treatment in the middle.

Without spoiling much on what occurred in the film that became a surprising twist for the rest of the plot to run on, which was quietly hinted in the trailers, the harshness from "Rise" resurfaced at a greater scale that's reasonable on the narrative stance. While it radiates sadness and proves pivotal for strength in heartening developments, it couldn't be helped but also felt controversial as an unfortunate reference to the Nazi's concentration camps for the Jews. How pivotal the tough presence is to the plot stirred a movement within that led to a fresh climax that's not generic. It's a little rough seating towards a worthwhile payoff to simply put it.

Speaking of which, the opening scene, in the usual position, gives you the sense of the overall tone and style that the film carries, showing how an enemy line moves in between the two species when one moving towards the other. From that, the direction is like any war film, with the cinematography shining on the mo-cap/CGI Apes to give them an in-sync coherence of the sequences, which is how the special effects has performed for those characters that's spoken gracefulness as a taste of the overall mastery, while the accompanied script provides intellect.

Behind and alongside the visual effects whilst expressing the written solidness of the script is the performances from a fitting unique cast. Andy Serkis done another great performance as Caesar, who talks more with more emotions further expressed than the previous two films. His antagonistic literal polar opposite the ruthless Colonel provides countering, yet equivalent views on the occurring circumstances in the conflict as they were very well-delivered and pressured by Woody Harrelson. While the returned cast from the predecessor performed nicely with some evolving touch to further their level, the two standouts among the supporting cast are Amiah Miller in her breakthrough performance as a little girl who connects with the apes, and Steve Zahn as another intellect ape with a friendly heart and brief comic relief. Thanks to the cast and the energy they brought into their performances, the film's character-driven based on their own morality and emotional connections.

Finally, similar to the opening scene's position to foretell the impression of the film, and just like a couple other films most recently, one of the best filmic devices as a typical quality is the music. The score for this film was majestic, and yet very familiar in a pleasant tone till it was found out that one of the great music composers today, Michael Giacchino, done it again for another film. His trademark is now apparent on being close to the original vision and expressing the current emotions non-diegetically, including the importance of the trilogy's few themes: family and unity.

Despite getting into sensitive territory later on, the efforts of the enriched aspects being collaborative with each other selectively towards an effective communication are what made "War for the Planet of the Apes" really good at a masterful, majestic level, as in another popcorn entertainment offering being A-rated at a 4-star level. It would've met its expected 4.5-star rating if it weren't for the heaviness of the harsh reality, even though it's a necessary burden to go through. At the end, the appreciative entertainment value labels this as the best, more complex film of the decades-long franchise. (A-)

Castle in the Sky

Another beautifully entertaining masterpiece that carries the Ghibli heartening magic from "Nausicaä of the Valley of the Wind." It's more exhilarating and more fun to the beauty. Even though nastiness was added, it doesn't affect the strong power of this great anime film. (A)

(Full review TBD)

Nine Lives
Nine Lives(2016)

The cats' chance to receive the "Shaggy" treatment is a rip-off from the dogs' with their own lovable charm as the film's own standing appeal, along with Spacey's performance of occasional balance between laughable comic and heart to teach anti-egoism. The rest of the litter box is plain silly and weak, and that's the feces taking a little more than half of the box, including the act of ripping-off. (C)

Batman and Harley Quinn

The goal was to put Harley Quinn into the spotlight, while the main assets is going back to the DC animated universe with the same style, tone and voice actors, namely the dynamic duo. The assets worked like a charm as the main source of the enjoyment, including the talented performances and Harley Quinn's spotlight that emphasizes her character. So the goal got achieved by good intentions and understanding, as well some humor along the way. Unfortunately, those qualities got squandered as the film faltered by its own writing, both story and the script being in the driver's seat with the tiresome lead between the passenger's seat and backseat. The balancing scale never settled as the film went further, especially occasionally gone out of narrative focus. On the bright side, besides being watchable still, it didn't set the low bar for the hero's filmography. (B-)

(Full review TBD)

Teen Titans: The Judas Contract

If you've seen the 2003 "Teen Titans" series, particularly the second season, then there are turns that you should've expect that's occurred in the film. Even if you have seen it, not the whole series or none at all, it still surprises as it brought back the shock effect like the first time. The film itself provides exhilarating energy, complex character arcs to fuel up the feelings (heart, drama) - even if one put in a disturbing taboo, further enhanced animation, and excellent voice performances. Either the film runs on itself from its own standing by the exclusive qualities or serving fan service for those who favors the 2003 series, it exceeds expectations to be among the best of the DC animated library when expected to be another 4-star level enjoyment from the studio since you'll be left wowed and thinking how powerful it turned out to be. (A-)

(Full review TBD)

Justice League Dark

The latest in the animated continuity continues the entertaining thread with not just the impressive animation nor level of the performances but more shows an improvement in the usually-flawed pacing with raised stakes and tenser action. Next to that is a nice introduction of the titular group upon formation, being carried by the elemental showcase of Matt Ryan's charming performance in his living television portrayal of Constantine. Their inclusion brought in the horror genre without any actual horror but through recognizable unappealing violent taste from the prior films and visuals if they were live action; which means the approach was mostly different apart from its shared predecessors as something more freshly. Typically entertaining to put it simplistically, but it also has set the lowest bar to be the least enjoyable yet, despite given the same rating that it reaches. (B+)

(Full review TBD)

Get Out
Get Out(2017)

Even though there wasn't a memorable, proper introduction of interest for Jordan Poole as an actor, his directorial debut already hit the big league when pulling off a modern, twisted "Guess Who's Coming to Dinner" to casually, and sometimes humorously, address social commentaries in a calmly matter that's actually unsettling, a level before the creepy vibe gets felt. While the subtly accurate monstrous portrayal of the certain antagonistic skin provokes your thought on the social functions from the filmic perspective that makes up the horror genre portion and contributing to the overall creepy effect, it only got limited to be shown as implausible from the medically twisted procedure with slightly exaggeration from the hidden hatred. Peele did a splendid job on the director's chair to carry on his tastes and present his viewpoints through strings being well-pulled for the genre that fits, even if it went slightly beyond the un-clutched grasp. (B+)

(Full review TBD)

Sky Captain and the World of Tomorrow

This film is about as closest it can get to the Golden Age filmmaking, with the addition of a bluescreen. The desired nostalgia maintained its satisfying course through the brighten cinematography within a similar structural framework and more-or-less in the editing and music, as well the settled volume for the well-casted performances. Pretty much most of the aspects that the Golden Age effectively used like how Kerry Conran stylized it, especially when the added bluescreen made the visuals at the same level of the old-fashioned quality, however aged it may seem while being lost from time to time. (B+)

(Full review TBD)


It's astoundingly one of the kind foreign pictures to express different aspects of the home culture - music, palette, communication, etc. - through an epic scale of the well-choreographed, theatrical action and conflicting morality being pondered. The only problem that stands out afterwards is the slightly convoluting differences of the narrative that somehow got lost in translation on film while still on point, and the flaw in the value can get erased after a second viewing perhaps. (B+)

(Full review TBD)

Shimmer Lake
Shimmer Lake(2017)

The 2010s' "Pulp Fiction" and "Memento" with a more linear structure that only have you asking questions along the way on significant details to great effect, despite the storyline already been told in the first "chapter". (B)

(Full review TBD)

To the Bone
To the Bone(2017)

Lily Collins' moving performance gives us a thorough insight on the issue that was heard of with basic understanding but not at the level this tough-to-watch, sensitive film has presented. The film provides one of the most realistic views of troubling health portrayed on film, thanks to the rest of the performances and empathetic direction however challenging it is with tried cheerful positivity. (B+)

(Full review TBD)

Wild Wild West

It's actually not much as bad as it was being called, only by half as in a little less than decent. Its most favorable asset is the humor that's actually funny, along with some of the casting namely the main duo. Going a little lower from a nice quality to mediocre is the steampunk visionary being rather questionable on its tackling of the unseen 60s series with exaggeration of implausibility, which overall turned out cartoonish, especially by the standards around the time. Back to the performances, the cast took the back seat and only did humor when given the opportunity within a messy storyline to be an ancestor to "Men in Black" with some "Bad Boys" being put in the west. To basically sum it up, working dynamic with occasional humor in the messy, cartoonish west that's at least watchable. (B-)

(Full review TBD)

The Fundamentals of Caring

"Pay It Forward" taken to the next level in a singular given task. The thoughtful film's character-driven whereas it radiates being charming and sentimentally humorous, specifically the father-son-like dynamic of Rudd and Roberts being the main heart. (B+)

(Full review TBD)

Begin Again
Begin Again(2014)

Before "Sing Street" and after the yet unseen "Once", it's now apparent that James Carney has a musical taste with realism and logic through his own modernization of the talented musical genre by specializing a story with an age group of focus to beautifully express music. There's a familiar vibe on the structural narrative lyrics and unimportant scouting, with the leads taking over the spotlight/most of the attention with charismatic chemistry as a different spin to the supposed romantic trope. It's basically a feel-good film with a constant, better tuning pitch than its successor. (A-)

(Full review TBD)

Kingsman: The Secret Service

It met the expectations of being stylishly fun by the minimally-scaled action with good punches, along with a nice cast ranges from main to few cameos as another fueling source by their performances. Also, even with originality, it couldn't shake off the vibe of "Men in Black" being a YA novel in the spy genre next to "Ender's Game", especially when the troublesomely assumed sadism in the climatic and overall violence with literally different colors as the main solidification of its given rating with the film's level affected. But the overall young energy does reminds me of "X-Men: First Class" because of the same director Matthew Vaughn exploring an introductory territory that now became an elegant pleasure. (B)

(Full review TBD)


Eastwood's starring experience as the Man with No Name is a qualification for him to helm and star in a western that de-ages the genre's formula to a recipe with crooked laws, generational outlaws and behavioral nuisances to culminate the definition with few counterarguments as it seems. As that's the genuine route through prior expectancy, it's obviously an A-rated entertainment whilst charismatically engaging from its stance and substance, with likable, very well-performed characterization of conflicting sides and heated action. Finally, it came to mind that it's a probable studying example of potentiality being predicted as an indication of likelihood towards the Best Picture title based on the premise and developed obstacles. (A-)

(Full review TBD)

Big Eyes
Big Eyes(2014)

Next to his previous attempt at biopic "Ed Wood", "Big Eyes" is literally the most unique of Tim Burton's filmmaking skills with whimsically strange visuals as his main trademark that's seen in the space and mainly the titular paintings that grabbed his interest. While he pursued the subject with interest and sense of passion, Adams, along with Waltz, Huston and Ritter, was relied onto the rest of the film's flow by nice performances, even though it was mostly realistically dreadful pessimism being a letdown. Sitting through may be a challenge with sympathy, but it predictably pays off towards a result of a decent biopic as the director's most unique yet by scale and accuracy of genuine social commentary. (B)

(Full review TBD)

Brokeback Mountain

There's an apparent graceful mastery from Ang Lee's direction with a touch of beauty in the score, cinematography, and the performances from the main pair to fire up the dramatic narrative. Unfortunately, the film faltered from the meaningless trigger that affected the storyline because of something that wasn't much developed. Lee's attempt to break barrier by exploring sexuality is decent but should've gone subtle than being abrupt by omitting uncomfortable scenes that acted upon the lack of development towards the said trigger as they're instead invasions of privacy that didn't permitted to be viewed since it came out of the blue with no meaning. Simply, it's good but Ang Lee's attempt to break ground turned against his own film. (B)

(Full review TBD)


Not only it's generally insightful on the fresh subject that shows potential in being inspiring, the best aspect is being a captivating titular profile on Buck Brannaman like you're witnessing his gift as a horse whisperer and attending his clinic session, backed-up with depth of his life story that's stretched to his present. (A-)

(Full review TBD)

The Departed
The Departed(2006)

Usually a complex film would encounter a complication upon being viewed, and it would get a little more difficult from there to achieve greatness that was envisioned. Scorsese easily achieved greatness with his elegant taste of filmmaking from emphasis to casting of fully-embodied characters to twist-building narrative. A genuine classic and worthy Best Picture winner as the director's best yet. (A)

(Full review TBD)

Sing Street
Sing Street(2016)

Basically "Across the Universe" with teenage, comedic youth and more originality in the lyrics, and the performances of the unrecognized/breakout cast are charming and spirited when getting through the way of life from the tunes. While the protagonist is aiming to be a futurist, this film as a whole on the other is a nice callback to teen films from the period it's set in. (A-)

(Full review TBD)

Miss Representation

One of the most essential documentaries that addresses one of today's social problems as this one would give frustration on the unfair role of genderism has towards the society, mainly the female gender getting interfered from finding themselves outside of the sexist media. The presented facts and statistics, including visual examples of the infectious male gaze, made this documentary more than thought-provoking towards the extent of taking action by standing up against the system for equality. It's mostly thorough, with few topics that were understood prior, but the voices had addressed enough to provide the perspectives of the male gender's stance on their terrible actions thinking there are no consequences when being sexist. You'll be considered sexist if you chose to not see this important documentary as it the argument was nicely-crafted with excellent, generally insightful points. (A-)

(Full review TBD)

The Thin Blue Line

Dated purpose and recognition but while it's still chilling today it proved to be provoking as an effective move that gave justice for the subject, which is what make this mid-80s documentary influentially modern for the genre. (B+)

(Full review TBD)

Nacho Libre
Nacho Libre(2006)

Not to be taken seriously nor worth watching since it lacks a potential heartening nature that doesn't work towards the predictable outcome, while simply branded with Jack Black's sense of humor that's only funny in few occasions throughout the silly film. Although a bit more watchable than "Napoleon Dynamite", director Jared Hess continues directing pictures at the same level from strangeness to silliness without much enjoyment level. (C+)

Here Comes the Boom

Now to think about it, it's unoriginal with a reuse plot and the same genre's motivation, but as an improvement for enjoyment thanks to the humor and the cast to better express the storyline's sense of a actual, worthy heartening nature without being totally silly. (B+)

(Full review TBD)

The Hitman's Bodyguard

It's a rare occasion for a paired-up genre to offer something different rather than going towards the usual, general direction that goes through the recycling process time and time again while twisting the tropes. An action comedy as the current case gives laughter and adrenaline as a package deal to a moviegoing experience. Representing the current case this year is "The Hitman's Bodyguard", and it delivers satire in both bantering dynamics and timely fun political tease, with fast-yet-choppily-paced action that punches good, and hilarity as expected.

Special protection agent Michael Bryce has been tasked to protect the life of his mortal enemy Darius Kincaid, who've interfered into Bryce's career from time to time in the past as one of the world's most notorious hitmen. Into Bryce's task over Kincaid, he has to make sure that Kincaid gets transported safe from United Kingdom to the International Court of Justice to testify. With the upcoming trial, Kincaid gets targeted by the deadly assassins by a merciless Eastern European dictator, which forced the two men to work together and survive through chases till trial.

The dynamic between Reynolds's fast-talking charisma and Jackson's tough, non-serious attitude is what sold the movie, and it exceeds expectations on how hilarious it turned out. They both performed well when dressed like men with a plan at the start along further the comical line - with a nice touch of Jackson's song in the end credits that couldn't be helped but find amusing. They're the pinnacle that infected their co-actresses Èlodie Yung and Salma Hayek to perform at the same level in their screen time. The respective failed and strained romances in the characterization showed nice motivation with the aforementioned satire being amusing when connected.

While on performances, Gary Oldman's character is a replicate of Christoph Waltz's character in Quentin Taratino's "Inglourious Bastards", but with a different spin that's probably topical. The position of his role being a merciless Eastern European dictator trying to keep Kincaid silent coincided, unknown directly at that, in today's clashing of politics and the other end of a certain probe. When watching how it all unfolds for the character from beginning to the unexpected turn in the climax, it couldn't be helped but feel that the course was political satire based on ending presumptions.

How action-packed the film punched in is enough to make you feel the adrenaline and possibly the impacts. What made that possible is also a conflicting flaw when the delivery is too fast that makes it choppy editing in the cinematography, like Reynolds' other film "Safe House" in 2012 as an example of choppy editing. It may seem too much in the motion, but it's still retained the coherent execution when an action bit occurs. As that's the main flaw that could be a problem to some or most if they can't handle it at a small extent, next to the accusation of the recycling process via storyline and structure, it proved to be effective for presenting the action.

"The Hitman's Bodyguard" delivers both crowd-pleasing effective action and clever, cemented (unforgettable) comedy as a better offer for the year 2017, outside the tops being the superhero genre and the overwhelming "Fate of the Furious". As seen in the previews, the Reynolds-Jackson narratively-reluctant team-up dynamic is the main attraction and main source of hilarity, while being fun as "Beverly Hills Cop" that came to mind. Speaking of which with the other film being mentioned, Samuel L. Jackson's occasional laugh is equivalent to Eddie Murphy's cues of laughter. (B+)

The Fate of the Furious

The eighth film has enlarged pretty much almost everything that ignited then fueled the franchise's motor: the stunts and action, visual effects, drama, the meaning of family and performances, and the stakes. While some of those were very pleasant, the enlargement of the few others, namely the higher stakes, drama and visual effects, proved to be too much for a regular viewing of the films when the destruction is far-fetched and mindless (a callback to DCEU's Superman films). The twists and turns in the rising stakes actually put you on the edge of your seat as a feeling and that would usually be a nice quality, which it is in some level, but still overwhelming. As of result, it surprisingly went back to how the first four films ended up with, even though its desires is the same as the sixth film. (B)

(Full review TBD)

The Queen
The Queen(2006)

When you only heard about the famed royalty, this film proved to be essential to give you a proper introduction to the British Royal Family through an astounding historical insight and exceptional performances. With the complicating action being the aftermath of Princess Diana's death, the outer emotions of both sides and archived recordings of her solely fulfills her portrait while also created a conflicting stance on the beliefs towards her. Director Stephen Frear's portrait of the British Royal Family turned out to be his best yet based on the weighing scale and portraying the subject right with patho perspectives. (A-)

(Full review TBD)

Gentleman's Agreement

While valued not much as entertaining above average and generally very well-performed, the film has a timeless relevancy, from the teleological perspective, as its most entertaining piece that took the film to the winner's circle with an inspiring notion that tested prejudice, even though the tackling approach isn't thorough or given a complete focus for the connected romance purpose. (A-)

(Full review TBD)

Jackie Brown
Jackie Brown(1997)

Surprisingly calmer for Tarantino's usually violent taste while the form is still the same with stylistically clever, nicely-casted performance-driven storytelling, that's somewhat less crafty than his other works. His third film probably stand as his most enjoyable yet with the appealing choice of casting and being less violent. (A-)

(Full review TBD)

Message from the King

The film's polar opposites Brosnan and Evans shines with the former (obviously) taking over the main spotlight but the ailing expectation showed ineffectiveness by abrupt senses in the narrative and unevenly occasional action, as well confusing characterization in a some places that could be messed-up. Basically, a post-"Civil War" before "Black Panther" taking the "Taken" route that ended without an impact but rather a small feeling of meaningfulness; in other words, it's an okay film. (B-)

(Full review TBD)


Hyperactive like a cat as a non-blood relative, leaving behind feces like one through cartoonish visuals and poor emphasizing, and how the actors react to the cat's whole is terrible. The overall choices and methods are mystical and dumbfounding, which is already enough to prove that it's genuinely one of the worst films there is. (C-)

The Number 23

You've became a skeptic after watching the trailer, and will be right when the movie started presenting the obnoxious mathematical equation of the far-fetched 23 enigma. It only proved the crazed theory pointless when questioning it nonstop on why the specific number or the fitting equations that could've been seen in another way around. Jim Carrey tried fine decently when trying to fit in within a psychological thriller, the film's label of a genre that only disappoints due to the director's sense of messes. On the bright side, at least it's not as bad as "Batman and Robin", even though it's overall slightly inferior. (C)


The relationships were authentic thanks particularly to the loving father-son dynamic between Jack Lemmon and Ted Danson, with the former performing really well a little beyond his age while attempting to pull heartstrings of familial emotions that only reached expressively. (B+)

(Full review TBD)

Rogue One: A Star Wars Story

The latest in the Star Wars lore, "Rogue One", provides an unconventionally stylistic approach when benefitting as a follow up to "The Force Awakens" from the previous year that refreshed the excitement for the franchise. It's the first of the anthology series that are set to go deeper into the mythology between the films as an effective depth behind the basis storytelling of the Original Trilogy into the Sequel Trilogy after the Prequel Trilogy. Speaking of which, the setting of "Rogue One" is the fifth prequel (including "The Clone Wars" as the fourth prequel) of the film series with an improved direction out of the other prequels due to the overall refresh.

A long time ago in the galaxy far, far away...

As it was mentioned in the opening crawl that opened "A New Hope" in 1977, "Rogue One" follows a group of rebellious, unlikely heroes during the time of conflicts to band together and steal the plans to the Death Star, the Empire's ultimate weapon of destruction. The team grows as they go further into the mission to find how they were already connected as they're just ordinary people choosing to do extraordinary things, becoming a part of something greater than themselves. It's a war to achieve hope for the Rebel Alliance.

"The Force Awakens" actually awaken renewed energy with fresh blood that not only the converted could enjoy with delight but also a welcoming invitation for newer converts to experience the excitement that took place for the Original Trilogy. "Rogue One" continues that energy in a form of a prequel for new stories to tell on new, unexplored grounds that the big screen could only handle. That said energy went further when the film went for an unconventional direction, under the auteurship of Gareth Edwards ("Monsters", "Godzilla"), in the well-known aspects of the films: the narrative, cinematography, and characterization.

The film opens up omitting an opening crawl, as well the iconic Star Wars theme music by John Williams that only appeared around the very end that leads into "A New Hope". It instead started expressing the effective depth by showing it than just saying it, especially when it comes to recognition of the few pivotal characters for the arc of the film's main heroine, Jyn. Also, during that scene, the aforementioned stylistic approach differs from how the other films were shot with exhilaration while it was more ominous this time by presence and width. The first impression upon the opening scene offers us a glimpse of what the film is going to be like, and it gets capped off with another of composer Michael Giacchino's masterfully closely-related score to get the Force going.

From there, the first element that underwent unconventionality is the narrative differing from the franchise's standards, including, as a surprising twist at the turned of events in the climax, franchises' installments in general. The suitable structure with three divided settings that the characters goes through towards the final setting in the climax is probably a familiarity to how the other films' were structured still. But the main point of the narrative is the different route that the production changed direction a couple months before the release, and it resulted to be different than how the other films ended. The ending note adds strength as the effective depth towards the importance of the events following it up chronologically.

The cinematography, by Greig Fraser, in a way to simply put without much to say since it's just a general description of what's been seen and how it formed the film into differentiation, labeled the film to be a semi-grounded war film. Most of the action sequences in the films were more soaring, while "Rogue One" took a slightly different approach in style of filmmaking by being less soaring. The camera was stuck to the ground more, mimicking the war genre's cinematographic style within an epic space opera heightening the normal scale. The cinematography style isn't only an element to the unconventionality but also a factor for the refreshed energy for the franchise.

The third, and final, element to note from the film has a rather mixed effect into the entertainment value. In contrast to the other films, the characterization has only a couple of known characters with little screen time to guide us through the strong Force of this one. The main spotlight that ran was on the newly introduced characters. Besides the divertive merit, it felt almost bland due to unfamiliarity - or feeling alienated within a familiar setting - while maintaining a 4-star rating, until the Force gotten stronger as the film progresses. The characterization, particularly the titular team, is still likable thanks to the acting, from the divertive casting, that built and fulfilled the characters to the very end. Then in an additional note, the film impressively features a return to few characters from "A New Hope" with Darth Vader in his former glory as James Earl Jones returned to voice, along with a few others being CGI to match the earlier age complexion nicely.

Overall, "Rogue One" offers a different cinematic experience for the Star Wars fandom and those who are opened up to try it. It's one of the best of the films while right behind "The Force Awakens", even though it only created its own scale for the upcoming stories in the Anthology Series as a standalone with a very effective narrative. The first impression of what's an installment within the anthology is going to be like is impressive and entertaining to easily say it, along with some excitement towards it and expected art to look forward to. (A)

May the Force Be with You

The Discovery

So far the least of the year I've seen. There's a conflict between how insensitive the concept was being tackled and how it been turned to be an intriguing premise into a mystery that got strayed and more convoluting by adding more complexing layers to it. So, the storyline fell in the middle with bland during attempted chemistry, which is at a similar pace to "Another Earth" with no spiking thrills. Probably the best merit it can only offer is the performances from a likable cast, even though that took the main spotlight away from focusing on the concept that seems to got lost in translation. (C+)


Almost a dark comedy for a fresh coming of age film as Shameik Moore's breakthrough performance goes through his own "Risky Business" as an update with an unhealthy nature that adds weight to the mysterious substance of the human study. To clarify with another merit towards the narrative, it's a good film that was cleverly titled with the definitions under the keyword well-expressed. (B)

(Full review TBD)

Doctor Strange

It was since "Iron Man" in 2008 that Marvel Studios introduced and/or put their heroes - some lesser known - into the new spotlight of their comic presence being acknowledged. It'd worked with the majority of the current roster minus the Hulk since he was already known with the same spotlight. The latest MCU intro goes to Doctor Strange, a superhero that masters the mystic arts and mystical realms - which was already given a peek prior. While there's already an animated film solely for the animated universe, this live-action film is another typically great Marvel offering that not only continues the 5-star run but really presents the "possibilities" in literal filmic illumination.

In parallel to "Iron Man" as a callback to that film that started the MCU ignition, "Doctor Strange" follows the titular world-famous neurosurgeon whose life relies on his career till it changes forever after a horrific car accident that robs him the use of his hands. With nothing around his medical field and knowledge working to heal his hands, he came across what he heard his final hope for healing in an unlikely location known as Kamar-Taj. He's introduced to an alternation of self-healing through mystical arts, but it soon takes him to battle as a former visitor returned with dark forces and newly acquired magical powers. Either way, Dr. Stephen Strange's life would never be the same when he choose his path after being introduced to a skeptical concept that's beyond mind.

The first impression after watching the first trailer that gave us a sense of what the film is going to be like with the few top qualities being picked, the merit that stood out is the bar-raising visual effects for the immersive illumination of reality. It's similar to what was experienced occasionally through Christopher Nolan's "Inception", but this film, directed by Scott Derrickson - whose credit consists moderately-known horror flicks, went deep into a block with a continuous flow of specific parts being separated and rotated from their original spot. The coordination of the visual effects on that scale is to the extent of being amazed as it's the main factor to call this a ride - with being trippy theatrically - then going a little further that it's the film's main footing for its solo standing.

A film can't just be defined for solely one quality, or otherwise it would be unbalanced and that wouldn't be a good film either. The other half is the human soul through the combined effort of the performances and the writing going through the mystical universe, backed up by a nice cast - with the costume designing set in--between. Not only the writing explained the properly introduced part of the Marvel universe, but it's been sensed that it also goes into our reality specifically based on healing faith while the Marvel's mystical verse is the exaggerated alternation of that demonstration like how a sci-fi or a fantasy flick represents a simple realistic story. The performances on the other hand of this combined effort matches the energy seen and felt in "Iron Man", along with almost the characterization within a different environment. The obvious standout is Benedict Cumberbatch as the titular sorcerer in-training, and Tilda Swinton in the genderbent role of The Ancient One to lead the aspectual wisdom.

Before the main conclusion of summing it up, it's first off much better than the earlier animated counterpart in 2007. The live-action "Doctor Strange" is your typical Marvel-ous fare with the same greatness of treating the comic book source material right when balancing the important points of the story and the characters' arcs, along with the usual performance level next to spirit and its own sense of exhilarating spirit, with illuminations to impress. Even though this review is written by a fan of the franchise, which hence the compliment of this callback to "Iron Man", the entertainment value for the film for those into viewing films singularly is that it's a stellar ride with overall excellence, particularly in the performances and the general art. (A+)

The Transformers - The Movie

The animated enlargement of the series is actually inferior to the contemporary live-action films due to its own flaws of being an okay metallic jukebox as excessive animated music videos and few cringing moments. However, it's an established standard for the franchise that faithfully unveils more of the Transformers, with further appreciation, than the later movies' role reversal between species. It can be considered a bit better than the lowest bar of the live-action films, but the preference still lies on the other. (B)

(Full review TBD)

Across the Universe

Functions well as an original jukebox musical, chronicling the 60s with the Beatles being given tributes through socialistic, energetic and electric visuals, even though the music is the main focus over the performances to fulfill the characters' stances. (B)

(Full review TBD)

The Mummy
The Mummy(2017)

While Marvel started setting their films to be connected with each other, DC Comics following it up with their own by replicating the game plan, and other studios expanding a property or two - along with theories by viewers connecting films to each other - Universal's second attempt of resurrecting the cinema's very first shared universe with their assortment of monsters turned out to be a direct replication with too much confidence without going smoothly. The official start of their Dark Universe "The Mummy" rebooted the contemporary trilogy in a trendy fashion of being heavily influenced to start a universe that's distractive from the focus of the starring monster's awakening. If on its own without being burdened or interfered by outside forces, the Tom Cruise starrer "The Mummy" would've been better and meet its intended vision solo.