The following is a review of Burning (‘버닝‘) — Directed by Lee Chang-dong.
There are a couple of news reports during the first hour of Lee Chang-dong’s Burning. During the reading of these reports, the frustrated Lee Jong-su (played by Yoo Ah-in) is walking through his family home, a farm house so close to the North Korean border that he’s able to hear North Korean propaganda out in the open. As he is walking through the house, we hear how his generation is struggling to find work in South Korea, and we also see President Donald Trump on a television screen. Continue reading “REVIEW: Burning (2018)”→
The following is a review of Bird Box — Directed by Susanne Bier.
The post-apocalyptic novel upon which Susanne Bier’s film of the same name, Bird Box, is based came out in 2014. So, let’s just get one thing out of the way, its ideas, though perhaps stale in a world where A Quiet Place just came out months ago, do not deserve to be cast aside just because Krasinski beat Bier to the punch. Besides, A Quiet Place isn’t even the film Bird Box resembles the most. Continue reading “REVIEW: Bird Box (2018)”→
The following is a review of Bad Times at the El Royale — Directed by Drew Goddard.
There are some films that you can only recommend with a very specific caveat — that the movie felt as if it had been designed and made for you. This feeling can happen all the time, and when this happens I almost always find myself saying that “I absolutely loved it,” and then I limit my statement with a “but.” In the case of Bad Times at the El Royale, that sentence would probably look something like this: “I absolutely loved it, but there is a very real chance that its length and pace will annoy the hell out of you.” Continue reading “REVIEW: Bad Times at the El Royale (2018)”→
The following is a review of Netflix’s 22 July — Directed by Paul Greengrass.
Paul Greengrass’ latest, 22 July, is a film about the 2011 Norway attacks set in Norway, starring Norwegian actors who are all speaking English. Greengrass’ feature film is not to be confused with Norwegian director Erik Poppe’s 2018 film about the 2011 Norway attacks, Utøya 22. Juli (sometimes referred to as U: July 22), set in Norway, starring Norwegian actors who all speak in their native language. Continue reading “REVIEW: 22 July (2018)”→
The following is a short review of APOSTLE — Directed by Gareth Evans.
In 2011, Welsh director Gareth Evans rose to fame in the film community for his Indonesian action film The Raid: Redemption. After he had completed its sequel, Evans had become known for these elaborate and inventive action set-pieces. His latest film is not an adrenaline-fueled action film in the vein of his previous Indonesian efforts. Continue reading “REVIEW: Apostle (2018)”→
The following is a review of Thoroughbreds — Directed by Cory Finley.
Remember My Chemical Romance? It was a rock band that my sister loved back in the day. I really liked their album The Black Parade, and every now and then some of the band’s songs come to mind. When I was watching writer-director Cory Finley’s directorial debut Thoroughbreds, I started to think about their song “Teenagers” — more specifically about the line “All teenagers scare the living shit out of me. They could care less as long as someone will bleed.” The late-great acting talent Anton Yelchin, in what seems to be his final role on film, has a similar line in the film, but he manages to express himself in much fewer words: “fucking evil children.” Continue reading “REVIEW: Thoroughbreds (2018)”→
The following is a review of Mission: Impossible – Fallout – Directed by Christopher McQuarrie.
The first James Bond novel was published in 1953. Nine years later, Sean Connery first played the central character on the big screen. Since then we’ve seen twenty-five Eon Productions Bond-films. In those films, six different actors have played Agent 007 to varying success. So far, all spy franchises have lived in the shadow of Ian Fleming’s creation. Every actor who becomes a leading spy character has been compared to Connery, Moore, Brosnan, Craig, and so on and so forth. Continue reading “REVIEW: Mission: Impossible – Fallout (2018)”→
I know I’m a little bit late to it, but I’m finally seeing Mission: Impossible – Fallout in theaters today. So, last night I decided to marathon the five films that came before it. I ended up taking some notes, and, in this article, I’ve presented them here as reviews or smaller bite-sized mini-reviews, along with an estimated review score for each of the previous films except for Rogue Nation, which I reviewed in 2015. Continue reading “REVIEWS: Rewatching the Mission: Impossible Films”→
The following is a review of A Quiet Place — Directed by John Krasinski.
Actor-turned-director John Krasinski’s third feature film as a director is the horror-thriller film A Quiet Place, which follows the Abbott family in the dystopian near-future wherein the entire world seems abandoned and empty due to the existence of blind, mysterious, and violent creatures that hide and wait for something as harmless as the sound of a pin drop to pounce on any pray alive to be taken. Continue reading “REVIEW: A Quiet Place (2018)”→
The following is a review of You Were Never Really Here — Directed by Lynne Ramsay.
After I saw Lynne Ramsay’s You Were Never Really Here the day before yesterday, I decided to reread one of Roger Ebert’s excellent reviews of Taxi Driver — the Scorsese classic which this Lynne Ramsay film, rightly, has been compared to a lot. In the review, Ebert smartly noted that Travis Bickle’s response to his own iconic line “Are you talking to me?” — “Well, I’m the only one here,” — was the truest line in a film about loneliness and alienation. Continue reading “REVIEW: You Were Never Really Here (2018)”→