"I, Patty Jenkins, hereby choose spectacle over substance." Wonder Woman 1984, co-written and directed by Patty Jenkins is a better instalment for me. Mind you, it's a better film, in respect to the previous installment, just not a good one. It breeds a beastly ideology at the heart of the film and never learns how... Continue Reading →
How to be afraid of even discussing, let alone, criticizing the content of a magician's work, in Dune. The writer and director David Lynch's Dune is a potential candidate for the ultimate list of films that remains to be desired. I don't know how to describe the film. Let's just talk about the result, then.... Continue Reading →
How to know of the range of your genre and script, in Edgar Wright and Simon Pegg's Shaun Of The Dead. I have seen both of them talk about the writing process of their trilogy, especially about Shaun Of The Dead in detail. Their structure is more pronounced and is easy to adapt and relate.... Continue Reading →
How to execute a not-so-steady material with firm belief in yourself that balances the state, in We Own The Night. The writer and director James Gray's We Own The Night, owns the essence of everything it focuses on. From the crime world, to the dirty off-stage police work, to the lonely dark nights simmering outside... Continue Reading →
How to "Hulk Out" by Odinson, in a non-Marvel film, in Extraction. The director Sam Hargrave's Extraction is a questionable event. Not a film, but an excuse. Is the film dark (especially how raw the film grows when it comes to depict its younger characters) because it thinks that it would be cool, jarring and... Continue Reading →
How to immerse yourself too much in the swishes and whooshes of swords, in Blade Of The Immortal. The director Takashi Miike's Blade Of The Immortal stages action as an excuse to draw its audience. Now I can take this action genre film like a musical and can embrace it with open arms. And I... Continue Reading →
How to behave cool even though you are not, in The Gentlemen. So what is this morbid fascination of ours, as an audience, to watch these con artists con each other as their obsession over the simplest though definitely a vital aspect of human emotions overlapped or diminished or snatched by these gentlemen? The writer... Continue Reading →
How to tease and mock and provoke the audience with no wit in Birds Of Prey. How many times can I roll my eyes in a film where the protagonist is enjoying life, the film, since she can break the fourth wall, more than the audience? It hurts my head, that many times. What are... Continue Reading →
There is everything wrong, most of it bad and very little good in this dark and dry case from Michael Mann’s film collection. The biggest sin of Michael Mann’s Public Enemies is that it doesn’t make you feel anything. Nothing. Well, if being repellent to the idea, world and characters counts, then count me in. For... Continue Reading →
