dorMancyx Reviews

Kingdom of the Planet of the Apes (2024)

Et Tu, Noa?

[7/10 · 19 May 2024]

Ravishing use of motion capture and special effects for character illustration, production design, and world building, only slightly less otherworldly than that of Avatar if put on scale. Love the The-Last-of-Us-esque setting, which is not surprising considering director Wes Ball's prior oeuvre of the Maze Runner trilogy. However, sometimes it feels as if the narrative over-does its technical artistry in sacrifice of the pacing, for instance the 8-minute introduction of egg hunting that barely connects with the rest of the plot. As a whole, I'd much rather have more time allocated to the "Kingdom segment" of the movie where Noa faces the charismatic antagonist Proximus head on, who is not introduced until 100 minutes in. On the other hand, such painstaking scriptwriting is detailed and therefore convincing, and allows room for philosophical discussions and biblical allusions that the franchise is all about.

(Spoilers!) Nova/Mae first appeared to me a progressively disintegrating character, whether speaking articulately as an "untaught human survivor" or strangling Trevathan as an "innocent youngster" --- until the last 5 minutes she reveals herself as the best "spy" character I've seen in a long time. Mae is in fact an intelligent human agent wanting to revive one's species, which explains so many instances of seeming logical errors: tearing up when observing the feral humans, scouting purposefully in the vault for the hard drive, and blowing up the dam to drown the apes. However, although "humanly" guileful, manipulative, even at times selfish, she is not immune to the warmth of Raka, the sincerity of Noa, and the compassion of the apes. Therefore when Mae could easily assassinate the intelligent humans' potential enemy leader, she chooses not to --- such is humanity. In comparison, Noa is a much flatter character and more cliche protagonist, and definitely less eye-catching than Andy Serkis' Caesar.

There are obviously plans for sequels, and I'm all for it!

Godzilla x Kong: The New Empire (2024)

Barbizilla

[6/10 · 31 March 2024]

I'm entertained, but the movie is popcorn. WB is well-aware of what the audience wants - CGI monster fight scenes - and they give it in full. Storyline of the human characters are reduced to contextualizing and driving the narrative toward more titan face-offs. However, despite their little screen time, all actors gave convincing enough performances: Rebecca Hall a tender-hearted mother and Brian Tyree Henry a comedic normie who's not overly cringy. The plot of the monsters is pretty simple as well, but it's revealed gradually throughout the film either by human narration or physical language, which I think is a smart choice for a commercial production. However, too much screen time for titans makes me lose track of how big the creatures are, which is quite underwhelming for a movie about giant monsters - the production tries to make it up by using shaky cameras and earth-moving sound effect, but somewhere along the second act I just don't see Kong as large as he is in Skull Island. Finally, the action sequences are heavily budgeted: ax, spine whip, ice rays, Barbie rays, mechanical boxing glove, flying buildings, destruction of important cultural relics, and most satisfyingly, no human intervention. If you like how the Transformers smashed the pyramids to smithereens, you'll love this movie.

Dune: Part Two (2024)

Duke of Arrakis

[8/10 · 4 March 2024]

Let me begin by saying that if Dune: Part Two was released last year undelayed, Oppenheimer would've had a formidable opponent at the Oscars.

(SPOILER ALERT)

The screenplay is one of the best I've seen in all commercial films, as the credit goes not only to Frank Herbert's work, but also the scriptwriter's adaptation and the director's execution. After a short monologue of Irulan that contextualizes the narrative, the movie continues with Paul's adaptation to the Fremen life, divergence with his mother's belief, and sprouts of love with Chani. Just as I thought that the story will follow the path of Avatar, the audience are pulled out of the main plot to explore other aspects of the Dune universe: Feyd-Rautha's maniacal rise, the Bene Gesserit's bloodline scheme, and Alia's subtle influence through Jessica - and then we're brought back to Paul's arc through Gurney Halleck. Although a lengthy second act, the story is compact, the development intricate, and the pacing thoroughly controlled. However, the final act is a dip compared to the meticulous lead-up, as everything seems in a hurry of wrapping up for Paul's destined ascension, most notably the war's sudden halt and the Emperor's quick surrender.

Furthermore, Villeneuve maintains his high standard for aesthetic design, whether the utilitarian machinery, exotic costumes, or the panoramic long shots. What stood out to me the most was the triangular colosseum at the monochromatic planet of Giedi Prime: a dark sun hovers above waves of colorless spectators, as black blood is spilled upon white sand. Never have I thought the ink-painting-style fireworks could go so well along HR Giger's biomechanical architecture, all contributing to the portrayal of the Harkonnens' cruelty and eeriness.

The action sequences are also spot-on, as Paul and Feyd's fateful duel is fluently choreographed and progressively captivating. My favorite of all is Paul's worm ride, a perfect segment in length, editing, performance, and visual. Little words were spoken, so suspense is built solely through character reaction, the sound of roaring sand, and the fastening tempo of shot-cutting. As Paul steadies himself on the worm's back, Hans Zimmer's six-note theme erupts alongside the Fremen's cheering. Chani gasps, Stilgar dumbfounded, and the Lisan al Gaib has risen.

I also like how the centripetal topic of prophecy versus free will is depicted in the film. Interestingly, the movie approaches this heavy subject with comedy, for instance when Stilgar and the believers admire over Paul's humility when he refuses his identity as the messiah. However, as we accompany the young Atreides' journey up until his resurrection from the Water of Life, the prophecy, either artificially or naturally, is becoming reality as his story unfolds. Those who were laughed upon as superstitious turned out to be completely right. And yet, given Paul's unquestionable power and apathy in the end, is the prophecy truly a foresight of the future, or is it a manipulation?

A movie that balances commercial needs and artistic excellence. Absolutely stunning!

Demon Slayer: Kimetsu No Yaiba - To the Hashira Training (2024)

Yes and No

[6/10 · 26 February 2024]

The Mugen Train used to be one of my most anticipated movies of 2020, and the Demon Slayer manga has been a great part of my quarantine life. However, I have to say that this film is quite perfunctorily made. Most of the dialogues spend 15 minutes conveying emotions and information that could've been condensed into 3 minutes. Such pacing certainly works for a season-long anime so that you get the most out of each character, but is excessive to the point of tedious for an adapted screenplay. Additionally, the movie focuses on the transition period from season 3 to the Hashira Training Arc, which seems like unnecessary work since it's not an independent story like the Mugen Train. Instead of spending so much time explaining the context, why not make a film about the actual Hashira Training? Aside from the complaints, all the action sequences are spot-on as expected. The segment where the Wind and Serpent Hashira explored the mansion is perfect in length and smoothly animated, and seeing their breathing styles in motion is all I could ask for as a manga reader. Though I'm all for the Infinity Castle Arc to come as soon as possible, I'd ask that Ufotable take as much time as needed to perfect the animation. As a former global phenomenon, Demon Slayer deserves a proper end.

Argylle (2024)

Twisty Like A Sprained Ankle

[4/10 · 12 February 2024]

No, stuffing a headache amount of twists in a film with terrible plot does not make the story better. Notwithstanding the teeth-hurting visual effects, the nail-biting pacing, and the anxiety-inducing performances. Bryce Dallas Howard plays whatever her character's name is like a schizophrenic high schooler, while Sam Rockwell like my drunk uncle who only shows up at New Year parties with his bad jokes, and I'd rather see Henry Cavill and John Cena make out than having to watch these two feign chemistry. What's the most unforgivable, however, are the action sequences that are predictably scripted, heavily choreographed, poorly shot, confusingly edited, visibly CGIed, and always accompanied by that goddamn cheesy music. This movie is just a total let down compared to Kingsman, and Matthew Vaughn's gotta do better next time.

Ex Machina (2014)

Ay Dios

[7/10 · 4 January 2024]

I thought the film was going to be as slow as Blade Runner 2049 and Nathan as clichely villainous as Wallace, but it isn't at all. The movie wastes no time progressing from the exposition to the main plot at the mansion, but with such control of pacing and layout. Character personalities are swiftly constructed by the actors' convincing performances, especially Oscar Isaac, and the sessions with Ava just come one after another with new information being explored every time. All of the branch discussions like sexuality and search engine surveillance are also interesting, bringing the film to a philosophical height. However, I have to admit the ending of the story is quite predictable, therefore feeling slightly prolonged. Overall, a piece of fine art in terms of the theme, aesthetics, and director's execution.

Monster (2023)

No Persons Are Monsters

[8/10 · 4 January 2024]

The film certainly depicts an interesting dilemma, and is purposefully left open for interpretation by the director - so here's my take:

There's no fault in a worried mother or a troubled teacher, there is only the gap of understanding. And for that I have to blame the Principal, whose inaction and constant aloofness throughout the incident is an unjustifiable wrong. Her bonding moments with Minato alone simply add on to the inconsistency of her character prior - by deliberately tripping over the girl, by forcing Hori into admitting the allegation, and by potentially killing her grandson. Whatever her motive, the Principal is to be blamed for the confusion that could've been avoided.

Yori's father is another adult in the absolute wrong - physical violence alone is an undeniable crime. Additionally, the mental pressurizing and coercing is even more harmful to the child above all else, and Yori's immutable optimism itself is a miracle considering such abuse. This father figure furthermore symbolizes the part of society that neglects childcare and youth education, which is what the movie is trying to promote.

Bullying is self-evidently wrong, but except that, none of the children are in the fault. Again there is the lack of understanding, though for the children not amongst each other, yet of themselves and of the world, posing them vulnerable to self-harm or harming of others. So here's to the ones who are as confused of themselves as I am: no persons are monsters, and you are enough.

RIP Maestro Sakamoto. The film selects a difficult topic for the tone of the narrative, but as soon as the soft, harmonious melody plays in the first scenes, a sense of impartiality, relevancy, and care is naturally set.

The Goldfinger (2023)

White Wine Reddens the Face, Golden Glow Blackens the Heart

[7/10 · 30 December 2023]

It kinda reminds me of a Chinese TV series called The Knockout (Kuang Biao), given their similar duo-protagonists, ambitious-police-versus-powerful-criminal setups. But really, The Goldfinger is extremely fluent and complete, with a convoluted plot, captivating narrative, and outstanding performances across the board. Some of investigation and stock center scenes impressed me especially, which are perceptibly well-considered and thought-out. I see no immediate flaw after my first watch-through. If we have to knit pick, I guess some of the dangling threads in the first half could be resolved with more detail, for instance Carmen's part and KK's end. Overall, I'd say this is one of the best Chinese films of the year.

Aquaman and the Lost Kingdom (2023)

It's About Family...

[7/10 · 26 December 2023]

Why is DC's visual effect always like this (I'm talking to you Flash)? It's either obviously photoshopped or really fluent and detailed, and there's no in between. Anyways, other than a few of those regrettable segments, I overall enjoyed the aesthetic designs and action sequences. The latter, however, I feel like is worse than in the prequel, lacking a sense of reality and more stuffed by CGI explosions and combats. Cinematography is great, with some classic James-Wan long-shots during fights.

But seriously - this is the end of DCEU? That's it? No Ben Affleck Batman cameo, no actual post-credits, no nothing? What a fall of a once grandiose and hopeful empire!

Wonka (2023)

Best Kind of Prize is a SURprize Hahaha

[5/10 · 25 December 2023]

Insipid, no gravity, made-for-child-less-than-10. Very cliche and predictable plot that is lacking in pacing and too magical to be believable. The girl who played Noodle has no acting skill whatsoever. None of the songs sticked. There are a few chuckle-worthy moments with Hugh Grant, Rowan Atkinson, and Olivia Colman, but that's more because of performer charisma. Sally Hawkins is also laudable just for her perfect mom image. I do appreciate Timothee Chalamet for attempting to imitate Johnny Depp's version of Wonka in terms of the mannerism, expression, and cadence. Overall, a pretty bland film.

A Rainy Day in New York (2019)

The Cloud, the Sunbeam, and the Breeze

[8/10 · 23 December 2023]

Not a typical romantic movie that arouses, but instead prompts one to ponder the science of love. As my first Woody Allen movie, I quite enjoy the stage-performance qualities of this film and the quaint-elitist tone, much like Tár yet more old-school East-coast American. There are some questionable plot devices including blunt dialogues and character decisions, but they all are rather self-justifiable due to the movie's theatrical, dramatic nature.

Although outwardly knowledgeable, mature, and excessively acquainted with art, upper society, and dalliance, Gatsby is actually a child in real life, and a novice in true love. A borderline narcissist, he so dearly seeks perfect love by his cliche elite values with a twist of youthful rebellion, neglecting the importance of mutuality in a relationship. Gatsby is the cloud that seems to repose comfortably, wanting to be seen within and touched by the heart.

"Valley girl" were the first words that popped to my mind for Ashleigh, and that impression made an 180 by the end of the movie. She's an intellect with ambition and passion, inexperienced with the real world, but quick to notice men's intentions. Also, there's no denying to her disloyalty, even potentially using her boyfriend as a social ladder. The beauty of the sunbeam directs her admirers' attention away from the shadow she leaves behind.

I had not known Selena Gomez other than a singer, but she surprisingly portrays Chan's undisguised sarcasm, caring remarks, and heartfelt candor very well. To put it into simple terms, Gatsby and Ashleigh are not for each other; they may have had sparkles by projecting their own desires upon other's characters, but neither of them could concede themselves to true bonding. And yet, Chan, like an abrupt breeze, sets the cloud into motion and effortlessly enters his heart, as if the two are made for each other.

I kinda want to play some "cocktail piano music" now.

The Boy and the Heron (2023)

How Do We Live?

[7/10 · 11 December 2023]

No adjective other than fascinating is apt to describe my impression of The Boy and the Heron. In two hours, the movie touches upon topics of bereavement, youthful troubles, family, growth, morality, self-reconciliation, and so much more that seem to make the film vague and difficult to digest. And yet, it is also because of these uncertainties that the audience are allowed to interpret their own versions of the story, which is the magic of Studio Ghibli. Five minutes in, I feel myself swiftly captivated by the unique animation style and immersed in the rural Japanese greenery. Other than some pacing issues during the second and third acts, this is a film worth your time to experience.

Hayao Miyazaki's artistry, Joe Hisaishi's music, and Studio Ghibli's animation have been a great part of my childhood. They belong to a generation of confusion and innocence, of battlefield and nature, of death and youth, which is very much remote from my own but also near and relatable. As a fan, there's nothing more touching than sitting down in a theater, waiting for the lights to dim, and seeing a screen-full of light blue with Totoro's image in the center. Thank you Studio Ghibli.

Napoleon (2023)

Tsk Tsk Tsk

[6/10 · 22 November 2023]

I feel unsatisfied walking out of that theater after three hours of melancholy and confusion. I understand every single word and every single scene, but when they connect into a whole film I don't understand anything. To start off, the costume/production design, naturalistic sceneries, the two meticulously-depicted ancient warfares --- one amid the doleful squall of Austerlitz and another atop the dampened prairie of Waterloo --- and all other technical stuff are spotless. However, there's an anxiety-inducing problem with the narrative --- the movie has no focus. No climax, no resonating themes like Oppenheimer, just one plain, linear, chronological plot; and even that we get multiple baffling time jumps throughout. The plot is so simple that everything in the film was taught in my AP World History class last year in one day, except it nibbles on some superficial details. Highlighting the relationship between Napolean and Josephine is a unique take, and I do see efforts from the two esteemed performers to capture their mutual toxicity and intricacy, but this love story has barely anything to do with the movie's main arc, Napolean's personal rise and fall. Nothing! Two basically unrelated storylines unfolding in the most bland way possible. Also adding to this insipid mess is the score, which is composed primarily of classical or really old-sounding French folk --- what happened to Radiohead from the trailer? God Ridley I don't wanna say three hours of my life is wasted but it kinda is!

I didn't think it was possible but, I think Oppenheimer's winning the Oscar.

The Hunger Games: The Ballad of Songbirds & Snakes (2023)

The Sound of Snow Rising

[7/10 · 20 November 2023]

I like it. My expectation for a movie has never been lower after my sanity was bombarded by Captain Marvel and Five Nights at Freddy's, but I must say I'm pleasantly surprised by The Ballad of Songbirds and Snakes. The use of vibrant colors, the realistic (as opposed to visibly CGIed) scenic layouts, and the elaborate, coherent storyline adapted from Susan Collins' amazing textual foundation. Seeing the in-constructing Capital and the Hunger Game in its early stage creates great contrast with the overly affluent city and the meticulous game designs in the original tetralogy. Moreover, the plot is just so much better than Marvel's AI-produced ones: there's plenty of clever foreshadowing devices, a balance between fights and dialogues, and 2 movies of volume in 1, although I understand why Lionsgate didn't separate the game itself and Snow's journey into two films in fear of revising the failure of Mockingjay part one. However, I do feel like the second half or part three of the film has its problems in terms of pacing, including Sejanus' sudden lack of judgment, Snow's hurried embrace of his villain arc, and Lucy's reduction in part. Such a prolonged narrative works for a novel, but certainly not a movie.

A compliment to the cast, who definitely go beyond their standard performances and portray quite memorable characters. Despite surrounded by controversy, Rachel Zegler really can sing the unbridled Covey verses and act a mysterious songbird. Tom Blyth is bold choice for the renowned character and his depiction of Snow's change in character isn't that convincing in the third part, but overall he is above decent. There's also a lot of rewarding easter eggs for those who know the original saga, like The Hanging Tree, Tigris' fate, supply drops, and why Snow hates "Katniss."

I like the film, but please do not make a sequel to the prequel.

The Marvels (2023)

Oh No No No

[5/10 · 13 November 2023]

This is your one and only chance to evacuate Kevin Feige.

Whoever thought that 105 minutes is enough time for a tight and crisp sequel should wear the quantum bands and fragment --- it's almost like we're skipping scenes for the sake of time. In one shot we see the villain's aircrafts arrive at the musical planet, the next shot soldiers are marching into city. Like is there no aerial defense? And how does the villain know where to go? In fact, the entire segment with the musical planet is the dictionary definition of cringe, whether Brie Larson's lip syncing or the Marvels suddenly running off in the end, basically leaving the planet and the legal husband to be conquered and sucked dry. Also, hammer lady's purpose is so out-of-date she would be a great villain in Phase Two --- air, water, fire, does she think herself Avatar the last freaking airbender? If Captain Marvel isn't scripted to have to babysit two side kicks and be questioned why she can't be everywhere all the time by Ms. WiFi Spectrum or whatever, she would disintegrate hammer lady in their first encounter. Finally there is the post-credit scene: are we for real? If we are to officially introduce the Beast, can we at least make him not so visibly CGIed? And then we have Mama Rambeau; she's dead in one universe, Captain Marvel in another, now what is she and what the flip is her costume? Captain Hashtag? Tictactoe Woman?

The Wolf of Wall Street (2013)

Gotta Pump Up Them Numbers

[8/10 · 10 November 2023]

A movie that has been on my list for god knows how long --- so long that I'm spoiled by Youtube shorts of many scenes including the one with Matthew McConaughey, the "sell me the pen" one, and the one in the garage. The Wolf of Wall Street has certainly became a cultural phenomenon and proves especially influential among younger generations. Sure, the doggedness toward success can be inspirational, but the blind worshipping of such decadently materialistic lifestyle can be dangerous, and in truth contradicts the film's moral caveat. In terms of the movie, it certainly reminds me of Babylon: heavy rated-R, unorthodox pacing, and using singular characters to reflect a bygone era. Entertaining film, and I wish I could see it without all the preconceived information.

Five Nights at Freddy's (2023)

Was That the Bite of 87?!

[5/10 · 30 October 2023]

"Is it good?" Well is the Super Mario movie good? Are the Silent Hill movies good? It's hard to evaluate cuz it certainly drops below average on my regular movie meter, but I do appreciate the adaptation from and allusion to the game itself. The only thing commendable about the film is Josh Hutcherson's performance - or as I like to call him Peeta - which captures the dispiritedness and mental obsession of the character really accurately. I also like the subsurface theme of child abduction that gets sprinkled throughout the first two acts, but the finale kinda ruins the whole thing. We get introduced to the modified version of Springtrap out of nowhere, Vanessa does the criss-cross-apple-sauce with her identity, and most disappointingly we don't get Mike to do the real-life game play in the security room. If movie companies wanna keep doing game-derived films, please do use The Last of Us as paradigm.

Killers of the Flower Moon (2023)

True Cinema

[8/10 · 23 October 2023]

I'll have to confess that this is my first Martin Scorsese film --- I've heard legends and myths about Taxi Driver, Raging Bull, The Wolf of Wall Street, but never really got the chance to watch them. And therefore it's really hard to describe what makes Killers of the Flower Moon a scrupulous, captivating, and evocative piece of true cinema. Perhaps a particular setting with blinded windows reminds me of Frances Coppola's The Godfather; perhaps the inter-dialogue silence reminds me of the Coen brother's No Country for Old Men; perhaps the occasional dark humor reminds me of Quentin Tarantino's Pulp Fiction; or perhaps the "made by Scorsese" label influences my judgment. I could not tell exactly, but the work itself showcases craftsmanship which I have never before seen. Specifically, all the discourses in the movie are presented with incredible precision, whether in terms of cinematography, character layout, script writing, lighting, or plot progression --- the directing is just flawless. Take away the exteriors, the film actually narrates quite a simple story: scammers slash murderous getting exposed. And yet, if we put it into the historical context of Indians versus whites, plus the elements of interracial romance, detective mystery, and humanity, something suddenly clicks.

I don't think Leonardo DiCaprio has performed an "uglier" role than Ernest Burkhart --- even his Calvin Candie in Django Unchained is bestowed some maniacal comicality. Physically, Ernest is stout, stained-teethed, and always frowning like a wrinkled pumpkin, prompting me to wonder if his actor is seriously the same guy who played Jack in Titanic. What makes Ernest truly loathsome is his character: avaricious, spineless, frequently imprudent, and often foolish. Most disgustingly, he is faithless --- hinted at start by him not attending churches despite being Catholic --- when promised profit and protection Ernest abides by his uncle's game, yet when regret overwhelms after the death of his daughter he immediately chooses to testify against Hale. Ernest represents the banality of evil during the Indian persecution; unlike Hale who masks his guile and malice beneath the complexion, Ernest is simply incompetent. What more could be said about a man who claims to love his wife while feeding her poison daily!

Lily Gladstone will most definitely be nominated in the next Oscar for her role as Mollie. Throughout the first act, the lady is demure, well-dressed, graceful, but shrewd, observant, and aloof --- her trait is almost the perfect epitome of the Indian culture. It is for these fascinating qualities that make her schemed fall so tragic, into becoming bereft, fragile, sickened, disheveled, and vomiting one's heart out on the sweat-soaked deathbed. The Native Americans made only one mistake that was fatal in their fight against the intruders: for being too quiet, for being too patient, for being too kind.

What an exciting year for cinema! Nolan's got his Oppenheimer, Scorsese with Killers of the Flower Moon, Ridley Scott's upcoming Napolean, and Hayao Miyazaki with The Boy and the Heron. Can't wait to watch their competition at the Oscars.

The Creator (2023)

Taylor the Creator

[6/10 · 9 October 2023]

I'm all here for the Rogue One aesthetics: the bionic robotics, the laser-guided weaponries, the advanced vehicles, the cyberpunk architectures, the inventive gadgets, and so much more that flesh out this Star-Wars-esque, Blade-Runner-ish, but Southeast-Asian world. The presence of such a setting is quite convincing, as the interactions of humans, robots, and gargantuan machines look extremely realistic unlike the obvious use of green screens and photoshopping in The Flash. However, I'm disappointed to say that the visual is the only positive of this movie.

Despite its futuristic cast, The Creator abides by the book of an elementary road movie and has a rather cliche plot: an adult's salvation and a child's maturation. And yet, the film is excessively expressive, including AI humanity, superpower dominion, mass-destruction weapon, revolution, reflection of the Vietnam War, and more. Further challenging the feeble storyline is the fumbling narrative -- disorderly events, chaotic pacing, and frankly, perplexing directing. That's not the end of the list: performance (except the little girl) across the board is flavorless, as I am never immersed into any of the emotional scenes.

Cool on the outside, raw within.

Creation of the Gods I: Kingdom of Storms (2023)

Odyssey of the Orient

[7/10 · 25 September 2023]

Since its detonating release in the mainland, this movie was praised as legend among the viewers. Indeed, Feng Shen represents China's highest standard of film production, whether VFX, production and costume design, screenplay adoption, choreography, and performance. Despite the few scenes at Kunlun with questionable green screen utility, the visual effect is much better than that in The Flash, as the extreme wide shots of the coronation or the sacrificial pyre depict architectural grandeur without forgetting the details of men. In terms of bringing one of China's most famed mythology into life, the movie succeeds once more in modifying the intent of Daji the Fox Demon and adding the Army of Hostages; my personal favorites are Nezha's Fire Wheels and Red Sash, which are exactly what I pictured from the original text. Performance wise, Fei Xiang and Na Ran are doubtlessly the best castings for the devious tyrant and the animalistic temptress.

Onto the negatives, the movie seems to portray plot-driven characters instead of having the characters pilot the storylines. Especially approaching the final act, the deaths and arcs of numerous characters, including the protagonist, either appear scripted or simply do not convince me. This could be the result of extensive editing and condensation in regards to the length, which is always an issue for commercial films with adopted screenplay. The work is enough as entertainment, but if the trilogy wants to become classic, it still needs a push.

Can't wait to see the second.

A Haunting in Venice (2023)

Worst of the Trilogy

[5/10 · 17 September 2023]

A very bland movie. The buildup until the seance is appealingly uncanny: slanted shots, meticulous production design, and the gloomy coloring. But the rest of the film is just insipid, with little to no captivating, unexpected, or laughable moments. For 90 minutes you watch Poirot question six suspects in order, with one or two average jump scares sprinkled atop, and just like that he identifies the murderer, end of story. Also, with the movie primarily comprised of dialogues, all the characters are whispering for dramatic effects, so you kinda have to pay attention but there's really nothing going on, which makes it extremely tiring to keep up. Personally, I love Agatha Christie, but replicating her work verbatim in 2023 where we already had other whodunit films like Knives Out and Contratiempo is just an ignorant mistake.

Tina Fey's performance is terrible. Despite how bad the movie is, all the actors did their best to deliver lines and make it somewhat convincing. However, throughout the second act, I am repeatedly pulled out from the scene whenever Fey's in the frame: her eyes drift to eight directions in one blink, her tone is very contemporary American unlike others, and she's always smiling although there's a murder going on. She does not behave like an actual person from 1947, more like put in a costume and a fake set.

Kenneth, just let Agatha Christie be alright? We saw your effort and perseverance but it's not working out. Just do more Nolan movies or whatever.

Blue Beetle (2023)

"Down with the Imperialists!"

[6/10 · 21 August 2023]

A very traditional origin movie, in other words nothing original -- it's basically a big pot stew of the Shazam family, uncle Ben, Shuri, and Fast&Furious. The entire exposition is filled with scripted dialogues, stiff performances, and cliche development, to the point where the film kinda invites you to nap the first 30 minutes. However, I do appreciate Blue Beetle for respecting the 2 crucial components of any superhero movie: suit up and first flight, as both segments are visibly budgeted. Another thing worthy of compliment are the action sequences, which are well-choreographed, of considerable lengths, although all heavily CGIed. Everything else, including but not limiting to romance, backstories, comedy, antagonists, are just plainly average. Better luck next year DC, hopefully James Gunn will get things back on track soon.

Meg 2: The Trench (2023)

Big Fish Boiiii!

[4/10 · 5 August 2023]

I feel like the production team has a lot of good ideas, but are just not executed right. The script is actually decent if you look beyond the horrible editing, performance, pacing, production design, character motives... I take it back, the story is terrible.

Wu Jing is a good actor, but that's only true when he's speaking Chinese. Whenever he speaks English, he can't act, and he can't speak. His accent is so bad that I simply cannot take any scene seriously when English is in his mouth. Ironically, his lines in Chinese are actually very well-written (I'm Chinese), but the translation is so bland it sucks out all the joy of it. So when he's speaking Chinese and doing a great job, regular audience don't get it fully, and when he's speaking English, audience just fully don't get it.

Jason Statham also did quite a terrible job, but his badness is diluted but Wu Jing's accent. Always that tough guy look, tone, stance from Fast and Furious, as main character aura glows throughout the movie above his big bald stupid head. Also, not sure if it's because he's too short or the actress who plays Meiyin grew too fast, whenever they share a scene they look like they about to kiss each other. The little bow fixing, flirty glances, awkward hugs... I'm almost dug a hole all the way to wherever Fun Island is with my toe at the end of the film, and the process is not fun at all.

Bad film, so bad it makes me wanna watch the first one again. The fight between Meg and giant octopus was alright though.

Mission: Impossible - Dead Reckoning Part One (2023)

That's Why It's the Goat, the Goat!

[8/10 · 1 August 2023]

This film gives me Dream's five hunter grand finale vibe, if it makes sense: less deliberate trick shot, just perfection of basic skills. For instance, the car chase in Rome involves four rivaling forces, is just as thrilling as the one from Fast X, and has comedic elements like the handcuff and the Fiat to adjust the tempo --- a segment that I cannot find any critique about. To put it plainly, Dead Reckoning is simply flawless in almost all aspects, whether performance, character buildup, plot progression and intricacy, action sequences, production design, soundtrack, you name it. I watched it in theater at around midnight, and believe me when I say there was no one second when I felt sleepy or uninterested.

Few words for two characters. Unlike some superhero company having difficulty bringing out new, fleshy characters, MI7 presents us Grace, who starts out guileful, untrustworthy, repeatedly traitorous, yet somehow charismatic in terms of her quick-wittedness and thieving abilities. Unironically speaking, this movie, to some extent, is the origin story of Grace, from free falling into the mission, being embraced and salvaged, and ultimately accepting the choice. Though Ilsa's sacrifice is a shock, the addition of a talented young blood to the IMF is more pleasantly surprising. Another equally memorable character is Gabriel, whose menacing confidence and pervasive presence greatly contributes to the Entity's godly power. Messenger of an omnipotent existence, undefeated throughout, this villain truly is a grueling force especially given the trending controversies of artificial intelligence.

So much more could be said about the accomplished storyline, fancy gadgets, and countless references. Dead Reckoning is a must-see this summer along side Barbieheimer, and I cannot wait for its sequel.

Oppenheimer (I) (2023)

The Man. Who Moved. The Earth.

[8/10 · 26 July 2023]

The rain halts. Scent of dampened soil permeates, soon to be overwhelmed by that of sweat and lumber. Crimson are the signal lights, as if candles ignited for a sacred ritual, guiding all attention to the dark tower. Simple words are spoken, but at the volume of infinity; the music crescendos. Afar, soldiers lay low in postures of worshipping, solemnity in the eyes behind black goggles. The hatted man nods, the hand quivers, the number zeros. There is silence, and then, there is light.

Such is the sequence that glued me to my chair and infatuated me with Nolan's artistry. Despite getting crushed by Barbie in box office, Oppenheimer, in my opinion, is a work of sincerest dedication, and will be remembered as a biographical film of the highest standard.

I have no technical term that summarizes Nolan's directing genius, but the result speaks for itself: rhythmically engrossing narration, temporally convoluted storylines, and intriguingly concise buildup. At first, the exposition seems hasty and aimless to me, with too many dangling threads, yet Nolan manages to return to every of those planted seeds at the most unexpected but appropriate timing, sewing individual strings into the most ravishing of embroideries. Per usual, aestheticism, editing, and soundtrack are spot-on --- I do see area of improvement for the last one though, as there is no motivic melody that sticks, just ambient accompanies.

A lot more could be said about the movie's philosophy, but personally it all centers around the word "contradiction". Oppenheimer is a contradicted man whether in terms of romance, belief, or ethic. His tragedy is his humanhood: human to bare unparalleled intelligence, to bare collective ambitions, and to bare the entirety of guilt. Although imperfect, at least Oppenheimer realizes that all that has happened is above him or his colleagues, which makes him spiritually superior to Strauss, who is limited to mere fame and ego.

Phenomenal film, but definitely not a commercial one. I hope Oscar gives Nolan and Murphy some recognition this time.