The Cloverfield Paradox (dir. Julius Onah, 2018) – During the testing of a device that may solve the Earth’s energy crisis, a space crew ends up facing a dark alternate reality.
While a decent work of entertainment, The Cloverfield Paradox is as much a sequel to Cloverfield as Toy Story is the second parter of Puppet Master. (It isn’t.)
By now, the secret is out. The Cloverfield Paradox has turned out less of a sequel to the monster movie than an ambitious concept riding on the waves of it. It would not be wrong to call this a marketing scam. But on the bright side, the anthology has lent a boost to scripts that would have usually gone under the radar.
After all, the trick had worked once. Two years ago, 10 Cloverfield Lane sprung a pleasant surprise, where John Goodman’s conspiracy theorist abducts a young woman and claims the role of her protector. His ambiguous motives tease his insanity, but also a possible catastrophe beyond the bunker. Could the disaster be connected to the titular monster? The question rouses anticipation for its arrival, which makes the final minutes particularly gratifying.
Similar loose ties should have been expected of The Cloverfield Paradox. If only the Netflix production had not been touted as the answer to how the monsters first arrived on Earth. Setting viewers up for disappointment from the get-go, The Cloverfield Paradox is off to a shaky start.
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Good Time (dir. Benny Safdie & Josh Safdie, 2017) – Constantine Nikas spends a night attempting to break his brother out of prison after a botched robbery.
Promising less than its namesake, Good Time presents an unflinching portrait of crime, propelled by misguided familial love.
In hopes for a better future, Connie Nikas (Robert Pattinson) ropes his mentally handicapped brother Nick (Ben Safdie) into his precarious life of crime. But a botched bank heist lands Nick in prison alone and leaves him unable to cope behind bars, where only the harshest of convicts escape unscathed.
The pure always act from love, the damned always act from love. Iggy Pop’s haunting track captures the complex dynamics of the Nikas brothers in Good Time. There is much to admire about how layered characters are despite minimal exposition. For instance, while it is never clear what first led Connie down the transgressive path, his criminal inclination seems borne of a misguided belief that the means may justify the end.
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Time has come for us to look back at 2017’s fair share of favourites and letdowns in film. As always, due to late releases, I am missing out on movies that I might have loved, including Martin McDonagh’s Three Billboards Outside Ebbing Missouri, Yorgos Lanthimos’ The Killing of a Sacred Deer, and Lynne Ramsay’s You Were Never Really Here.
Sadly, I have also had less time for trips to the cinema. Even so, Netflix has produced plenty of stunning works, some surpassing even the most anticipated blockbusters. Scouring through the films I have seen both online and off, here is a list of my personal picks.
10. The Meyerowitz Stories (New and Selected) (dir. Noah Baumbach)
With his works from the realist (The Squid and the Whale) to the expressly whimsical (The Life Aquatic with Steve Zissou), Noah Baumbach has earned a solid reputation as a versatile and brilliantly empathic screenwriter. The Meyerowitz Stories returns to his familiar world of family dysfunction, where estranged siblings find commonality in their individual search for human connection.
The outstanding work sees Ben Stiller and Adam Sandler reunite as brothers at loggerheads, alongside Elizabeth Marvel as their wallflower-sister, and Dustin Hoffman as the egotistic patriarch of the family. Subtle individual quirks reveal their identifiable histories, of which the cast plays to perfection. Catharsis ensues.
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Sausage Party (dir. Greg Tiernan & Conrad Vernon, 2016) – Some food products are about to learn the truth about their purpose.
From the guys behind This is the End comes a predictably raunchy and often objectionable comedy, amusing for what it is.
After eight years in gestation, the passion project of Seth Rogen and Evan Goldberg is finally born. Enter Pixar’s defective cousin Sausage Party, which will leave unsuspecting audiences audibly aghast and possibly outraged.
Somehow managing to land a willing investor, this sausage-starring rated animation turns out as raunchy and juvenile as what you would expect from Apatow’s Frat Pack. For the lot who knew what they were getting into, this kooky project works better than it should.
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Lucid Dream (dir. Kim Joon-sung, 2017) – After the abduction of his son, Dae-ho attempts lucid dreaming, an experimental psychiatric therapy that enables patients to access lost memories.
Better enjoyed as a dramatic thriller than science fiction, Lucid Dream owes more to its excellent cast than the jerry-built plotting.
When an elusive memory is all you have to find your missing child, what wouldn’t you give to relive it for a glimpse of a clue? That is what drives Dae-ho (Soo Go) to revisit the day of his son’s abduction over and over again. Assisted by neurologist So-hyun (Kang Hye-jeong), he repeatedly reconstructs the scene in hopes of uncovering forgotten details, even if the experimental therapy comes at a cost.
Entering the dream world is nothing new but a rehashed concept, which The Cell and Inception have put forth on a grander scale. Lucid Dream sets itself up for inevitable comparisons to its spiritual predecessors, but makes a lesser mark in terms of stunning visuals or layered storytelling.
Continue reading “Review: Lucid Dream / Lusideu deulim (2017)”