Mockingbird In A Blizzard

By Nadia Ranaputri

Image source: IMDB

Director: Rian Johnson
Cast: Mark Hamill, Daisy Ridley, John Boyega, Oscar Isaac, Carrie Fisher, Adam Driver, Kelly Marie Tran, Laura Dern, Andy Serkis, Domhnall Gleeson, Gwendoline Christie.

Star Wars: The Force Awakens had some heavy lifting to do when starting the franchise anew, creating new characters from whilst establishing development for the veteran trio (Hamill, Fisher, and Ford) from scratch. It did its job in introducing and re-introducing the story and characters, both the new and the old. From there, it's The Last Jedi's job to build the characters even further from the foundation that The Force Awakens had built. And it did, so spectacularly.

Star Wars: The Last Jedi picks up right after The Force Awakens, where former scavenger-turned-Jedi-trainee Rey travels to Ahch-To to seek help from Luke Skywalker, a retired Jedi master who has been living in isolation for many years. Meanwhile, the First Order is in pursuit of the Resistance, leaving General Leia and her band of Resistance with limited options for their survival.

Ridley's performance here is marvelous, perhaps an even more spectacular performance here than in Episode VII, as Rey is stuck in a conflict between what to believe and what to not believe. She's seen both the dark and the light, but here, she's faced with a greyer area in which she can't differentiate which is the truth and which is the lie. It's an interesting development, where a character so innocent and warm-hearted is thrown into a pit of emotional conflict. The returning Mark Hamill provides a more dry-humored, yet nuanced performance in Luke Skywalker, and elements of deep emotional crisis that was subtly touched on in Return of the Jedi, and is explored more here. There's also a sense of conflict in Kylo Ren, one of the most interesting and exciting elements of the film, as he tries to push himself further to the Dark side whilst the Light is trying to pull him back fervently, and Adam Driver nails that conflicted side in Kylo.

Image source: IMDB

This is probably the most action heavy Star Wars film, containing more than one big action sequences that become vital to the plot. It's got more bite during the finale, as if it skips the artillery routine of fire and no questions asked and goes straight to the bombs, each action sequence dropping the biggest bombs they have. Just when you think that the first and second acts were tormentingly slow (I had no problem with this, however), the third act eventually makes it up by fully loaded action sequences. Yes, they are brilliant as hell. The fluidity of each action sequence is like a symphony, a work of art on its own. It's immensely satisfying and so Star Wars. It is also the most duel-battle-heavy action since Revenge of the Sith.

The franchise's new faces, introduced in The Force Awakens, are instantly thrown into various arcs. As soon as it begins, it would have expected you to have caught up with the events of Episode VII. The Last Jedi chimes in at around 2 hours and a half, making it the longest Star Wars film to date. It contains three main arcs: Rey and Luke on Ahch-To, Finn and Rose on Canto Bight, and Poe on the Resistance ship. It's a bit like Dunkirk, if you put that into perspective, given how these arcs had their own pacing, except unlike Dunkirk that explained the span of each arc (like how The Mole arc was explained to have the span of a week while the sea in a day and the air in an hour); The Last Jedi doesn't quite give much specifics on how many days or hours each arc took. Each of these arcs have distinct approaches from one another, with some having a much lighter tone than the others.

However, you'd think that in 2 and a half hours, they'd cover the story ground fair and wide. It does for the most part, particularly when giving more depth to these characters that are tested on different levels and learning from some of their failures to overcome their obstacles. Unfortunately, some developments on one arc is sacrificed for another, which is the main problem that I had with The Last Jedi: its inability to fully grasp the most interesting arc in favor of a weaker arc that didn't really need to be there in the first place. (Mild spoiler: the weak arc that I was talking about here was the arc with Finn and Rose on Canto Bight).

Image source: IMDB

It is unexpectedly, the most humorous Star Wars film. Star Wars' humor in the past few films had been fairly limited to a few quips, and most of them came from Han Solo. Here in The Last Jedi, the fresh faces of the franchise get their fair share of humorous moments, too, particularly (and unexpectedly) from hotshot pilot Poe Dameron (there's a very funny scene where he continuously refers to General Hux as General Hugs). There's also some dry humor here in Mark Hamill's Luke Skywalker, which was understandable, given that he's now an old hermit living in isolation. Carrie Fisher (Rest in Piece, Princess) has her own feisty quips as well, with one scene having her scold at Isaac's Poe ("Get your head out of your cockpit," she snaps out to him), which was a delight to see.

The passing of the torch from the JJ Abrams directed Episode VII to the Rian Johnson directed Episode VIII had never felt so distinct from one another, but all the more welcome. The Last Jedi is one of Star Wars' most visually gorgeous films since Rogue One, pouring its poetic soul into incredible shots that make the film ever the more beautiful to witness. Beyond that, it offers the best sense of excitement and wonder, even more so than The Force Awakens. The strongest element that kept The Last Jedi from stumbling is that they really went all out for it. Plot twists, space battles, and levels of crisis are all handled in a completely fresh direction from director Rian Johnson. It clearly shows that he wasn't holding back when it comes to adding new elements that we never thought we'd see in a Star Wars film, one of them being how it uses the Force.

The Last Jedi plays with all sorts of different elements, and if some had complained about how The Force Awakens was too reliant on nostalgia and playing it safe, The Last Jedi retaliates from this and creates an entirely new element that in the future, bridges between the escalating challenge that Episode IX will have to deliver in order to create that same intriguing otherworldly feel of Episode VIII, and hopeful expectations from fans on what comes next.

Stars: 4/5

Trailer

By Nadia Ranaputri

Image source: IMDB

Director: Kenneth Branagh
Cast: Kenneth Branagh, Michelle Pfeiffer, Daisy Ridley, Josh Gad, Willem Dafoe, Judi Dench, Penélope Cruz, Johnny Depp, Derek Jacobi, Leslie Odom Jr.

A train ride, eccentric characters, and a murder mystery. The latest adaption of Agatha Christie's novel unravels its classic mystery to newer audiences, and it is one heck of a train ride.

Murder on the Orient Express is set on a lavish train ride with passengers set for different destinations and different purposes for their travels. What starts out as a lavish train ride turns to a crime scene when one of the passengers had been murdered. As a result, Detective Hercule Poirot, probably the world's greatest detective in the world, is assigned to solve the case and interrogate all the passengers aboard to find the unknown killer.

The cast has some part to play in lifting what could have been a completely dull trip on the Orient Express. Kenneth Branagh acts as both the lead and the director, and he's done some superb magic here. As we're introduced to his Hercule Poirot, he's seen measuring two eggs to see if they are both equally the same size. Branagh's Hercule Poirot is an eccentric detective who longs for a holiday, begs for a holiday even; from his cases, yet could never find himself to get it. He's all in for the cases, but unlike Sir Arthur Conan Doyle's Sherlock Holmes, Poirot actually longs to take a break. Branagh's performance is a particularly great one, showing that he's able to capture Poirot's peculiarity and struggle in trying to solve a difficult murder case.

Image source: Entertainment Weekly

The characters range from the most calm to the most eccentric one of all. Every so often you'd see Judi Dench sulking and ordering her servant to do things for her, but it's not everyday that you will see Kenneth Branagh sleeping with a mustache mask or constantly laugh at a Charles Dickens novel, but Murder on the Orient Express brings out the eccentricity in everyone, or rather the absurdity of some. There's pinches of quirkiness in Branagh's Poirot, and there are some in how Willem Dafoe's character pronounces Turin. You can say that it is in some way, a very old-fashioned type of quirkiness, one you'd find in a Sherlock Holmes story, or in this case, an Agatha Christie story, fitting for a story set in that period. But it's the performances from Gad, Ridley, and Pfeiffer, that become the standout performers of the film.

The storytelling is definitely not a very straightforward one, though some twists can be seen from a mile away. It has Agatha Christie's stamp on it, if you were ever familiar in her story, but put it this way: it's quite similar to that of Sir Arthur Conan Doyle's Sherlock Holmes, just with more flair and style. It's a gorgeous film filled with great production that could garner an Oscar nomination for Production Design. The Orient Express is lavishly made, and shown as luxurious yet cozy. The Orient Express could even be a character of its own. It's a big umbrella to an extension of characters. When the camera glides from the outside of the train with Branagh's Poirot being pursued by Pfeiffer's Hubbard as he enters the train, it feels very classy and an effective introduction to the rest of the characters.

There is something thrilling, yet a little absurd in how the story is told, but it's a good kind of absurd. Period-style mysteries aren't always appreciated by how absurd or over stylistic they could get, but for some who do appreciate the genre, it is actually fun to play along. That's what Murder on the Orient Express did for me. It's part campy and partly absurd, yet it's all part of the glamorous experience of the story, and boisterous pieces to play with. Branagh clearly has taken cues from Christie with additional touches of his own. The thing about Christie's stories is that they can be considered outdated, convoluted even; and bringing it to a newer audience might not garner the same reaction as it would with devoted period-mystery fans or those familiar with Agatha Christie's stories. As absurd or as convoluted as they can get, it is still thrillingly good. Even the cinematography is luscious, such can be seen from scenes like the high angle shot where Poirot enters from one cabin to another, only to discover that there was a murder.

Image source: IMDB

There's a downside to this, however. As stylish as it is on both visuals and story, it does get rather dull at times, and even to the point where it's full of itself. The pacing get can get rather fast, too; hence why it isn't much of a no-brainer. It's just that it expects the audience to have caught up with what happened as it quickly moves to another plot point. It clearly wants its audience to be fully on board with everything that's going on, and to participate in some way to solve the case. But in some parts of its quick pacing, some of its most interesting arcs are quickly dismissed for another less interesting arc (one of those being an interrogation scene with spectacular acting from Josh Gad).

Murder on the Orient Express is one of those films where you could either get seeped in to the mystery and the plot twists, or be bored out of your mind. It has its ups and downs, and it's not entirely great, but it is admittedly a fun murder mystery that's showered with style and flair that you'd find in classic murder mysteries. For anyone familiar with Agatha Christie's novel or the previous adaptations, a couple of its plot twists shouldn't come as a surprise, as it is essentially the same story, but slightly tinkered with and enhanced for newer audiences who wish to know the world of Agatha Christie. It's boisterous for those who have taken a liking of the genre and the time period that it is set in, but possibly dull for those who aren't

Star: 3.5/5

Trailer

By Nadia Ranaputri

Image source: Movie Pilot

Director: Lee Unkrich
Cast: Anthony Gonzalez, Gael García Bernal, Benjamin Bratt, Alanna Ubach, Renée Victor, Ana Ofelia Murguía, Edward James Olmos.

The funny thing about Coco is that I have never seen the trailer for it prior to seeing the film until a week before it was released. I did look forward to it, but I never saw more than the poster and the plot. However, it wasn't until a few weeks ago that I saw the trailer in the theatre during Justice League; and I was utterly sold.

Coco tells the story of aspiring musician Miguel, who has to hide his passion for music from his strictly-no-music-allowed family. During the celebration of Dia de Muertos aka the Day of the Dead, Miguel finds himself transported to the land of the dead himself, meeting his fellow ancestors along the way, as well as a spiralling journey with a trickster through the land of the dead.

Image source: Variety

Coco is like a colorful spiralling slide. It's all kinds of fun and all kinds of colorful. Opening the film on the streets of Santa Cecilia, Coco wastes no time in commencing its visual introduction that in a way, is similar to how Moana opens. We're introduced to a brief introduction to Miguel's ancestors before it leads us to present day with Miguel and his eccentric music-hating family who happen to be one of many generations to continue the legacy of their ancestor's shoemaking business. There's a great little sequence where Miguel's grandmother scolds him and anyone who plays music near them. "We're probably the only family in Mexico that hates music," Miguel explains. We're eventually told that Miguel is nothing like his family. He does not want to continue the family's legacy of shoemaking as he plays his guitar in secret to the tunes of his musician idol, Ernesto de la Cruz.

When you think about it, Coco has quite a simple straightforward plot, but what elevates that plot are the moments and the journey that Miguel goes through. It especially hits the high note when it comes to approaching the subject of Death and what comes after. Death and the afterlife can be a daunting thought, especially when it becomes an important aspect for a film. Coco takes that aspect of death that some would find fearful and turns it into something whimsical. The land of the dead is as colorful as the vast land in Inside Out, but brighter and more festive. It's basically a canvas full of skeletons and spirit guides that roam around streaks of bright neon paint and colorful lights.

Image source: Deadline

Coco is filled with extraordinary morals, some great humor, and all the magic and wonder you'd expect from a Pixar film. What makes this particularly special is the aspect of death itself, and how it correlates with family. Coco is rich in digging into the bonds of a family and how important they are in your journey, whether it is in life or death. Not only is it presented as magical and at times, somewhat comical; it is also movingly poetic, traversing itself in a river of a blissful ballad. When Miguel starts to unravel his ancestry, it becomes a coming-of-age journey of self discovery that's both spiritual and poignant.

Coco captures the essence of the Day of the Dead celebration and why it's important to honor our ancestors, which in their way; means remembering them and cherishing them by offerings of what they loved in life, placing them in one of the film's most important plot device: the ofrenda. The Day of the Dead becomes an accessible feature for not only Mexicans themselves, but also for everyone else. Coco presents this very special day in such a colorful way that it shows us what makes this celebration so uniquely special in Mexican tradition rather than a dark reminder or something that's only reserved for those who celebrate it. It is without a doubt, another whimsically heartfelt Pixar entry that can be just as cherished by the people who celebrate it as it is by others who do not.

Stars: 4.2/5

Trailer

By Nadia Ranaputri

Image source: IMDB

Director: Zack Snyder
Cast: Ben Affleck, Henry Cavill, Gal Gadot, Jason Momoa, Ezra Miller, Ray Fisher, Amy Adams, Diane Lane, Ciarán Hinds, Connie Nielsen.

After introducing DC's holy trinity that is Superman, Batman, and Wonder Woman, DC is bringing out the big guns for its latest superhero fest: the Justice League. Guess what? It's quite the ride.

Following the events of Batman v Superman, the world mourns their fallen hero Superman, who, by the end of Batman v Superman, sacrificed himself to defeat Doomsday. Bruce, who promised Superman that he would not fail him in death, unites a team of powered individuals with the help of Diana Prince for the upcoming invasion, that would later be known as the Justice League.

Justice league has to carry the weight of introducing new characters such as Aquaman, Cyborg, and The Flash, and boy, they delivered. It's in no way, the glitzy here's-everything-you-need-to-know-about-them introduction that Suicide Squad attempted, but terrifically failed at. In fact, the drama between them and the people in their lives, as well as their history added so much more to what could have been an oversimplified story. It's also elevated by the performances of Momoa, Miller, and Fisher respectively. The added lightheartedness to the characters was certainly a well-needed aspect, especially when you have a character like Barry Allen, whose portrayed with an equally needed vibrant charm by Ezra Miller.

Image source: IMDB

Justice League, like Wonder Woman, finally realizes the most prominent thing they should have focused on a long time ago: the story they're telling now. It doesn't lay its future plans straight to the table as a quick reminder that it's a thing that they're actually doing like Batman v Superman. Instead, it lays what it has done, not what they're currently doing or what they're about to do. If you were to compare the DCEU with how a meal is brought to the table, then Batman v Superman is the appetizing main course that's already a complete meal on its own, but because the cook wants to impress his guests, he cooks up a lot more than he could chew, leading to the guests feeling full and unable to take more food. Suicide Squad is the loaded fizzy dessert that explodes and covers the entire table with its uneven bright colors. No matter how colorful the table gets, it's still a downright mess. Wonder Woman, followed by Justice League, is the complete meal on the table that is served with just the right portion for the guests to feel satisfied.

Justice League has gone through some troubling production over the course of filming, and while it went through quite a difficult process, it's obvious that despite its flaws, there's still a labor of love that goes into crafting these characters, particularly the team dynamic. Yes, it's a little slow in the beginning. After all, there was no team yet. What makes the team's dynamic even more interesting is that it was almost similar to the Avengers, how the team had grown into a full team after the belated members had seen the threat directly, and were affected by it. Justice League follows a similar format, as Steppenwolf's appearance that affects each of the heroes becomes a driving force for them to become a team. However, there is a downside to this dynamic. Even when Steppenwolf's appearance becomes this driving force for the team, it doesn't feel as earned as it was in The Avengers. This was because of how unstable DC's universe has been. Other than Wonder Woman and Superman, other heroes haven't gotten the chance to establish themselves, particularly Batman. So when they become a team, it feels too rushed to the point where it doesn't feel as genuine as they'd probably hoped it would be.

Image source: IMDB

Justice League still has aspects that need improving, especially with how it handles some of its many arcs. It still suffers the same fate as Batman v Superman: too many things happening at once. To hammer this right home, it somehow manages to be generic both in terms of the action and plot (you have to hand it to BvS for having the upper hand on avoiding a generic plot). However, Justice League handles its pacing far more well in two hours than BvS had in their over two hour runtime. The action on the other hand, was something else. With the exception of The Flash (whose effects and action sequences are exceptional), there's not much else that stands out. It's all a huge CGI fest that lacks any real punch or even a sense of urgency, as all you're seeing on screen is an obvious CGI overload.

In the midst of all of this, it's the villain that becomes the film's biggest downfall. The villain was nothing but a cardboard cutout, thin and empty. Steppenwolf's presence is neither frightening nor memorable. He's right up there with the other "I just want to destroy the earth for no particular-reason other than I hate humans" villains like X-Men: Apocalypse's En Sabah Nur and Ultron from the second Avengers. The CGI doesn't do any favor either, as Steppenwolf ends up like a walking game animation from Injustice 2 between the human characters. Detailed, but hardly able to blend in with its live-action aspect.

But by the end of the day, I had a good time with Justice League, despite it not being as memorable as I hoped it would be, now that I think about it. It was a few steps up for the DCEU, especially in terms of how it handled most of its pacing. My friend who saw the film with me, went into this film with low expectations, having been disappointed by DCEU's previous installments. He came out of the film astounded by how good it was. My reaction greatly differed from his, but it was nice to see someone really enjoy it. In some ways, the DCEU has learned from some of its downfalls. I believe that the DCEU has so much potential, it's just that they haven't fully grasped it. There's a lot to be enjoyed in Justice League, especially if you're a sucker for DC Easter Eggs. While Justice League isn't exactly DCEU's best, there's still hope for the DCEU to find its footing once again.

Stars: 2.9/5

Trailer

By Nadia Ranaputri

Image source: IMDB

Director: Taika Waititi
Cast: Chris Hemsworth, Tom Hiddleston, Cate Blanchett, Mark Ruffalo, Tessa Thompson, Idris Elba, Jeff Goldblum, Karl Urban.

In what might be Marvel's biggest gamble since Guardians of the Galaxy, Thor: Ragnarok takes the biggest risk that in the process, succeeds a little more brilliantly than Marvel's previous entry, Guardians of the Galaxy Vol. 2.

Ragnarok opens with a humorous monologue from Thor that eventually leads him to have poke around with the devil Surtur, and a great opening fight set to Led Zeppelin's Immigrant Song. It is then with the arrival of Hela that leads to Thor's banishment and leaves him stranded in the planet of Sakaar. With the help of his companions, old and new (the incredible Hulk most definitely included) Thor sets out on a mission to prevent Hela from taking over Asgard and cause Ragnarok, the end of everything.

Ragnarok is possibly a rather big gamble for Marvel, but one of the biggest payoffs is that they let Chris Hemsworth's Thor be the wise-cracker, the sass-machine, and the genuinely humorous hero. Waititi's direction and script is one of the reasons why a wise-cracking God of Thunder (mistakenly dubbed Lord of Thunder at one point during the film) works so well, but it's also Hemsworth's genuine performance that adds so much more to what could have been a forced performance. His fellow companions, the return of the always cunning Loki, the innocent Bruce Banner, and the fierce Valkyrie are all great additions that complete the team of misfits that in a way, are the alternate Guardians of the Galaxy.

Image source: Imgur

This of course, is very much a Marvel movie, but it is also, a Taika Waititi film. If you're familiar with Waititi's films, then it wouldn't be much of a shock to see how much of his familiar absurdity is placed in Thor: Ragnarok. Taika's films brims with brilliant humor that feels genuine and have become something that's of his own. No one else could do Waititi's humor better than Waititi himself, and a lot of that is seen here in Ragnarok. You could say it's a Taika Waititi film dressed in a superhero garb. But that's what made it stand out. Marvel took a chance with Waititi, just as much as they took a chance with James Gunn for Guardians.

Waititi's small yet memorable presence as Korg also adds to the absurd dynamic of the humor, adding great humor that's elevated with the Kiwi accent that makes it so much funnier than it would in a standard American accent. It's fitting to see how Korg could be a reminiscent of Waititi's previous roles as Alamein in Boy, given how his constant relaxed way of speaking could remind those of how Alamein tells his misadventures to his son in Boy, or some parts, his Priest speech in Hunt for the Wilderpeople.

Thor: Ragnarok is loaded with eccentricities, and it's not a sin for anyone to relish in its eccentricities. Taika brings in his oddball magic into the world of the God of Thunder with joyful proportions. The previous two films went for the typical Marvel humor, and a grounded story, but Ragnarok is the firecracker that should have been lit up a long time ago. When it goes into an all-out colorful oddball space quest, Ragnarok doesn't just dip its hand, it submerges its hand in a bowl of mixed candy melts. And boy, does it fit with its equally bright palette. Ragnarok is a deliciously colorful candy bowl that bursts with color and flavor in every bite. It's Marvel's very own neon Disneyland. Every brush from its palette is a trippy wonder that is similar to that of Doctor Stange's, but slightly trippier. It's the eccentric space romp that still strays much further from the tone of the Guardians, as it is its own comedic space romp with its own eccentric aspects. Ragnarok doesn't need to go much into specifics, if it's weird, let it be.

Image source: IMDB

The film isn't flawless. It has its faults, despite being covered up in its colorfully lucid palette. As soon as the opening fight sequence ends, the problem begins. The first ten minutes or so of the film that continues after the opening sequence with Surtur could be a little fast-paced, with characters suddenly figuring out what the other had done with no clear explanation other than "I just know it", a sudden arc to a certain character that seemingly came out of nowhere, and the appearance of another familiar face that, while being a very fun sequence; went a little too fast to the point where you question why it's even there. But that's only during the beginning. It does continue to go on its merry way right after. Another lies within the villain itself. Does Hela solve the Marvel villain problem? Unfortunately, no. While Cate Blanchett relishes her chance in playing the Goddess of Death (and it clearly shows in her performance), Hela's presence becomes less threatening the more we see her (which we really don't), that even then when the stuff in Sakaar ends and transitions to her in Asgard, it becomes an entirely different film, and it's easy to forget that she's even there.

Yet in the end, Thor: Ragnarok pays off, big time. Since it's coming from a director who has his own unique brand of comedic tone, Ragnarok's gamble with tackling humor becomes one of its greatest aspects. There's a good amount of substance and heart, too, that grounds its eccentricities, but not entirely as to screech it to a halt. Great chemistry is had between Thor, Loki, and Banner that become the cherry on top and adds more to their dynamic as work partners and as friends (or frenemies, in Loki's case).

Whatever Thor: Ragnarok was going for, it works, in nearly every single possible way, whether it's in the action, chemistry, and the overall tone. As soon as that opening fight sequence rages to the Immigrant Song, the tone is set: it's going to be one hell of a ride. Thor: Ragnarok is the most fun I've had and in the best possible way, the widest smile I've made while watching a film in a long time.

Stars: 4.3/5

Trailer

By Nadia Ranaputri


Image source: IMDB

Director: Martin Campbell
Cast: Jackie Chan, Pierce Brosnan, Michael McElhatton, Liu Tao, Charlie Murphy, Katie Leung.

Having a similar kind of revenge story as this year's American Assassin, The Foreigner takes what American Assassin lacks and elevates it a little more than what the previous film did, once you overlook a couple of its flaws.

Based on Stephen Leather's novel The Chinaman, The Foreigner is a story about Quan, a former special forces operative who loses his daughter in a terrorist attack. Desperate to find the group behind the attack, and with no help from government officials, Quan takes it upon himself to seek revenge for the death of his daughter.

Jackie Chan, a known master of stunts in the acting world, lays his comedic chops aside for a more serious role that no doubt, takes him on another level. When Chan's Quan loses his daughter, his sadness and desperation becomes a wicked tour de force that easily seeps through the screen. It's a hard-hitting moment when Quan is overcome with grief from his daughter's death, and becomes a driving force for Quan to eventually take revenge upon the people behind the attack. Chan manages to hold his parts splendidly, albeit some slips to when his Quan returns to his former assassin-like demeanor that on some parts, aren't as engaging as the film goes on.

Pierce Brosnan as politician Hennessy, however you want to put it, is neither a bad guy or a good guy. When Quan confronts him to the point where his assassin-self awakens in order to find answers, Brosnan's Hennessy becomes distressed with having to deal with a father who's revealed to be a former special force member, and even his constant pleas for Quan to drop the subject makes a blurred line between which of his actions are for the greater good, and which one is the complete opposite. Brosnan's performance is a fine one, but is watered down by the script, the arc that his character has to follow throughout the film.

Image source: IMDB

The film itself however, is a different kind of story. While Chan's performance elevates what could have been an utter mess of a convoluted film, the film is pretty much guilty of relying on a couple of action-film tropes: a staggering mess of intervention from local authorities, government, and a plot twist involving someone from the side of the law that anyone could see from a mile away, you name it. What's more, whilst The Foreigner might be seen as Quan's story, it is also Brosnan's. There's a cat and mouse chase that goes around between Quan and Brosnan's Hennessy, which the film really should have left the story at that; and a whole other array of complications. Not to say that it's a complete mess, but it's too focused on making its plot as complicated as possible, when really, it should have settled for a simpler execution. What we're left with is a tangled mess of interweaving plot points that either make no sense or serve no point for the story.

What makes up for the film's lack in its story, is eventually the action that brings the most out of the film. Unlike Blade Runner 2049, marketed as a sci-fi action flick, but is eventually something deeper with minimal action; The Foreigner packs in plenty of punches, and I'd be lying if I said it wasn't one of the film's best aspects, because it is, especially when it's Jackie Chan that's doing the action. Chan is known for doing his own stunts and is at his best once he fights. He's up for the job and he does it superbly, proving his worth once again with an equally strong performance. The action is brilliantly choreographed, and while it doesn't break barriers, it's still something to behold. Moreover, it strays from one of the worst tropes in an action film: shaky cam, if done the wrong way. While The Foreigner utilizes a couple of handheld shots, it does at times use shaky cam the same way the Bourne series does: shaky, but doesn't intervene much with the action that ensues; except for how some of its scenes were transitioned.

Image source: JoBlo.com

The Foreigner is no Resident Evil: The Final Chapter. For the most part, it doesn't overuse its action film tropes the way the last Resident Evil installment did with its horror tropes, despite seemingly steering towards that particular direction and even falling into it at times. The Foreigner has its share of fun and sense of engagement in its action to make up for the film's faltering execution in its story. It's watchable, to say the least, once you overlook the story and settle for its action-filled ride and great performances.

Stars: 3/5

Trailer

By Nadia Ranaputri

Image source: Manchester Evening News

Director: Mark Gill
Cast: Jack Lowden, Jessica Brown Findlay, Laurie Kynaston, Adam Lawrence, Jodie Comer, Katherine Pearce, Simone Kirby.

"How's the world gonna remember you?" A character asks in the film. If you've followed Morrissey's career, the answer is clear, and the world now certainly remembers who he is by it. Based on the true story of Smiths front-runner Steven Morrissey, England is Mine sets its sights on a particular era of Morrissey's life before he became the front-runner of the indie band that he is known for during the 1980s as well as today.

England is Mine tells the early life of Smiths front-runner Steven Morrissey as he navigates his way around life, forming new bonds whilst breaking old ones, and his struggle to make it to the spotlight as the singer that the world knows now.

Lowden, a promising talent, has been since 2016 crime drama Denial as well as this year's war epic Dunkirk; plays the quite yet passionate singer with some delightful intruigue. Unlike his friendlier and more open roles, this one is like a fizzle in a fire. It's charmingly quite, but in an endearing way. Is he a socially awkward and at times, a mopey jerk? Yes, and the film has moments where his sulky attitude causes his only friend to abandon him, or when he cuts his friend off as she tries to console him by stating that her "Life is too short," saying is a cliché; but listens to artist Linder's "Be yourself, everyone else is taken," advice as if it wasn't the same thing. But it's where his buried hatred for people becomes his way of artistic expression that makes him interesting. There's something quite poetic in the way he remarks about life, particularly when he states of life as, "the factory for father, and the kitchen for mother". Through the course of the film, Morrissey becomes bored of his ordinary life to the point where he's frustrated as to why no one ever takes notice of him and why they see him as the odd one out.

Think of Morrissey as Danny Boyle's depiction of Steve Jobs: brilliant, yet filled with ego. What creates a distinction between this depiction of Morrissey with Boyle's Steve Jobs is that Morrissey is shown as an introvert, mumbling about how life isn't as fair as he wanted and how tedious everyone is; whilst Jobs wastes no time telling people that what they're doing is wrong straight to their face. It's a rather odd comparison, but what makes them one and the same are that despite their seemingly egotistical ways, they have the ability to create something that the world was soon able to see.


Image source: Twitter

Jessica Brown Findlay as Steven's enigmatic yet open companion Linder Sterling steps alongside our lead and graces the screen, eventually threatening to grab the spotlight from our lead. Linder is one of the few people Steven opens up to, and is comfortable with. Though she is one of the few that Steven considers as a friend, she is the opposite of Steven. She is more driven, more open, and as the biggest threat to our lead: more interesting.

Following a visual palette that uses color and cinematography the way J.C Chandor's A Most Violent Year did, England is Mine plays with the era that the story is set in, with its visual palette being bright, yet muted. The cinematography is also stunning, from luscious wide shots of a gloomy 1970s Britain to a medium frame depicting Steven in his own bedroom, either bored out of his mind or creating a set of his own written works on a typewriter (or a personal favorite of mine: one where Morrissey stands outside a door, his blurred figure visible from the inside of the house). It's a wonderful piece of visual feast for the eyes, as its shots are no doubt aesthetically pleasing.

Essentially, England is Mine feels more like a character study than it is a story. England is Mine becomes a ravenous grip that pulls us in to get to know their enigmatic line of characters, particularly Steven. It's an interesting look into the people that Steven meets in his life, and a more intriguing look into Steven himself. It's as if Stephen King's Rita Hayworth and the Shawshank Redemption was about Steven Morrissey. Morrissey, when it comes to the way the film portrays him, is poetic and admittedly brilliant, but an arrogant introvert whose moments of arrogance and social awkwardness creates a fine line between eliciting a laugh and an eye-roll from viewers. He has subtle humor, and one he probably would never expect to elicit a laugh from anyone who listens, but it is enough to cause a chuckle, with one scene having someone he seems to despise ask him what he wants to eat, to which he responds, "I don't care, as long as it's poisonous."

Image source: RTE

Despite that, when you consider the story and the way it falls together, it is sadly, rather bland. Since it is an unauthorized biopic of the Smiths front-runner, it's unclear whether the story depicted is what actually happened to the real Morrissey (though biopics tend to divert themselves from the reality of the story by making their own version), but its way of telling his life story, especially as it chooses to focus on Morrissey's pre-Smiths era; is not as intriguing on screen as it probably was on paper. As an insight on the life of a man who would become the front-runner of the Smiths, there's not much to grab a hold of in terms of story, especially during the first and second act. Not to mention some of the film's rapid pacing, switching from one scene to another with no clear resolution for some of its scenes.

It does however, pick up when Steven befriends Linder, before eventually falling flat again for the remainder of the film. It's not until the third act of the film where Morrissey spirals into a black hole of depression and utter misery that is different story altogether, and one where the film finally picks itself up again. It is also where Lowden's performance becomes the elevating element of the film.

I'm not familiar with Morrissey or the Smiths myself, but the film depicts him in a captivating way, though the real Morrissey might not be too fond of it, especially when he never approved of the biopic. England is Mine can be dull in story as well as a glum affair to the point where its state of despair passes on to the viewers themselves, but it's uplifting at times, mixing its gloomy palette with a dash of humor that for the most part, lands gracefully. If it weren't for its witty dialogue and enigmatic characters, England is Mine would have fallen completely flat on the floor. Fortunately, it doesn't, and that's the best aspect that the film manages to achieve.

Star: 3/5

Trailer

England is Mine premiered during the UK/ID Festival 2017 as the opening film of the festival.

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