Mockingbird In A Blizzard
By Nadia Ranaputri
Image source: starwars.com, Entertainment Weekly

 Director: Ron Howard
Cast: Alden Ehrenreich, Woody Harrelson, Emilia Clarke, Donald Glover, Paul Bettany, Thandie Newton, Phoebe Waller-Bridge, Joonas Suotamo.

 When it was announced that the next anthology film would be a spinoff of Han Solo's younger days before the events of A New Hope, people were sceptical. Was it ever going to work? How will it cast a younger actor to play a role that has already been defined and turned into a legend by Harrison Ford, making it seemingly impossible to have anyone else in the role of the space smuggler other than Ford? Was it a necessary story to be told in the ever expanding Star Wars universe? Solo: A Star Wars Story managed to answer these questions, though not in the way that you'd expect.

Solo: A Star Wars Story tells the upbringing of the iconic smuggler who would later become one of the heroes of the Rebellion in the years to come. The now young Han Solo navigates his way and finds his place in the galaxy far, far away in the midst of becoming a great pilot. His upbringing in the crime-filled planet of Correlia leads him to butt heads with the Empire during sometime of his journey. Eventually, he finds his true calling when he stumbles upon Beckett (Woody Harrelson), an infamous soldier turned bandit who introduces him to a life of smuggling and a lifelong journey of crime.

Alden Ehrenreich has some great moments here as Han Solo, and he even makes the role his own, never fully dependent on hammering in an impersonation of Ford's portrayal of the iconic smuggler. Sure, there are moments where you could tell that there's something off in Ehrenreich's portrayal, especially during a scene where he imitates Ford's swaggering walk; but for the most part, there's something boisterous and new in his portrayal, showing the more young and naive side of the man we would later know to be the smuggler we see in the Cantina in later years. It's not so much of an attempt to impersonate Ford's memorable portrayal, and that's a good thing for this film's case.
Image source: starwars.com, Entertainment Weekly

 One of the good things about Solo is that it's a fun Star Wars film when it comes to the action sequences alone. It's your typical Star Wars action fiesta that's a feast for the eyes. You have your usual blaster faceoffs, your Star Wars style hand-to-hand combats, and of course, spaceship chases, because what's Star Wars without a chase between our heroes' spaceship and an Imperial fighter ship? And they're good fun, and are for the most part, one of the film's best aspects. And if you've seen any of the trailers, there's also the return of the Millenium Falcon, and the scenes with the Falcon were just excellent, just as it is with the previous Star Wars films.

But there's a catch to this, because the fun stops there, and here's where Solo's hyperspace ride comes to a halt with a big loud screech and a whole lot of bumps. Solo: A Star Wars Story has some seriously agonizing pacing issues. Things just happen so quickly that we're not given the time to process it, and it doesn't revel in the things that happens. Once one sequence happens, it moves to another, and then another without ever considering the cohesion of the story it's trying to tell. The film has buckets full of potential, but the film doesn't seem to realize the ammount of potential that they could have delved into more instead of jumping from one arc to another and let the former be forgotten.

Then there's the characters. The characters are the ones who had the most potential in the film, in fact, the film has many potentials brimming within the story as a whole, but that's because those certain potentials lie in the characters. Unfortunately, there is no signinificant character development for our heroes, and while there are significant developments for the plot itself, the film doesn't give enough time to cement said development. The film would go from one thing to another like the other was never there, like a scene where a character is furious at another, but the next moment, that character who was furious to the point of having the urge to kill is suddenly lightened up by the appearance of some sort of solution, and that certain character just goes on their merry way as if they weren't shouting in anger just a moment ago.
Image source: starwars.com, Entertainment Weekly

 Solo has so many interesting arcs that show up here and there, but the film dismisses it for another less interesting arc, or in this film's case, a safer, less risky arc. And there isn't even really a main story in the middle of everything that happens. Solo feels like a film that consists of a bunch of different sequences with no core story to rely on. There's no cohesive relation between any of the sequences, each of them feeling episodic and as if they each have a different arc of their own that don't come together in the end, and it makes you question why it needed to be told. There's no risks taken, no depth in the overall story, and it's quite a hollow shell beneath all that boisterous sci-fi action galore. 

 Overall verdict: Solo: A Star Wars Story presents some very fun action sequences in a typical Star Wars fashion, relishing its slick and boisterious tone, but lacks the substance beneath all the action that could have made it so much more than a generic film. The pacing is really the biggest issue here, as it doesn't allow room for possible potentials to be fully realized and its developments within the plot and the characters feel forced and quick to the point where you're not sure if there's any clear development at all. Solo could have been so much more, had it not tried to force its way through arcs that don't tie together as a whole. It's unfortunate, because Solo had so much potential, but it seems as if those potentials are eventually dismissed in favor of something else.

Stars: 2.3/5


 Trailer
By Nadia Ranaputri
Image source: comicbookmovie.com

Director: David Leitch
Cast: Ryan Reynolds, Josh Brolin, Julian Dennison, Zazie Beetz, T.J. Miller, Brianna Hildebrand, Morena Baccarin, Stefan Kapičić.

 As the age of superhero franchises continues to rage on, each year there's always that one gem of a superhero film that stands out from the rest, or even several films. Deadpool was one of those gems. And there's certainly no doubts that after the success of the 2016 film, a Deadpool sequel would be inevitable. As we recover from the emotional wreck of a film that is Avengers: Infinity War, Deadpool has returned to ease the pain for a while with a whole lot more humor, fourth wall breaks, and captivating new recruits.

Deadpool 2 opens with a world tour of Deadpool's very own killing spree, rounding the worst of the worst. But as tragedy strikes, Wade Wilson, the man behind the masked anti-hero; has hit rock bottom, and his attempt to ease himself leads him to a series of even worse scenarios. Along the way, he meets a young mutant named Russell, who's having issues of his own, one of them being the fact that he also happens to be the target of a time-travelling robotically enhanced soldier from the future known as Cable. Determined to protect the young mutant from harm, Deadpool sets out to create his very own super group to stop Cable from going after the young mutant.

Deadpool 2 cranks up the violence level and is having one hell of a time doing it. It's a grandeur of chopped limbs and blood, basically in typical Deadpool fashion, because what's Deadpool without a lot of gore and fourth wall breaks? The over the top violence that is often mocked upon is what creates Deadpool. But Deadpool 2 saves the best for last: there's more heart and humanity in this one. Deadpool may have his low points, but the first installment had glossed over most of them with fourth wall breaks and more humor. This one, however, doesn't shy away from its heavily emotional moments, reveling in it instead of running away from it. 
Image source: 20th Century Fox, Empire

As Deadpool comes face to face with new mutant Russell, Deadpool is given the chance to somehow be a brother figure, perhaps even father figure; to the young and confused mutant. There's a great chemistry between Reynolds and Dennison, creating a "will they or will they not" vibe in the context of friendship rather than romance. With the introduction of the X-Force team in the likes of Zazie Beetz's Domino and the non-superpowered Peter, there's a lot of room for some great banters, and Deadpool 2 delivers on that spectacularly. And being that it's Deadpool, it certainly doesn't hold back on the swearing, or the adult jokes either, despite its reliance on pop-culture references this time around.

But it's not until the emergence of Brolin's Cable that the film really gets going and becomes a whirlwind of fun action sequences and an impressive performance from Brolin's time-travelling mutant (hilariously called out as the guy with the Winter Soldier arm during one scene). With the infinity gauntlet already behind him, Brolin jumps out of the Mad Titan's shoes and into the time travelling soldier's with ease. This is where most the good stuff is, because Brolin just kills the role and embraces the complex morality of the enhanced soldier from the future.
Image source: comicbookmovie.com

Deadpool 2 seems to be more reliant on pop culture references for its humor instead of the adult humor that the first film had so relished on, which is why it seemed more accessible this time around. Some of its funniest parts come to when Deadpool pokes fun at Logan for hopping on the R-Rating bandwagon with heavy gore, or when Deadpool attempts a Basic Instinct but miraculously failing. It's all in good fun, and the best part is, it's a genuinely good time. The fact that this installment is even more accessible than the first just makes it even better than its predecessor. Not to say that the first wasn't iconic, but one of my biggest gripes with the first Deadpool was the adult humor that often didn't hit for me (I'm not used to adult humor all that much, but that's just me). Deadpool 2 however, was a different story, because honestly, I can't remember laughing and smiling that much in a film since Thor: Ragnarok.

Deadpool 2 is an epic good time, and splendidly directed by David Leitch (whom the film refers to as the guy who killed the dog in John Wick). Leitch knows how to choreograph his action sequences, as already shown previously in John Wick, aka the film where he killed the dog. And from all the wittily gory action and the all-out humor, it still has a coherent narrative in the midst of all the Deadpool-esque fiesta. Deadpool 2 knows its advantages of standing out amongst the endless waves of jaggernaut superhero films like Avengers: Infinity War. Deadpool 2 has its own thing going, and whatever it has going, it clearly has everyone's attention.

Stars: 4.2/5

 Trailer
By Nadia Ranaputri
Image source: Heroic Hollywood

Director: Joe and Anthony Russo
Starring: Robert Downey Jr., Chris Hemsworth, Mark Ruffalo, Chris Evans, Scarlett Johansson, Benedict Cumberbatch, Chris Pratt, Zoe Saldana, Tom Holland, Chadwick Boseman, Paul Bettany, Elizabeth Olsen, Sebastian Stan, Danai Gurira.

The Marvel Cinematic Universe is a vast franchise and a heap of films and heroes under its belt. When it was announced that Infinity War would bring nearly every single hero from Phase One to Phase Three, it's clear that the MCU is dead set on creating a grand cinematic universe, and now with the release of the biggest crossover in film history, it is no longer child's play, their universe works. Ten years down the road already, and the MCU has shown no sign of slowing down, and Avengers: Infinity War furher emphasizes that.

Avengers: Infinity War takes place a few years after the events of Civil War, where the Avengers have been divided, each with their own duties. But as Thanos wages conflict on the universe, the Avengers, along with some new heroes as well as the Guardians of the Galaxy; take a stand against the Mad Titan and save the universe from the oncoming chaos.

Avengers: Infinity War opens with a bang, and a dark one at that. It gives you everlasting chills even before our heroes unite. Whatever doubts you had about Thanos and how the hell he'd make an impression on us, the first sequence tells you exactly how much of a menace he can be. It perhaps has something to do with Brolin's performance. Thanos walks around chaos like he's meant to own it. Brolin's performance gives the Mad Titan a compelling presence, even when he's on exposition duty. Thanos sees not a disease, but a crumbling world. He's not hellbent on causing destruction, but sees a solution for a troublesome world. "At least I'm the only one with the will to act on it," he says in one scene with determination in hopes that his vision would garner favor. The saying goes that every villain is a hero in his own mind, and Thanos is exactly that. His willingness to achieve something seen an menacing is unlike other MCU villains, the same amount of determination that our heroes would do to stop a villain. 
Image source: comicbook.com, Marvel Studios

There are many characters in this film with different arcs, yet the Russo Brothers managed to balance all these arcs effortlessly. It can get a little choppy at first, sometimes even up to the point where there's so many character arcs that you have to follow that you sometimes forget about a particular arc until the film goes back to it. But Infinity War's biggest strength lies in the triumph to bring all these heroes together and have them interact. These interactions are not only joyful to the eyes of fans, but are emotionally great as a whole. There's an incredible dynamic between these characters, and to see characters that have never met before interact for the first time reminds you how far Marvel has come in establishing such a vast universe with an array of characters.

Infinity War is a grandeour of superheroes, and what a wonderful treat it is, as the Russo brothers managed to knock it out of the park with balancing every hero imaginable. And the interactions are unexpectedly splendid. The union of the many heroes who were once scattered in their own films is a wonderful sight to see, with clashing egos and unity of powers as well as some incredible chemistry between the cast. This isn't just a mere attempt at throwing every hero randomly to garner people's attention, there's an obvious proof of love and labour put in to these characters, and the all-star cast in the likes of Downey, Pratt, Cumberbatch, Holland, Evans, and many more don't fall back upon showing their devotion into playing the beloved heroes we all know and love.

And Alan Silvestri's score here is just incredible, and a huge step up from the previous films. Silvestri drops the constant attempt to make the music epic and settles for more melancholy pieces, which just amps the emotional scale of the scenes. Moreover, it's memorable. I went out of the film with a certain melody stuck in my head that is constantly played throughout the film, composed in different tones from chilling to downright emotional. You'd think that with a film as big as this, the score would follow the same steps. It doesn't. Instead, it adds a much greater depth to the already grand film.
Image source: Forbes, Disney

 But Avengers: Infinity War is merciless. The Russo Brothers and the whole Marvel team are done with sparing our heroes from inevitable tests that take them beyond their own limits. Every hero is taken so close to the breaking point, that it's unclear as to who walks out alive by the end of the film. One of the gripes that people have with superhero films is having a villain that is an equal of the hero. Infinity War crushes that gripe to a pulp. Thanos is stronger than all the Avengers combined. Despite our heroes' will and intelligence, Thanos is more than that. He even taunts someone for not using the greatest weapon that Thanos himself has not claimed, but the latter has in disposal.

Avengers: Infinity War is as grand as it is emotional, and a splendid spectacle that also manages to sneak in a couple of humor here and there without overshadowing the emotions that the film aims to send. It's safe to say that the MCU has taken a risk that perhaps other cinematic universe aren't able to top for years to come. And they've done it in spectacular fashion. There's aspects of heroism and humanity in these heroes that we've seen grow individually from film to film. With a ten year journey, the MCU has proven that they are ready to take the big leap, the mighty heroic landing with Infinity War. And the result? An epic collision from one hell of a universe that works in many ways than one.

 Stars: 4.3/5

 Trailer
By Nadia Ranaputri
Image source: Forbes, Disney

The Marvel Cinematic Universe could be an intimidating franchise for those who do not follow it as often as the fans. With eighteen films now and Avengers: Infinity War being the nineteenth film in the franchise, it's time to catch up on the MCU's previous installments. Watching all of the MCU's previous films would be splendid, but seeing that Infinity War is right around the corner, here are the ones that I think would do it in order to catch up to the events of Infinity War, especially for those who are new to the franchise or just confused by how the MCU timeline works and would like to catch up on what our heroes are up to leading up to Infinity War. So without further ado, here are six films I think would be an essential watch before you go in to Avengers: Infinity War.

 1. The Avengers (2012)
Image source: screengeek.net

 This is obviously going to be on everyone's list of movies to watch before Infinity War, and there's a reason why it's there. The first Avengers film introduced us to the founding members of the Avengers, the original roster. This is the film where all our heroes come together for the first time, and it explores their dynamic as a team. Not only that, but it does introduce us to a much bigger threat that has been hinted at during this film and the others to come; all of which would lead to Infinity War, particularly our first look at Thanos and the much bigger threat from the cosmos.

 2. Guardians of the Galaxy (2014)
Image source: Fandango

 This had to be on it, of course it does, because we're introduced to yet another team of heroes who will appear and interact with the Avengers in Infinity War, so in some ways, it's definitely essential to get to know these guys before we see them in Infinity War. Guardians of the Galaxy is also the film that finally shares some exposition on what we know now as the Infinity Stones, especially with the use of power stone, one of the six infinity stones that Thanos is hellbent on getting.

 3. Captain America: Civil War (2016)
Image source: Cosmic Booknews

 This is perhaps an essential watch in more of a relationship development standpoint more than narrative. The sudden rift that causes the Avengers to seperate and the consequences of their actions had taken a toll of them, and in Infinity War, this is where they would perhaps rebuild to fight the bigger threat, and seeing Civil War would explain how the characters end up where they are once Infinity War begins.

 4. Thor Ragnarok (2018)
Image source: IMDB

 Thor: Ragnarok isn't just a fun romp and a great watch, but its events are also very important to what will happen in Infinity War. The end of Thor: Ragnarok eventually leads to Infinity War, judging from the trailers and plot details, so it's only fair to see what happens here before you get confused about how Thor and his group, like Civil War; ended up where they are in Infinity War; especially with Thor and Loki's dynamic.

 5. Black Panther (2018)
Image source: Fandango

 Wakanda plays a prominent role in Infinity War, serving as the battlefield for the fight against Thanos. It's also worth noting that you'll not only see T'Challa in Infinity War, but his companions from Black Panther in the likes of Shuri, Okoye, and M'Baku will be there too, so if you're not familiar yet with Wakanda, Black Panther is an essential watch.

 6. Doctor Strange (2016)
Image source: Fanpop

 Doctor Strange is essential for many reasons, one of which introduces us to not only Doctor Stephen Strange, but the time stone as well, and seeing that Strange is in possession of the time stone, Thanos and the Black Order (Ebony Maw in particular by the looks of the trailer) would ought to hunt it down and take it away from Strange. Also, worth noting that Doctor Strange is said to play a key role in Infinity War, so his solo film is key to seeing how his powers work as well as his role in the MCU.

 Honorable Mention:

 Avengers: Age of Ultron (2015)
Image source: ScienceFiction.com

 This one could be a little divisive, seeing as it does set up some events to come, though it isn't as prominent as the films mentioned above, it does give us an introduction to Scarlet Witch and The Vision as well as our first delve into the mind stone, another prominent feature of Infinity War and the reason why Thanos and the Black Order intend to hunt Vision down.

 So there you have it, my list of essential MCU films to see before Avengers: Infinity War. 
By Nadia Ranaputri
Image source: bloody-disgusting.com, Paramount Pictures

 Director: John Krasinski
Cast: John Krasinski, Emily Blunt, Noah Jupe, Millicent Simmonds.

 My Film Studies lecturer once said that the opening of a film is vital. It's the first thing you see of the film. Its job is to invest us in the setting and the characters that we are about to follow. The opening of a film is what hooks us in and gives us questions that would be answered in a later time. A Quite Place is an excellent example of how to begin a film.

A Quite Place takes place in the near future, where nearly the entire population is wiped out by creatures that hunt by sound rather than sight. We're introduced to the Abbott family, one of, if not the only family alive. They live by one rule: never make a sound, hence why they communicate with sign language for the majority of the film.

A Quite Place is a film that relies heavily on performances. John Krasinski, also the director of the film; manages to create excellent performances out of not only his other actors, but himself as well. A Quiet Place is a film where emotions tell the story, not the words, and these actors, Krasinski, Blunt, Jupe, and Simmonds; all deliver strong performances that draws us into attention, even when it's not through what they say, but the wordless messages that are conveyed through their emotions. When not terrorized, the family peacefully live under their one rule. The father and son hunt for fish, the daughter accompanies her pregnant mother at home. Like The Babadook, it's a sure sign of normalcy that manipulates the audience into the scenery of a peaceful scenario. Had it not been for the monsters, one would have thought it to be a normal family living on a farm. 
Image source: bloody-disgusting.com, Paramount Pictures

The post-apocalyptic setting of A Quiet Place is introduced similarly to how the Nostromo and its crew are introduced in the beginning of Alien. The only sound we hear are the humming of the engines, and the opening of the cryo pods, revealing rather than explaining. With A Quite Place, the opening of the film takes place in an abandoned local store, where the first thing we see of the family are their bare feet. This prompts the question, why are they barefoot? One even walks on tiptoes. The second thing we see are the hands, slowly reaching out for the needed supplies. Then we see the faces, and the fact that none of their lips move to make a significant sound. We don't see who they're running from. We don't know who they're running from. The entirety of the sequence is nothing but small sounds and Marco Beltrami's poignant piano piece. It's so devoid of any actual significant sound, yet it's so effective, because what happens next is like a bucket of ice cold water that pulls you out from your sleep.

Because this film is devoid of words, the things you see and hear are for you to work out, and not for the characters to tell you. A post-apocalyptic like setting is enough to tell you that the majority of humanity has been wiped out, or the complete absence of sound in order to tell you that a character is deaf. Sound and image are both characters on its own journey that takes us through its lucious yet beautifully terrifying world. The deafening silence of sound and atmosphere is what makes the film immersive, poignant, and once the monsters come out; completely riveting.

Sound is key here, even if it's devoid of human sounds. Small sounds such as a bag stuck on a rusty nail or the sound of grains become trigger mechanisms for imminent danger. And that creates a whole new level of suspense. Even my theater went completely silent, something that doesn't happen very often. It's a reversal of It in terms of showing the antagonists, where in It, Pennywise is first shown through sight, through his appearance. His voice comes after he is shown, and we immediately know the figure that owns the voice rather than voice before the figure. The way the film introduces the monsters that roam around the lands are not by sight, but by sound. Like the Xenomorphs from Alien, the first time we actually get a glimpse of the creatures is through the stomping and the growling of the monsters.
Image source: bloody-disgusting.com, Paramount Pictures

 The runtime of the film may not be long, but it's actually an effective choice for a film with a simple premise: it's about a family trying to survive from monstrous predators that hunt by sound. Krasinski creates great character moments that ensure us that by the time the terror happens, we are rooting for this family to survive. There's issues to be had in a family forced to live in silence, they are trying with all their might to survive, and Krasinski sets this up beautifully.

 And the suspense is just freaking excellent. For Krasinski's first time directing a feature film this thrilling, he nailed it. A Quiet Place is one hell of a thrill, and I was enthralled through every act. Yes, it does have some tropes that you'd find in a survival film, but there's something about A Quiet Place that sticks with you. Since sound and image play as vital of a role as the actors in conveying the story without the use of words; the suspense is amped up that much more because of it. Never has suspense been this effective since Ridley Scott's Alien, or Fede Álvarez's Don't Breathe but A Quiet Place without a doubt, joins the ranks effortlessly.

Stars: 4.4/5


 Trailer
By Nadia Ranaputri
Image source: Variety

Director: Steven Spielberg
Starring: Tye Sheridan, Olivia Cooke, Ben Mendelsohn, Lena Waithe, T.J. Miller, Hannah John-Kamen, Win Morisaki, Mark Rylance, Simon Pegg.

 Adapted from Ernest Cline's pop culture galore novel, Ready Player One follows in the footsteps of a classic sci-fi adventure filled with Easter Eggs, fantasy quests, and one big wondrous adventure.

 Ready Player One takes place in the year 2045, where nearly all of the human population spend the majority of their time in the OASIS, a virtual reality world created by James Halliday; where anyone could be anything. They could create their own avatars, they could compete for virtual wealth and explore through multiple worlds such as the likes of Planet Doom or a casino the size of a planet. The OASIS is limitless, functioning as a form of escapism from the dystopian reality that humanity has chosen to adapt and survive in rather than improve it.

 The film begins in the midst of an all out virtual quest, announced by Halliday before his passing, to discover three keys in order to unlock the final Easter Egg that would grant the player full control of the OASIS. The quest gained popularity among players who are willing to obtain the ultimate prize, but as the years went by, the number of players searching for the three keys has decreased, except for Wade Watts, a player from Ohio who goes by the name Parzival in the OASIS and is one of the players who are still in search of Halliday's three keys. His involvement in the quest gains him not only popularity, but the attention of the IOI (Innovative Online Industries); a company dead-set on obtaining the OASIS to their full control.

If you just want to be swept in one hell of an adventurous ride, then you're in for a treat, because Ready Player One delivers exactly that. The story is just fast-paced, but it's the right amount of fast paced. It immediately sucks you right in to the world of the OASIS and the many things that it has to offer. The film is very much revolved around the hunt for Halliday's Easter Egg, and it just so happens that one of the players looking for it is none other than our protagonist. What the film does that makes the film so enticing is how they make the hunt both a visual treat and an adventurous treat. I mean, there's a car race sequence with King Kong smashing cars and roads from every angle, and a trivia maze that centres around The Shining's infamous Overlook Hotel, and all these are coordinated by the one and only Steven Spielberg. It's the perfect recipe for a splendidly good time.
Image source: Collider and Warner Bros.

Of course, it's a film that relies a little heavily on nostalgia, given the astounding amount of familiar Easter Eggs from the likes of Back to the Future and The Iron Giant, but the best was definitely a sequence revolving around Stanley Kubrick's The Shining. The character of James Halliday has created a pop-culture wonderland, and some Easter Egg-filled quest that perhaps only a director like Spielberg could bring to life with such authenticity and wonder, but at the same time, using the right amount of nostalgia and turn it into a celebration of its influence on the people who resonate with these nostalgic elements. These Easter Eggs are what makes Ready Player One, well, Ready Player One. The whole pop culture bonanza is part of the experience. No, you don't have to be up to date with some of the pop culture references embedded in this film, you don't have to try and find a pop culture reference that you know in order to have a good time, because you're already too busy having fun anyways.

Ready Player One's most strongest points lies within its world building of the OASIS. The OASIS is the first bit of information that we delve into the moment the film begins. Not Wade Watts, not the suburban 2045 Ohio where he resides, but the OASIS. The OASIS began as nothing more than a form of escapism, and functions as nothing more than good fun. It's the stuff that happens in the OASIS that makes the film worth watching. The OASIS is made of more than hundreds of different worlds and players masking in alternate identities. But there's a message to this virtual reality galore. The OASIS is exciting and vibrant, whilst the real world is nothing compared to what the OASIS has to offer. Technology becomes both an ally and an adversary to humanity. The OASIS is used as an escape to reality, but how much are humans willing to accept their own reality? The film proposes this kind of concept, balancing the excitement of the OASIS to the harsh reality outside of it.

 There is however, some downside to it. Take away the Easter Eggs, and the OASIS, and you've got the players themselves, one of them being Wade Watts. Some aspects of their characterisation feel as if it's lacking something, as if the parts that are meant to be the more grounded and human parts are quickly dismissed in favor of returning its focus to the OASIS and Halliday's Quest; particularly around Tye Sheridan's Wade Watts and Olivia Cooke's Samantha. Despite the great performances from all the actors respectively, there's something odd about how in some ways, the virtual reality counterpart of the players, Wade in particular, have a better setup than their actual human counterparts who are meant to serve as the human elements that ground the film's virtual bonanza. Together though, these ragtag group of players (one of them being Wade's Parzival and Samantha Cook's Art3mis) are a force to be reckoned with, even when their human counterparts are together in the real world.
Image source: Collider and Warner Bros.

Ironically, the subplot revolving around James Halliday and his best friend/OASIS co-creator Ogden Morrow that plays like The Social Network and Steve Jobs all mashed together; is the human element that actually worked best, creating something wholly real over the artificial. The film explores the already passed Halliday throughout the course of Wade's journey, yet it's Halliday himself by the end of the day who becomes more of a fully realised character than the protagonist.

 In the end though, there is a heart to these players, and there's a particular scene that really hit me, one that reminded the audience that the avatars and the characters we see in the OASIS are just mere human players searching for a place to escape, that they're not looking for a big loaded profit for their own selfishness or a chance to take over the world; they just want a chance to earn something greater than themselves that's limited by reality, but could be achieved through the OASIS. Ready Player One is in a way, an homage to a classic 80's adventure for the modern generation, filled with every nostalgic Easter Egg imaginable, but centered around it are the human elements that ground the film, despite some lacking; that takes you back for a second and remind you that the real world is right next door.

Stars: 4/5

 Trailer
By Nadia Ranaputri
Image source: IMDB

Director: Ava DuVernay
Starring: Storm Reid, Oprah Winfrey, Reese Witherspoon, Mindy Kaling, Levi Miller, Chris Pine, Michael Peña, Gugu Mbatha-Raw, Zach Galifianakis.

 There's some great sense of achievement in Ava DuVernay's latest film, adapted from the 1962 novel by Madeleine L'Engle. For one, it's the first time that a motion picture with the budget of $100 million is directed by an African-American woman. Not to mention a lead heroine of mixed race, and a whimsical journey across the folds of the universe.

Following the disappearance of her scientist father (Chris Pine), who one day disappeared without a trace after having discovered the answers to his recent project of attempting to prove that a journey across the universe in the speed of light could be achieved by tapping into the right frequency; thirteen year old Meg Murry (Storm Reid), wasn't as bright as she used to, and is bullied at school and scolded for being easily tempremental and unable to open up to others, even her own family. Her closest companion is her adopted younger brother Charles Wallace (Deric McCabe), who steams warm milk late at night when he couldn't sleep and accompanies her when she couldn't sleep either. Their seemingly normal life is intruded by the appearance of the bizzarely mysterious Missuses: Mrs. Whatsit (Reese Witherspoon), Mrs. Who (Mindy Kaling), and Mrs. Which (Oprah Winfrey), who entrust Meg with the mission of rescuing her father; who's seemingly alive and trapped somewhere in the vast universe.

A Wrinkle in Time's strongest points lies within its lead. Storm Reid is marvelous as the film's lead heroine Meg Murry, who before stumbling upon the three strange Missuses; has been an object of mockery and ridicule among students, having been labeled as the daughter of a crazy scientist trying to prove something that is deemed as bizarrely impossible, even to the point of being told that "crazy apparently runs in the family" by one of the students who constantly bullies her and even wishes for her to follow her father's footsteps of one day suddenly disappearing. Reid just carries the film effortlessly on her shoulders with genuine emotion and brilliance that makes her a heroine to get behind.
Image source: IMDB

The journey that Meg goes through could be seen as a metaphor on discovering oneself, or Meg's self; in this film's case. Meg was once a top student at her school, but after her father's disappearance, she's put into unwanted attention and shuts herself out from other people. Her hesitancy at accepting who she is becomes the driving force that DuVernay so wonderfully explores. The arcs around Meg herself are what keep the film from tumbling over to the ground. Meg's beaten down, afraid to show her grief but brave enough to push others away from her life. The sole core of her arc is her love for her father, and his disappearance changes her life and her attitude towards others.

Think of A Wrinkle in Time as Disney's surface level version of Christopher Nolan's Interstellar, just with less of the intricate and complex wibbly wobbly timey wimey explanation of dimension travel. It's so otherworldly, yet full of many wonders. DuVernay has truly created a world of many wonders, danger, and possibilities; with gossiping flowers that speak with color, a devilish Michael Peña, and a mysterious dark force that hides through many faces (a Disneyfied version of The Shimmer from Annihilation, if you will). It's wonderfully visionary, vibrant, and so reminiscent of the fantasy that I fell in love with during my pre-teen years.

One of the film's most lighthearted and humorous moments come from the Missuses, from the giant Mrs. Which, played by Oprah Winfrey, to Reese Witherspoon's Mrs. Whatsit, who suddenly shows up at the Murry house late at night to inform Meg and her family of the possibility that her father has successfully traveled to another dimension (or tessered, as the film describes it) and is still alive. The most interesting of the three Missuses, is Kaling's Mrs. Who, who speaks in a manner of quotations from famous figures such as Rumi and Shakespeare.

But while A Wrinkle in Time could have had more to time to establish some of its characters and its bumpy second arc, it still conveys a powerful message that yes, might be cheesy considering how it's so easily spelled out; but leaves a generous amount of heart, though still very much surface level and not enough as to leave a deep emotional impact. Some revelations that are revealed from other characters would appear out of nowhere without so much as a small scene to establish it, one of them being something that involves Meg's friend Calvin. This leads to an unfortunate downfall: its inability to fully connect emotionally with the audience. The message is conveyed clearly, and rather too obvious, but beyond the message, there is not much for us to connect with in terms of the execution of the story itself, and how it establishes the characters to be suddenly roped in to a journey through the dimensions of the universe. 
Image source: IMDB

A Wrinkle in Time is not something that would leave you completely amazed, but it's enough to give you a sense of enjoyment at its other-worldliness. It's an adventurous coming of age fantasy that's whimsical and imaginative for the eyes, especially for the younger ages. A Wrinkle in Time is reminiscent of the films that the pre-teen self in me would have loved, even to the point where I'm reminded of the joy I had when I first saw The Spiderwick Chronicles in theaters when I was ten. It's also a wondrous journey with a lead heroine that audiences are able to root for. As surface level as it is, A Wrinkle in Time has enough tricks to keep audiences both the young and the older entertained, though perhaps not to the point of full engagement of the story for the older as much as it is for the younger.

Stars: 3.4/5

 Trailer
By Nadia Ranaputri
Image source: heroichollywood.com
Director: Roar Uthaug
Cast: Alicia Vikander, Dominic West, Walton Goggins, Daniel Wu, Kristin Scott Thomas.

Video game adaptations have mostly been a hit or miss when they're brought to screen. One moment, you're mesmerized by the concept and the story of the game, and the next, you're witnessing its ruin on the silver screen. Even if I've seen a couple of video game adaptions, I'm not as attached to their source materials as much as I am with Tomb Raider.

Tomb Raider is the one video game series (other than the Indiana Jones games) that I have played and loved from time to time. I was a huge fan of anything that had to do with adventures, thanks to the Indiana Jones films (I loved playing the games as well back then) I was so fascinated by the fact that a video game could have a female protagonist in the center of its story. Lara Croft, the female archaeologist who has a knack for the ancient relics and artifacts, who isn't afraid to brave tomb by tomb to get her hands on a piece of history. Although I didn't complete all of the games, I still managed to complete the first Tomb Raider game, Tomb Raider II, and Anniversary, which I'd say; I'm pretty damn proud of that.

Then came the rebooted game, which I loved so much, and that was due to the fact that there was so much to the game than just a wickedly fun gameplay. It showed a much more vurnerable Lara Croft, and an enticing story with a new take on Croft's origins. When I saw that the new Tomb Raider adaptation was looking to follow the same type of story, I had some hope. Unfortunately, it was crushed sooner than I thought.

Tomb Raider is the origin story of our heroine Lara Croft, the woman who would become the badass archeologist that we would come to know and love in the games. She starts off as a bike courier who refuses to acknowledge the fact that her father has truly passed from a recent mission. That doesn't stop Lara from eventually finding out that her father isn't who she thinks he is, due to her discovery of his hidden job. Determined to finish what her father started, Lara sets out on a journey to keep a supposed supernatural force from the world from falling into the wrong hands.

Image source: IMDB


This Tomb Raider clearly takes more notes from the rebooted 2013 game rather than the previous games (and the story elements are the same as the rebooted game, too), and that's swell, because I enjoyed the story from the reboot a lot. The problem is, not every game can be adapted, no matter how good the story is from the game. Tomb Raider is one of those cases. In the game, you feel the tension and the need for survival. The mystery of the supernatural force that the story delves into makes for such a fun and interesting  gameplay, especially when it takes the whole game to try and resolve. When adapted however, that feeling is gone, replaced by the urge to get it over with. There is really nothing I could take from the film that screams memorable or enjoyable even. It's great that it's taking on a more realistic and serious note that the rebooted game so greatly delves, but clearly, that hasn't worked wonders on outweighing its hollow story. And the problem isn't at the more serious take on the story, it's how the story itself is executed.

The biggest problem with Tomb Raider is the fact that they jump through every scene and arc like it was an obstacle that was needed to be passed quickly (that might not be a game pun). It jumps through arcs and scenes without delving any further for the sake of the plot, which is unbearably awful. Whatever arc or scene that just happened in a flash, that's all you're going to get, which is why Tomb Raider is devoid of any type of emotion or even a sense of surprise, and there's even a plot twist that happens that was never established that much in the first place, so once the twist happens, you just don't care anymore; you've gone through nearly two hours without any buildup to anything. There's things set up about some characters that eventually lead to nothing, and there is no significant progression in terms of character development. The villain who had a backstory that was never delved any further or mentioned again; was reduced to a stereotypical villain with nothing memorable and no special motivation that makes us interested in him.

Image source: IMDB

The aspect that became the saving grace of this film however, is Alicia Vikander. She's captured the vulnerability and tenacity that Lara Croft has in the rebooted games. The Lara Croft that we see in the beginning has so much zing and attitude, that it actually gives a much more charismatic vibe of the character from Vikander, which I really liked. It's when the story stumbles into the action part that she loses this spark in favor of setting up the action hero that we love, but without the charisma and charm from the script that makes the character from the games itself so special. This Lara Croft should have had layers, possibly even more of a complex character than Angelina Jolie's portrayal, and it could have been that, judging from Vikander's performance; but the script doesn't allow that to happen. This particular Lara Croft, when not fighting, is sometimes the worst decision maker when it comes to times of danger. At times, she doesn't react immediately when danger is ahead and isn't one for the most logical choices (she even chooses to stay back and fight the villain during an escape scene where she's already one step ahead of him and could have run off towards the exit which is clearly not blocked by the villain and is right there). Thanks to Vikander's performance though, there's still something good to be taken from this portrayal.

Having been a huge fan of the games, it's a pleasure to see that some of the action sequences embodies what the actual gameplay is like. The film at least gave some kind of visual that is similar to the vibe given in the games, particularly the rebooted Tomb Raider. Some of the action sequences are pretty entertaining, and a bike chase sequence that could just be a setup for a Premium Rush sequel set in London is excellent, but are visuals truly enough to make an enjoyable experience? Not when the awful pacing and storyline stick out like a sore thumb in the middle of a visually enticing game adaptation. I'm not saying that this should have followed the exact story or concept of the game completely to recreate the charm that it had, but it should have at least had a good story and a sense of a great adventure with our lead heroine.

 For the most part, Tomb Raider just feels more like a generic action film instead of a fun adventure film with a complex action heroine who is more than just a skilled combatant, but a soon-to-be brilliant archeologist. This film has some fun elements, I'll give it that, but it has nothing special from the story itself, which is even worse considering that the pacing is also atrocious, and really could have had more time setting up what they already have instead of moving on to something else; which is a shame, because as an origin story, it could have been great, or at least enjoyable. Unfortunately, that is not the case for this film. 

Stars: 2.5/5

 Trailer

By Nadia Ranaputri
Image source: The Verge

Director: Ryan Coogler
Cast: Chadwick Boseman, Michael B. Jordan, Lupita Nyong'o, Andy Serkis, Letitia Wright, Angela Bassett, Martin Freeman, and Forest Whittaker.

As the 18th installment in the Marvel Cinematic Universe, Black Panther delves into a much more reclusive world, an uncharted territory that has never before been explored. Opening to a beautiful sequence to Wakanda's origins, Marvel has set the stage on building their most technologically advanced nation and unravel its glory to the rest of the world.

Black Panther begins a week after the events of Captain America: Civil War, where in the wake of his father's death, T'Challa would eventually take his place on the throne. Challenged by his need to protect his nation from enemies beyond the border, T'Challa must take both the mantle of the Black Panther and the king of Wakanda.

Boseman is a revelation in this role. The film isn't rested solely on his shoulders, but he makes damn sure that he's giving it his all to play the prince turned king. His compassion and rigid principles become challenged once he realizes that an outsider has threatened to usurp the throne from him. This is some brilliant development from his already impressive introduction in Civil War. T'Challa might have been fully equipped for a fight, but leading and protecting his nation is another matter. Opposing our hero is Michael B Jordan's Killmonger. An outsider determined to usurp the throne from T'Challa, Killmonger has a heartwrenching history that becomes a vital arc for the film. Michael B. Jordan doesn't just kill the role, he owns the role like a true villain. He has a much more emotional and driven performance than Boseman's more precise and restrained performance, but that's part of what made Killmonger such an intriguing villain to see. 

Image source: Vulture

The standout would perhaps go to Letitia Wright as T'Challa's sister Shuri, who happens to be the smartest person in the Marvel universe, exceeding the intelligence of Tony Stark's or Peter Parker's; maybe even more than both of them combined. As smart as she is, Wright gives the character some flair and a whole lot of fun elements, such as when she enthusiastically gives her brother a tour of all the latest technology that she has, stating that "just because something works does not mean it cannot be improved," when her brother complains about how he doesn't need another upgrade.

The film opens a gorgeous sequence involving the origin of Wakanda, told as a bedtime story to a young T'Challa by his father. The secluded nation has five tribes, all shown with each of their own gorgeous garments that represents each of the tribe. From crowning ceremonies, ritual combats, to the spiritual world of the ancestors, briefly mentioned by T'Challa himself in Civil War; director Ryan Coogler embraces the different shades and palettes of Wakanda, and there's not a moment where I wasn't in awe of the world he has painted on screen. Wakanda is more than just a secluded nation with a chalkful of vibranium, it's also diverse when it comes to creating an effortless blast of color, a wicked immersion to their fully advanced technology; complete with some of the film's most immersive shots by cinematographer Rachel Morisson (most recently nominated for an Oscar for her work in Mudbound), the most impressive being a shot of M'Baku's throne room of the Jabari Tribe (seriously, that shot is just breathtaking).

Like Guardians of the Galaxy and Thor: Ragnarok before it, Marvel is giving their directors plenty of creative freedom in bringing the characters and the world they live in to life, hence why Black Panther works so well. It is filled with beautiful imagery of a secretive nation that intends on keeping its traditional African heritage alive whilst being the most technologically advanced nation in the world. As we enter the world of Wakanda, places like its vibranium mine, Shuri's vibranium based workplace, to the home of the Jabari tribe, the poingnantly colorful colors of Africa is richly painted, and it just makes you so immersed in this world that they've brought that you might never want to leave once you're there.

Image source: Vulture

Most of the arcs in Black Panther are solely rooted in Wakanda, and the conflicts within the nation. Just because it's the most advanced nation in the world, it does not always mean the most peaceful. The conflict between whether or not Wakanda should stay isolated from the rest of the world as well as Killmonger's arrival made sure of that. Marvel has incorporated personal conflicts in some of their films, but Black Panther goes beyond that. Black Panther deals with the politics of a nation, questioning what one should do in order to rule and protect, whether or not the truth could protect the legacy or destroy it. Coogler plays with these elements effortlessly, making for a much deeper meaning behind it rather than just having it be a superhero film.

Black Panther is of course, not without flaws. Some parts feel inconsistent, with scenes that were abruptly cut for another, leaving them incomplete. And for a film filled with great character arcs and development as well as some spectacular world building, the final battle sequence somehow lags compared to its other fantastic aspects. It doesn't feel as epic as other standout action sequences such as the ritual combat battle for the throne or the car chase in South Korea. The thrill from the previous sequences just feel more cohesive and epic than the final battle, and the final is the one that's supposed to be the culmination of all the previous action sequences.

Despite that, Black Panther just nails almost every single aspect of not only a great superhero film, but as a great film in general as well. Black Panther is one of Marvel's most gorgeous films to date, bringing the world of Wakanda from the comics to the big screen with an immersively aesthetic palette (I also want to mention the amazing score by Ludwig Goransson, because the score is just fantastic). It brings the best out of what makes these heroes special and turns it into a much more intimate, personal, and thrilling adventure. In the middle of it is a journey of conflict and loyalty to the throne. This is about a king who is thrust into the role of both a leader and protector. There's all kinds of potentials that Marvel could take in order to convey such story, and for the most part, they take those potentials and spark them into something special.

Stars: 4.2/5

 Trailer
By Nadia Ranaputri


Image source: StarWars.com

Star Wars: Bloodline takes place a couple of years before the events of The Force Awakens and decades after the fall of the Empire, where after having to sacrifice her wish to return to a normal family life, Leia must take full responsibility in the Galatic Senate. Pitted against the people who do not see eye to eye with her beliefs, Leia is forced to fight for both the good of the established Senate as well as her relationships with the people on her side and with those who aren’t.

Gray’s characterization of Leia is an absolute cherry on top of the cake. Bloodline is essentially Leia’s story. Everything that is built from the ground up, whether it can come from Casterfo’s (more on him later) point of view or from some of the New Republic fighters; is built around Leia, the sole core of the entire novel. She is still the same woman we’ve seen in the films: compassionate and driven; but with more depth and layer. We see her struggle as not only a Senator, but as a wife and a mother who had to leave her family behind for the sake of the galaxy’s fate. Leia is thrust into the whirlwinds of both her duties to the Galactic Senate and confronting the looming shadow of her hatred and pity towards Darth Vader and the Galactic Empire.

Because this novel has more than one point of view, Gray has more opportunities to explore the mind and motives of other characters. Gray takes this opportunity so willingly and passionately, that the characterizations are amazingly deep and profound. But the one character other than Leia that I was absolutely intrigued with, and also became one of my favorite characters of the Star Wars universe, despite never appearing in any of the films; was Ransolm Casterfo. Casterfo is a Centrist, which means he opposes the Populists, therefore opposes Leia. His character is something of an enigmatic wonder. He starts off as someone Leia despises, since he has different views regarding the Galactic Empire, in which he highly values the Empire’s tactics, but the more you get to know him, the more intricate and complex he becomes. I don’t want to spoil his arc, but his arc and characterization in this novel is simply put, one that becomes increasingly more interesting the more we unravel his true intentions. This is in some way, the complex characterization that Holdo should have possibly gotten in The Last Jedi.

Bloodline is filled with multidimensional characters and some of the best structure and pacing that I have ever read in a novel. Gray is intent on creating her own world from scratch as well as create tension and introductions to several new characters in which Leia meets and eventually forms bonds with. It’s a character driven story with diverse motivations. You can’t simply jump to an assumption as to whether or not a character is a threat because of what he or she believes, or if someone is merely doing the right thing, but seen as another. Every quick assumption that you might have had in the beginning about some characters, Gray diminishes with some wickedly subtle twists.

It is very much a sci-fi action adventure that delves into the expansion of a galaxy far, far away; as it is politically rooted. Beyond the Hosnian Prime, there’s always an uncharted territory in an already established world, and Gray digs deep into the world beyond what we have seen in the films. Gray unravels these unseen planets and reveals them one by one, each more intriguing than the last. Furthermore, Gray addresses what has never been fully addressed in any of the Star Wars films except for the prequels: the issues within the Galactic Senate itself. The Galactic Senate, despite their efforts on ridding the galaxy of threats, has to have issues of their own, and Bloodline digs deep into those issues. Not everyone in the Senate is perfect, not even Leia. A senate can crack when there is a flaw in the system, and that’s what Leia sees.

Not everything is fleshed out though. Some of its arcs and character developments are either cut short or placed on hold, one of them being the revelation of a group called the Elder Houses, which is mentioned a couple of times in the book; but never fully elaborated on. Other revelations are only mentioned once or twice for the sake of one arc, and are never mentioned again; shadowing on what could have been an interesting arc to delve in to.

Other than that, this book was a fantastic read. This is the first Star Wars novel that I read, and I am eager to read more. Since this is set in the years before The Force Awakens, much of its buildup is intent on leading us on to the Leia we see in Episode VII. It’s a great read for Star Wars fans that are eager to discover more about the expansion of the Star Wars universe. It’s also a particularly bittersweet journey, given Carrie Fisher’s passing, but Claudia Gray honors the Princess turned Senator in the best way she could. Beyond the characters, the world building is spectacular. Gray has managed to create this world her own, all while draping it over with that same familiarity of a galaxy far, far away.

But at its core, Gray presents us with not only a woman who knows how to be a badass and show everyone how it’s done; but also a woman who is complex, who’s not perfect, who makes mistakes, whose assumptions towards others aren’t always proven right, and most importantly, a woman who learns from her mistakes and her past. We see a woman on the verge of becoming the General of the Resistance the moment The Force Awakens begins. 

Stars: 4.4/5
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