Mockingbird In A Blizzard

By Nadia Ranaputri

Image source: IMDB

Director: Bradley Cooper
Cast: Bradley Cooper, Lady Gaga, Sam Elliot, Dave Chapelle, Andrew Dice Clay, Anthony Ramos.

A Star is Born has had three previous remakes in the past, there's the original 1937 version, which led to remakes in 1954 and 1974. Each of the films contain a similar core story: an established figure in the entertainment industry who is overshadowed by an up and coming artist who eventually finds her way to the top, but it's executed in different ways to reflect on the background of the years they were released. In the 1937 film, it was a story between an aspiring actress played by Janet Gaynor and an already established actor played by Fredric March. By 1954, it was about an aspiring singer played by Judy Garland and a once infamous actor played by James Mason. The 1974 remake (the film that the 2018 version draws most of its inspiration from) also had an aspiring singer played by Barbra Streisand and a rock star played by Kris Kristofferson. Now, 44 years after the last rendition of the film, we have yet another remake of A Star is Born, this time with Lady Gaga and Bradley Cooper.

A Star is Born begins with well-established musician Jackson Maine (Bradley Cooper), who on his way home from his concert, comes upon a drag bar unbeknownst to him, with an excuse that he needed another bottle of booze. He's in luck, because there, he meets aspiring singer Ally (Lady Gaga), a waitress turned occassional entertainer who turned heads with her performance of "La Vie En Rose" that immediately draws Jack to her. They spend the night together and by the next day, Ally is unexpectedly invited to sing with him on stage at his next concert. This leads them to pursue a romantic relationship and tour together on stage, which eventually helps Ally to rise to stardom, attracting a famous music producer and starting a solo act of her own. As Ally ascends her way to fame, Jack becomes aware of his descent from it, with his lifelong struggle of heavy drinking and passing out after concerts.

The main stars of the film, Bradley Cooper and Lady Gaga, are really the driving force of the film. They play off each other brilliantly. Cooper, on one hand, is given a heavy part as a talented musician who is struggling with alcohol addiction. Cooper's performance is one deserving of an Oscar nomination, because this is perhaps the best performance I have ever seen from him. To play someone with so much weight and complexity is no easy feat, and Cooper takes on the role as if he's prepared for it his whole life, all while tugging heartstrings at his most emotional moments. Lady Gaga as Ally, on the other hand, isn't as complex of a character as Jack, but still manages to shine alongside Cooper. In tense moments, Lady Gaga is a force to be reckoned with, especially when she's placed in the same room with Cooper. There is a great amount of genuine chemistry between the two that really shines through, tremendously helped by Cooper and Gaga's performances of course, though the more plot based aspects of the romance had slight issues (we'll get to that in a moment).

Image source: IMDB

As Cooper's first directorial debut, it is a stunner, and it's obvious that he has learned from his fellow directors of how they work behind the camera. Apart from his impressive vocals, his attention to detail and originality really shines through the screen, leaping with great potential. If you've read his interview with The New York Times, Cooper is fond of the fact that he is able to show a reflection of himself in the film, being both the director and the main lead. This is his take on the story, and it shows, very brilliantly, of his own personal take. With cinematographer Matthew Libatique, the film is resilient on raw emotions, keeping its shots fixtated on its actors, even during the musical numbers, as to give an intimate glimpse on the artists performing on stage. It remains that way during most of the emotional parts, especially when it's between Cooper and Gaga, which are brilliant and shows serious star power between two incredible performances.

A Star is Born isn't shy of showing how fame can change a person, particularly for Ally, as someone who started out being loved for her pureness and passion in her songs but isn't given enough freedom when drastically changed to someone she isn't. It plays some similar beats to Damien Chazelle's La La Land, where one of our protagonists strives for success in a career he/she wants to aim for, and in the process, there are struggles to be faced, and lots of ground to cover. When they do get successful however, it turns the tables on them in order to further turn their image into something that would allign with what is trending in the entire world. Just as Ryan Gosling's Sebastian in La La Land strives to bring authentic jazz back into the mainstream, Gaga's Ally does the same with the power of her soulful voice and original lyrics. Once they do reach the peak of their dreams, the industry tweaks their image in order to appeal to the mainstream audience. For Sebastian, it's trading authentic jazz for pop beats, and for Ally, it's her authentic solo singing style for catchy beats and backup dancers. It aims for the right amount of authenticity inside of the portrayal of an industry that is anything but.

It does however, slightly falter in Ally's arc during the second act. While Ally rises to stardom, it doesn't feel as emotionally packed as the beginning of her arc, which was one of the hightlights of the film. Perhaps it is the film's way of saying that as Ally rose to stardom, part of her authenticity and ability to say something for herself is stripped away. But this is also where Maine's arc of his eventual fall from stardom comes clashing in, and that's where most of that rawness and authenticity comes from during the second act. The fact is, Jack isn't jealous of her newfound stardom, he's sad that it has completely changed how she sends her form of art to the audience, continuously losing one of the things he loved her for in the first place: her ability to send soulful message through her booming voice and original lyrics.

One of those moments came when Ally decided to change something about her image (one of the characters claim that it was her own decision), which shocks Jack, who decides to hold his true reaction as to not make her upset about her decision. Jack is the character that is perhaps the most fleshed out, laying his downfall from his stardom while Ally rises to hers, and it's shown in a heartbreaking way, such as when at some point, Jack was expected to perform at a show, but is replaced at the last minute by a much younger singer. His response? He offers to play second fiddle by being the guitarist on the background.

Image source: IMDB

What held A Star is Born from being masterful however, is the pacing. It isn't too major, but sometimes the pacing feels off, as if there was something that needed to shown to further elaborate on a particular arc, but didn't. Sometimes the film picks up on a significant time jump, but you can't tell until it shows a sudden development that makes you wonder if you missed something. This mostly happens during the second act, where Ally rises to stardom, while Jack's career begins to go downhill. The first act sometimes suffers the same, though as said before, it is not something too major, it just needed to make some room for some arcs to be fleshed out more. While most of the first act is jam packed, some aspects of Jack and Ally's relationship felt as if it developed a little too quick to suddenly turn to a romance. Not that I didn't like their romance, it just needed to be a little more fleshed out to further develop their relationship in the beginning.

But there's a lot to be loved from A Star is Born, one of which are the musical numbers. The soundtrack is spectacular, and every single number packs a powerful beat. The decision for Cooper and Gaga to sing live during the filming itself instead of recording the songs prior to filming is a brilliant choice, and shows the amount of dedication into making the film as real as possible. Some comparisons could be drawn to big-screen musicals, particularly La La Land, in terms of portraying the struggles in making it big in show business, though other than that, they couldn't be any more different. What differentiates A Star is Born from other modern musicals is that it captures something that is emotionally raw, especially when it comes to what Jack and Ally would have to go through in the film. That's what made it shine. There is a line that Cooper's Jackson Maine says to Ally that to me, is the film's main message and driving force: "Talent comes everywhere, but having something to say and a way to say it so that people listen to it, that’s a whole other bag." To them, having something to say was through singing, but to us as the audience, it's through the film itself.

Image source: Culturess.com

Overall verdict: A Star is Born thrives in making something as authentic as possible, putting struggles of making it in show business as well as the incredible musical numbers that are wonderfully performed by Bradley Cooper and Lady Gaga (Black Eyes, Shallow, and I'll Never Love Again are my personal favorites). The two leads have excellent chemistry, especially when it comes to the more emotional moments. The film's attempt in sending the message of the risks of trying to make it big in the entertainment industry is for the most part, well conveyed, but some aspects, particularly when it comes to Ally's arc; don't feel as emotionally packed when compared to the development of Jack's arc or the stuff that happens during the first and second act (though they have some minor pacing issues). Jack is probably the most fleshed out character of the two, drawing conplexities in his struggles with alcoholism that literally drove him to a breaking point sometime during the film which one of the film's most heartbreaking moments. Despite its issues, A Star is Born packs many emotional and heart-wrenching moments that are conveyed successfully.

Stars: 4/5

Trailer

By Nadia Ranaputri

Image source: Business Insider

Director: Damien Chazelle

Cast: Ryan Gosling, Claire Foy, Jason Clarke, Corey Stoll, Pablo Schreiber, Kyle Chandler, Ciarán Hinds.

The moon landing was one of the most historical events known to man, and it's the story that has been told countless times to the point where we all know the eventual outcome. First Man is the latest to tackle the story, putting Neil Armstrong in the center of it once again. With Damien Chazelle at the helm, this would be his first biopic feature that doesn't include an artist as the protagonist. Having helmed critically praised films like Whiplash and La La Land, First Man is a vastly different field for Chazelle, depicting the true story behind the historic event. From the moment it opens, we're already strapped in alongside Gosling's Neil Armstrong as he takes off on a test flight in the Mojave dessert.

First Man is based on the book by James R. Hansen, which depicts astronaut Neil Armstrong's journey in becoming one of the first men to step foot on the moon. As many have already known the outcome of the mission, this film mainly focuses on the process of the 1969 Apollo 11 mission that took place to achieve the historical moon landing. Being one of the selected candidates in NASA's Project Gemini, Neil faces a difficult balance between doing the best he can in his job in order to avoid the consequence of certain death and telling his family of the risks he has to take whenever he goes to work, caught between going days, weeks, or months without coming home and the very possibility that he might not ever get to come home at all.

Gosling is effectively stoic and focused as the quite yet intelligent main lead. His emotions remain guarded when seen in the eyes of other people, but when the focus all comes down to him, that's when we see the gathering tears in his eyes and the clenched jaw that either prevents him from quivering his mouth or cause him to succumb to an overwhelming flood of emotion. Chazelle makes sure that every bit of Neil's progression is told by his reaction to the things he feels, hears, and sees. He's portrayed as someone who is not very open when it comes to talking about how he feels, even to his wife Janet. He keeps a calm demeanor despite there being scenes of him in the middle of a constant turbulence, whether it's during takeoff or a simulation test (which despite the fact that he passes out during the simulation, he regains his composure and confidently announces that he'd like to have another round at it).

Imags source: Variety

Even during its more dire scenes, Gosling keeps his emotions neutral, as if stating that panicking or any other type of sudden reaction is not the key to solving the problem, but rather to stay composed, focused on the task at hand and to find a possible solution. But when you put Neil face-to-face with his wife Janet, it's an ongoing battle of keeping both of their emotions in check. Alongside him is Claire Foy, who is the standout of the film and is giving a much more emotional performance as the stay-at-home wife who fears for how her husband's impending doom could affect her and their children. Her fear gets to the breaking point when she slams the door of Neil's office at home and forces him to to tell their children about the nature of his job and the consequences that follow it, showcasing Foy's and Gosling's performances at their finest. When Neil refuses to talk or even look at her, she stares him down with a gaze so intense, it even drives him to immediately walk back out of their house right after he entered it during one scene, trying to avoid the possible confrontation that his wife would bring had she known what happened to him.

First Man feels so authentic and grounded, making the epic feel genuine, particularly the moon landing, a gorgeous sequence that deserves to be seen on the biggest screen possible. But when it gets to the things that happen at home, it's also haunting as to show that this is no mere field trip. It depicts the familiar family life, but ultimately smashes the comfort of life back home with the possible fatality of a loved one. Similar to Whiplash and La La Land, Chazelle depicts the struggling efforts of achieving what is deemed to be impossible to reach. At some point, it questions the motives behind such an ambitious mission. It doesn't attempt to sugarcoat the tragedies and struggles of the journey to making history, but at the same time, it also highlights the determination in their goal and improving their ways to do so ("We need to fail down here so we don't fail up there," Neil points out in the film). The attempts made to further progress their goal of landing on the moon are interwoven with the more subdued sequences of the Armstrong family that are sometimes filtered with the feeling of dread from the possibility that Neil won't be returning home, or the constant news of astronauts dying from fatal technical issues that makes civilians question whether all of this was even worth it.

Image source: Cinema Vine

While the family aspect of the film gives the film an emotional touch, it's the sequences in NASA and in space where the film really gets intricate. It's also extremely intense, despite us knowing the outcome of the story. Crafts shake so violently that you wonder if they're even going to make it, and fatal obstacles like a dizzying sequence that involves a continuously spinning craft in the void of space are not taken lightly. But there are scenes that also immerse us in the beauty of space, told through the windows of the spacecraft and the reflection of Armstrong's helmet. It bounces brilliantly between the claustrophobic atmosphere of the space capsule and the vastness of space beyond it. The infamous moon landing is a gorgeous sequence to witness, and as the landing attempt is filled with Justin Hurwitz's illustrious score that elaborates on the feeling of triumph and the spectacular revelation of the moon itself, it eventually resorts to the absence of sound once Neil steps foot on the moon's surface. The film doesn't revel in its success by an epic composition, but through the silence of space and the ragged breathing of the men that made it happen.

The shots are mostly handheld when it comes to the scenes on earth, and at times, it even feels like it was shot like a home video, creating the feeling of normalcy. But the space stuff are more steady yet more fluid in movement, there are shots that are similar to the way Christopher Nolan conducted sequences on the air in Dunkirk: through the cockpit (or the compartment in this case) and the exterior of the craft that overlooks its movements and the atmosphere around it. But First Man is also immersive in bringing the audience in to the astronaut's shoes. When Neil enters the space capsule, some of the shots are told from his eyes, and for a moment, we are the ones being put in a claustrophobic space. It puts us in his spot to really know what it must have felt like for him, and the other astronauts to be put in such a tight spot with various possibilities of the whole thing being torn to pieces.

First Man is not the kind of film that thrives in showcasing the triumph of achieving what could have been seen as an impossible feat, but rather the kind that showcases the struggles in the process and grounded sense of realization that things like this have consequences. It's ultimately worth it, because when the film sticks the landing on the infamous moon sequence, it's saturated with the feeling of silent disbelief. It doesn't even show the millions of people watching the triumphant event, it keeps focusing on the astronauts who put their lives on the line and do everything they can to make sure every bit of their mission is successful. And like Dunkirk, it doesn't show the feeling of complete triumph, but more of relief and the disbelief that they made it, and when they really did make it, you can't help but cheer for it.

Image source: Fandango

Overall verdict: First Man feels authentic in telling the story that has been depicted several times on screen, taking it on a different kind of perspective and a new ground. Gosling is brilliantly composed as Neil Armstrong, bringing his A-game in portraying the astronaut who struggles in avoiding the possible fatality that could occur to him and the revelation to his family of the dangers of his job. He's perfectly paired with Foy's Janet Armstrong, who resides her emotions with intense stares and bursts of anger. It gives a feeling of normalcy, but it knows how to demolish that sense of normalcy with dread and gritty determination. It puts audiences on the Neil's shoes and invites them along on their journey to the vastness of space and eventually the perils that follow. The cinematography is gorgeous and adds a whole new level to the film, particularly the moon landing sequence that is accompanied beautifully by Justin Hurwitz's score; and is worth seeing on the big sreen. The grounded tone, the intense revelations, and the subdued feeling of triumph is what made First Man stand out amongst other films of its kind that had came before it.

Stars: 4.4/5

Trailer

By Nadia Ranaputri

Image source: Geek Tyrant

Director: Ruben Fleischer
Cast: Tom Hardy, Michelle Williams, Riz Ahmed, Jenny Slate, Reid Scott.

When it was announced that Venom was headlining his own film in Sony's Marvel Universe (excluding ties from the Marvel Cinematic Universe despite Venom's constant connection in the Spider-Man universe), there was doubt, but there was hope. Venom wasn't exactly the best when the symbiote first appeared on screen in Spider-Man 3, and it seems that Sony wanted to do justice to the symbiote and his human counterpart by having him lead his own film. With an impressive cast of A-listers such as Tom Hardy, Michelle Williams, and breakout star Riz Ahmed, this film had a lot of potential to do this anti-hero justice in its return to the screen, which leads to the million dollar question: was it any good?

Venom follows investigative reporter Eddie Brock (Tom Hardy), who's known for being an ace reporter when it comes to tackling stories, but not immune to cause some trouble while working in his field. When we're introduced to him, he has a steady job and a loving relationship with his girlfriend Anne (Michelle Williams). His reputation as a reporter is then shattered when his interview with tech corporation owner Carlton Drake goes horribly wrong. As a result, his job, his relationship with Anne, and basically his whole life takes a downturn. Soon after, his path leads him to further investigate Drake's company, hoping to capture proof of the company's dark secrets. Turns out, the company's lab stores extraterrestrial symbiotes, used for sinister intentions. Brock's venture in the lab eventually seals his fate with the symbiote that would later become a part of him.

Hardy's performance is really what drives the film. No matter what the result of the film itself, you can tell that he genuinely wants to play Eddie Brock. His comedic chops are rather cringy at times, but his banter with the symbiote is quite fun to to watch ("I'm a loser, just like you," the symbiote says to Brock at some point). He's the brightest star in the otherwise dark sky. He makes the most out of a mediocrely written script, which keeps the film from completely crumbling apart. Hardy has a lot of good moments here as Brock, and he's very enjoyable to watch, which perhaps makes him one of the few good things about the film. Brock as a character has some good depth in the story, as he goes around with a motorcycle to document events as an investigative reporter, a job he seemingly loves but destroys when he gets the opportunity to have a face-to-face with tech billionaire Carlton Drake by spitting Drake's worst allegations against him.

Image source: IMDB

Venom's real lack however, is in the story and the script. Venom falls victim to a typically generic story with an equally generic script that moves quite quickly, leaving you to wonder how the hell they got to a certain plot point with little to nothing to establish said plot point or that the very thing that is set out to establish said plot point is not explored and easily dismissed for the sake of keeping the plot going in just under two hours. It even has its own set of convenient facts that are excruciatingly obvious at presenting its coincidental convenience (oh you just told us this fact? How convenient). It's unfortunate, considering that the film's director Ruben Fleischer, was able to tackle the horror comedy Zombieland (with the help of a good script) with a lot of zing and charismatic characters. There should be a lot to like from this. So what happened with it?

The events that happen during the first and second act feel choppy, and as said before, everything just moves quickly before you could have the chance to explore the characters and the world they live in. Due to that, most of its characters have no real depth either (save for Brock, even if he can be a prick at times). Michelle Williams was quite wasted in a love interest role, though she has her moments here, and Riz Ahmed's character had no clear motivation and fails to come off as a formidable enemy. At its worst, there's a doctor whose only purpose is to serve as a barrier between two characters, or in other words, served no actual purpose to the story.

Image source: IMDB

But I have to give kudos to some brilliant horror imagery here during some scenes that give it an eerie feel, though the film obviously does not have enough of those. There's an Alien-like vibe going on with the symbiotes, and I'm all for that; yet since the film has other plans, it's swiftly dismissed (to get the plot going and fit everything else into a film that's less than two hours, perhaps?) and sometimes just comes off as dull. It goes for a Xenomorph level of frightening when it comes to how the symbiotes take over the human body, except with some distractingly bad CGI and less gore in this one. But because it's more of a hardcore PG-13, it doesn't have that same snap when it comes to the gore as say, Alien: Covenant (say what you want about Covenant, but you have to admit, the gore is all kinds of eerie, and spot on too). So yes, it doesn't fully utilize the very thing that could have made the film better than what it turned out to be.

Venom doesn't really know where it wants to go. An R-Rating perhaps could have done the trick for a solid ride, but then again, it also comes down to the story itself. One moment, you're seeing something horrific that plays off a little like Alien; and then the next, it's on to some weird comedic scene that involves a post-symbiote Brock dunking himself into a tank full of lobsters. The point is, it's all over the place. Is it a horror? A buddy comedy? A drama? I don't know, you tell me. It's several different tones that don't go together as well as it should have. Think of it like the kind of dish that attempts to put sweet, savoury, and spicy all into one plate. It can work some of the time, but the problem here is that in this case, they don't go well together at all. That's essentially what this film is.

Image source: IMDB

Overall verdict: Venom has some good moments, like some parts of a motorcycle chase scene that were genuinely fun, or some of the banter between Hardy's Eddie Brock and Venom. Hardy was easily the best part about the film, and clearly wants to play the reporter-turned-anti-hero. It did also have some great horror imagery that give us glimpses of an eerie feel that is almost similar to Alien. However, Venom still has many things to improve, particularly when it comes to the story. It moves a little too quickly to the point where a certain arc feels as if it came out of nowhere or a certain progression doesn't feel earned enough for it to suddenly happen. Riz Ahmed's character doesn't have much to offer as the antagonist, despite Ahmed's performance, and Michelle Williams is unfortunately wasted in a love interest role. Venom just doesn't know what kind of film it wants to be. Is it going for a horror tone? A comedic tone? Or something with a dash of drama? Venom has all three of those things. The problem is, the film executes it poorly, resulting in a clash of tones that don't go together as a whole.

Stars: 2.5/5

Trailer

By Nadia Ranaputri

Image source: Wired

Director: Jon M. Chu
Cast: Constance Wu, Henry Golding, Michelle Yeoh, Gemma Chan, Awkwafina, Nico Santos, Sonoya Mizuno, Chris Pang, Ken Jeong.

Crazy Rich Asians has gained a much talked about platform due to its achievement of being the first film to have an all-Asian cast since The Joy Luck Club. It's in a way, a step up for Hollywood and for Asian representation in the media. Set mostly in Singapore, Crazy Rich Asians is filled with the richest, most glamorous, and at times, heartwarming story. Following this year's Black Panther, Crazy Rich Asians sets the stage for a Hollywood film with a fully diverse cast.

Crazy Rich Asians starts off in New York, where economics professor Rachel Chu demonstrates a strategy game against one of her students. From then on, her boyfriend Nick Young, also a professor, invites her to accompany him to his best friend's wedding in Singapore. The sudden first class flight with a private suite immediately gets Rachel to question Nick's true upbringing, and if he was far from the simple-minded man she's always known (one of the only few glimpses that showcases his simplicity is where he takes bites from her plate instead of ordering his own). Turns out, his family is one of the biggest real-estate developers in Singapore, having gained a crazy amount of fortune from their long-running business. Little did she know, as soon as she sets her foot on Singapore soil, she's stepping into the lion cage and into the claws of Nick's family and friends who are far from happy to hear of her and her relationship with Nick.

Constance Wu is daringly sweet in the role of Rachel Chu, a brilliant economics professor who knows that the right strategy is the key to winning. And it's easy to see why Nick Young, played by newcomer Henry Golding; would fall for her, (they have great chemistry together, even though my cousin who sat next to me was frustrated as to why the hell Nick did not say anything to prepare her for the coming storm) even if his family says otherwise. Golding is effortlessly charming in his first film role, sweeping the floor with his British accent and literal charm. He doesn't get as much meat to work with on his performance as Constance Wu, however.

Image source: The Mary Sue

But the star of the film is Michelle Yeoh as Eleanor, Nick's mother who is adament that Rachel is not the one for Nick. She has a much more grounded portrayal than the novel (she spends parts of the novel ranting in despair of the things she discovers about Rachel in complete exageration, which was probably riddicilous since they'd have Yeoh exegerate such mundane facts), making her much more intimidating than her novel counterpart. Awkwafina and Ken Jeong also have some gold comedic moments and provides most of the comedic relief in the middle of the crazy rich family drama.

The visual imagery that Crazy Rich Asians has on its belt is richly (no pun intended) stunning, showcasing all that Singapore has to offer. Right of the bat, as our main duo arrive at the infamous Changi Airport, which has a butterfly garden and a cinema; Rachel gawkes at the beauty of Singapore's airport while muttering out that JFK reeks of "salmonella and despair" in comparison to the lavish airport she had just landed on. Then we're taken on a sightseeing trip of the country, with stunning shots of Marina Bay Sands, and a fun sequence where the duo and their friends at the hawker centre with plenty of Asian delicacies from satay to traditional shaved ice with sweet syrup. However, it's perhaps the wedding scene itself that is full of wonder, awe, and grandeur that makes it the film's standout scene, if not one of them.

It's not as audacious or as absurd as its novel counterpart, but it has its riddiculous moments of showing off the rich. The film starts off with a jazzy revamped tune of a classic Chinese number by Jasmine Chen, and from there the stage is set for some crazy rich showcases. One of the more fun sequences include Nick describing some of his cousins, one a photogenic cousin who was introduced by scolding his wife for not wearing a better designer dress that would have landed them on the cover of the American Vogue instead of Vogue China, or Peik Lin's eccentric family that lives in a house of gold, and to its extent, one of the bachelor's companions who would rather set a bachelor party on a cargo ship in the middle of International Waters than a 'typical' bachelor party that he describes as "going to strip clubs and dog fights". The novel is clearly more detailed in describing the absurdities of the rich life, of how controlled the life of the rich is, but at the same time, incorporating Asia's rich culture that really hits the spot for those who grew with traditional Asian customs.

Image source: Time.com

Crazy Rich Asians has the ingredients for a classic chick flick. You've got the romance between our main couple, the comedy of the side characters (Peik Lin and her family are an utter delight and scored the biggest laughs in my theater), and the eventual girl-on-girl rivarly between Rachel and Nick's mother. It's nearly the exact same thing that you expect from any romance film that happens to have a dash of comedy, but sidesteps the traditional boy-meets-girl arc most romantic comedies follow (basically the main couple are already together by the time the film begins). And like most romantic comedies, it has a lot of heartwarming moments, especially between Rachel and her mother.

Helmed by Jon M. Chu and with the script penned by Peter Chiarelli and Adele Lim, Crazy Rich Asians does follow a Cinderella-like story (the film makes sure to take note of that by having one of the characters comment on what they call a Cinderella moment), but the team manages to hammer the 400 page book with multiple point of views of several characters into a two hour movie, though for those who have read the novel will notice that some arcs will not get as much of a satisfying conclusion than the main arc that they were going for.

Image source: Variety

Overall verdict: The film pales in comparison when it comes to showing the "crazy rich" side of things because the novel practically goes all out on it, though that's not to say that it makes the film any less enjoyable. The visuals of the film is brilliant and gorgeous, showcasing Singapore's best sites like Marina Bay Sands and the hawker centres that are popular among tourists. Constance Wu and Henry Golding have great chemistry that propels the film, but the standouts were perhaps in its supporting cast, with Michelle Yeoh as the fiercely intimidating Eleanor and Awkwafina is hilarious as Rachel's good friend Peik Lin. It has the basic ingredients of a romantic comedy and in some ways, a chick flick, but manages to bring something slightly new to the table. There are still moments where the absurdly rich side of things are sidelined for a more grounded storytelling, (the novel is much more grandeur and crazier at painting the lives of the absurdly rich) and that's actually more of a compliment than a complaint.

Stars: 4/5

Trailer

By Nadia Ranaputri

Image source: Digital Spy

Director: Christopher McQuarrie
Cast: Tom Cruise, Simon Pegg, Rebecca Ferguson, Ving Rhames, Henry Cavill, Sean Harris, Angela Basset, Vanessa Kirby, Alec Baldwin, Michelle Monaghan.

There is no doubt that Mission: Impossible has become the franchise that significantly gets better with each installment. We go to the movies to witness the magic and fun of a motion picture, don't we all? Well, that's one of the essence of the Mission: Impossible franchise. But what sets it apart from other franchises of its action genre in the likes of James Bond or the evergrowing Fast and Furious? Each of its own installment has mastered, if not elevated the elements of surprise, action, and its most powerful weapon: storytelling. The franchise may have grown increasingly in the amount of installments, but this gem also increases in story. Ghost Protocol was the brilliant sequel/revival of the series that brought the franchise back in the game, Rogue Nation elevated the franchise even further and rival other films of its genre, and its latest, Fallout; continues to further elevate the franchise on another level.

Two years after the events of Rogue Nation, Fallout presents a new mission to IMF agent Ethan Hunt: retrieve the plutonium from black market mercenaries to prevent the Apostles, the Syndicate's newest label; from obtaining it and unleash a nuclear bomb on the world. The mission however, ends in shambles, with Ethan and his team losing the plutonium in the process. As compensation for their failed mission, Ethan sets his sights on the White Widow, a mercenary dealer under the guise of a broker, who happens to have the previously missing plutonium stored in her vaults. This is then intervined by the CIA, who thrusts one of their own into the IMF team, causing a rift between both the IMF and the CIA. To make matters more complicated, Ethan's former ally turned supposed stranger Ilsa Faust makes her presence clear in the already harrowing situation, leaving Ethan and his team with hard-hitting decisions that could either bring salvation or destruction of not only the IMF, but the rest of the world with it.

One could perhaps say that Fallout is the best of the franchise, and it could be in some ways, but in many ways than one, it stands proudly alongside its other previous installments. You've got the stars, the action, and the stunts, but what's the point of it if you can't deliver a good story along with it? Fallout and its predecessors have proven that yes, a good story it what elevates its other elements to a whole other level. This is some master storytelling at hand here. It's not often that action films, especially spy films nowadays, utilize its maze of a plot and turn it into something of a special piece of storytelling. It's not just plot twists and action, it creates real challenges for our protagonists, both physically and mentally. Fallout is what 2015's Spectre should have been, rounding up the consequences of previous events and incorporating them in a whole new canvas for a new kind of story. Perhaps Fallout is somewhat some sort of culmination of the franchise, even if it was meant to be the culmination of the franchise, it truly manages to tie the pieces together in spectacular fashion.

Image source: Variety

And there's an incredible amount of character development that makes the characters even more than just super spies and genius tech savies. Ethan, in particular, has great development throughout the franchise. He's the kind of spy who's loyal, honest, and all kinds of badass. Even Pegg's Benji Dunn, the tech genius of the team, has been more than just the comedic relief; he remains as vital to the team as the other members. Ferguson's Ilsa has a great arc going on here, proving as more than just a mere female spy who can kick butt, and with the help of Ferguson's performance; Ilsa is also able to develop as a complex character with complex values. Ving Rhames is also given a couple of emotional moments that really hits the spot, one particular scene being an emotional moment between him and Ferguson's Ilsa. Its newest additions, Cavill, Bassett, and Kirby (though Kirby and Bassett are a little underused), bring their A-game in to the mix (especially Cavill, who manages to shed the shadow of the man of steel and kick his way in to the team as a potential ally with fierce principles and a cool demeanor).

Of course, every Mission: Impossible film is not complete without its defining trait: iconic action setpieces with the one and only Tom Cruise, and once again, it really is him doing all the exhilirating action that you see on screen. Not only that, but the action itself is another vital reason why the film thrives. Fallout has incredible action sequences that are immersive and at the same time, cohesive. And the best part is: it's exciting and exhilirating. Shaky camera work and lazy editing don't exist here, and the same applies to strokes of a one-note tone. There's an exhilirating HALO jump atop Paris' bright lights, a beautifully constructed car chase sequence around the bustling Paris streets, and the tension-filled helicopter scene that gracefully highlights the alps of Kashmir. Each of its action sequences is significantly constructed to have its own vibe and continuously excels one after the other with its stunts, setpieces, and Lorne Balfe's impressive score.

Image source: Nothing But Geek

Mission: Impossible- Fallout is proof that not only is the franchise stopping anytime soon, but also of what happens when the amount of attention and focus on creating a good story is equal to building high stakes and thrilling action setpieces that get better with each and every sequence. Fallout truly raises the bar for modern spy films and is a true rival of other films that tackle the genre. Fallout creates an impressive culmination that really pays off to the fans who have passionately followed the franchise over the years, constantly elevating its game with each installment. When you see Christopher McQuarrie's name as the writer and director at the beginning of the film, it may merely be a name, but by the time the film ends, McQuarrie is the guy you want to take by the hand and throw a celebratory party in his name because you know that he's nailed it for the second time in a row.

Overall verdict: continuing the franchise's gold streak, Fallout spectacularly nails nearly every single element that keeps audiences immersed and on the edge of their seat. Fallout further cements its great character development that its predecessor had successfully created, presenting challenging arcs for our protagonists whilst every once in a while, adding a sprinkle of humorous banter. Its action sequences and setpieces are as always, thrilling and enticing. However, Bassett and Kirby are slightly underused despite their intriguing morals, but not to the point where they're considered useless plot devices. But Mission: Impossible- Fallout, like its predecessors, truly know how to mix enthralling action, gorgeous cinematography, and an equally gorgeous score to accompany each sequence; with great storytelling. If you're looking for some damn good fun with a great story, look no further than Mission: Impossible- Fallout.

Stars: 4.6/5

Trailer

By Nadia Ranaputri

Image source: Popsugar

Director: Peyton Reed
Cast: Paul Rudd, Evangeline Lilly, Michael Douglas, Hannah John-Kamen, Laurence Fishbourne, Michael Peña, Walton Goggins, Bobby Cannavale, Judy Greer, Tip "T.I." Harris, David Dastmalchian, Abby Ryder Fortson, Randall Park.

The Marvel Cinematic Universe has been on a roll lately, laying out their universe and expanding it to new heights. In 2018, the MCU has brought us the gem that is Black Panther, and the culmination of their whole universe in Avengers: Infinity War. That leaves us one question: where were Ant-Man and the Wasp during Infinity War? Okay, maybe that isn't the most vital question that we're desperate for Marvel to answer (there are more dire questions at hand such as where the victims of the snap went off to or how the hell the remaining Avengers are going to undo the snap that wiped out half the universe), but at some point, we're left thinking where our tiny heroes were during the epic battle against the Mad Titan. Ant-Man and the Wasp, of course, answers that question.

Ant-Man and the Wasp opens to a more fleshed-out exposition of the flashback to Hank Pym and Janet Van Dyne's tragic mission that we first saw in the predecessor, further explaining Janet's sacrifice by going subatomic and in the process, entering the Quantum Realm. Fast forward to present day, and we're introduced once again to Scott Lang, who is only days away from finishing his house arrest sentencing, a consequence he had to take for going against the Accords back in Captain America: Civil War. Eventually, he's dragged back into action by Hope and Hank Pym, who require something from him as they realize that he had discovered something regarding Janet. As he finds out, Pym has a portable lab that could shrink and enlarge at will in which they have been building a portal to the Quantum Realm. They're not alone, however, as they too are being hunted down by a mysterious figure who could phase through solid objects as well as a group of black market mercenaries who are out to get Pym's portable lab for their own personal gains.

Paul Rudd returns as our tiny hero Scott Lang/Ant-Man, ever charming in the lead; has some spectacular comedic timing here as always. When under house arrest, there's only so much you can do, but if you're Paul Rudd, there's a lot you can do when you're one of the most genuinely funny actors out there, and here, he delivers. Once we're introduced to the situation that Scott has gotten himself into, he makes the most of it, by playing drums, building a tunnel for him and Cassie to play with; as well as the best part of it all: Scott singing karaoke. That's right, that happens. But once he's unwillingly pulled out of house arrest to help Hope and Hank, his streak of charm continues to brighten the screen, one particular scene being an awkwardly hilarious but intimate scene with Michael Douglas' Hank Pym and Evangelline Lilly's Hope Van Dyne that is so unbelievably funny, but the love and charm that he's brought to the film is still there. And when it comes to the more serious stuff, he still nails it without losing his charm.

Image source: Digital Spy

The standout however, is his partner in crime Evangeline Lilly as Hope Van Dyne, aka The Wasp. This time around, she's gets plenty of fun action scenes as she takes the mantle of the Wasp alongside Ant-Man. Though she begins as a one-woman-show type of person, she eventually teams up with Ant-Man, and what do you know, their chemistry together was a joy to see. Lilly knows how to hold her own in sharing the spotlight with Rudd, and they manage to create some spectacular back and forth banter together. Hope's perseverince is one of her biggest strengths, and an intriguing aspect of her character, further establishing her place and making her mark among other MCU heroines that came before her. She grounds the film with her fierce yet vulnerable atittude whilst also bringing a different kind of charm into the mix, and when it's time for her to shine, she makes damn sure that she's using it to her advantage.

Ant-Man and The Wasp is guaranteed to be a good time, with giant salt shakers and a Hello Kitty pez dispenser thrown around in battle. It's slightly different from your usual Marvel action sequences, perhaps since it has something to do with the shrinking and enlarging, but it still remains to be a heck of a fun time. The shrinking science mumbo jumbo is delved into a lot further here, and it is a delight. Just when you think you've seen everything there is to do with all the shrinking in the first Ant-Man, this one reassures that there's a lot more to it than meets the eye. We've seen the shrinking and enlarging of Thomas the Train and the enlargement of one of Scott's ants; this time around, there's an on-the-go lab that could shrink and enlarge at will, as well as an array of fully functional tiny cars that are very helpful in dire car chases (which actually paves way for a very creative car chase sequence).

But even then, it even has some heart and soul into it. Our heroes have people back home that are their primary motivation for saving the day, like how Cassie becomes Scott's motivation to become the Ant-Man. In the first Ant-Man, Scott was struggling to raise money in order to pay child support and see his daughter. After his heroic action in the predecessor, he earned his wish to spend some time with his daughter, but his actions during Civil War puts him back in a tight spot since he's under house arrest. During his house arrest sentencing, Scott is making sure that he is able to make the most of his time with his daughter Cassie whenever she visits him for the weekend (there's a very cute sequence of them playing around the house), whilst Hope and Hank are trying to hold on to the possibility that Janet is still alive, though they're also placed in a difficult position. Ant-Man and The Wasp carries this theme of family well throughout the film, giving a lot of space for some well-earned emotional scenes and plenty of heart into these characters.

Image source: Nerdist

Then there's the antagonists, and there's a couple of them here. For one, they have Ghost, an enemy who can phase through objects and proves to be a real challenge for both Scott and Hope. But Ghost isn't necessarily a villain, she is more of someone who has different a goal than our heroes which could be said as an act of desperation rather than an act of true evil, though her main target of reaching said goal is the exact same with our heroes: through Pym's portable lab. Ghost is clearly the most interesting one out of the other antagonist that this film has under its belt, and it's a good thing since she is the main antagonist after all. The other group of antagonists, led by Walton Goggins' Sonny Burch; isn't all that interesting unfortunately, as they're merely placed on the sidelines of the film's cat-and-mouse game-like story, save for a great comedic scene with Michael Peña's Luis that involves a "truth serum" and Luis' storytelling tactic that has become an icon of the Ant-Man franchise.

Does Ant-Man and the Wasp feel like a filler? At some point, it does, due to the slightly overstuffed narrative that could have been bogged down a little bit. There are narrative elements here and there that could have been fleshed out more, such as some things that are resolved a little too quickly (one of them being a technical flaw with the Ant-Man suit) and cast aside for other arcs that really didn't need to be there, particularly the arc with Goggins and his gang. They really could have just gotten rid of Walton Goggins' Sonny Burch and his gang of black market criminals (they don't serve any real purpose to the story) and it wouldn't make much of a difference. If they had however, stuck with one antagonist (aka Ghost), that probably would have made it much better. Flaws aside, Ant-Man and the Wasp still has a lot of good moments going here and there, and the more genuinely heartfelt and fun moments definitely outweigh most of its flaws. It's not a perfect sequel, and for me, it doesn't have the same zing to the overall narrative as its predecessor, but it does pack in more variation into its story and its humor; reminding us what we loved about the first Ant-Man whilst also creating something new in the process without fully relying on repetition.

Image source: Entertainment Weekly

Overall verdict: Ant-Man and the Wasp is a definite fun time, especially if seen with friends and family. The comedic timing is still as brilliant as its predecessor, with iconic scenes such as Luis' babbling that become the predecessor's most memorable scene, and a very funny reference regarding Baba Yaga. The film's two leads, Rudd and Lilly are excellent and have great chemistry throughout the film. There's a lot of heart going on in this film, with family being the primary theme of the film, and it touches upon that beautifully. It does however, have a slightly overstuffed narrative with arcs and characters that really didn't need to be there in the first place, particularly Walton Goggins' Sonny Burch. Regardless, Ant-Man and the Wasp is still a good time and while it can feel like filler, it has plenty of great moments to keep the audiences along for the ride.

Stars: 3/5

Trailer

By Nadia Ranaputri

Image source: Variety

Director: Brad Bird
Cast: Craig T. Nelson, Holly Hunter, Sarah Vowell, Samuel L. Jackson, Huck Milner, Bob Odenkirk, Catherine Keener.

Incredibles 2 may have taken 14 years to return on the silver screen, but that doesn't seem to be the case for the continuity of the story. When Incredibles 2 opens, we're taken back to the exact moment our super family suits up and faces off against the Underminer, who we first saw in the very end of the first film. From there on, Bird has set the stage for the epic return of the well-known super family. And boy, it's a blast.

Picking up from where the first film left off, the superfamily known as the Incredibles face yet another challenge: the government. As their last showdown leads to more damage, the government decides to ban all superheroes in the city in fear of impending threats and casualties from any major oncoming battles should there be one. The Incredibles, being the cause of this ban, are forced to return in hiding, masking their real identities whilst letting go of their superhero ones. As Bob/Mr. Incredible (voiced by Craig T. Nelson) and Helen/ Elastigirl (Holly Hunter) struggle to find the best solution for their children, they're offered another chance at bringing superheroes back into the light with the appearance of tech tycoon Winston Deavor (Bob Odenkirk) and his tech genius sister Evelyn (Catherine Keener). However, it's Helen who takes over the role of superhero duty, leaving Bob with the kids and an array of complications in taking care of the family on his own.

This time, it's Elastigirl who gets most of the spotlight and the action, having been given the oppourtunity to shed the more positive light on superheroes. As she leaves to pursue her opportunity to do so, Bob is left on parenting duty, taking care of the raging teen hormones of his daughter Violet, who blames him for intervening her relationship with her crush Tony; Dash, who wants nothing but actually take part in any kind of superhero action, such his fascination with his father's infamous incredi-mobile. The most boisterous of the bunch though, is Jack-Jack; who's having a blast with his newfound powers: being able to multiply himself, turning into the demon-like creature that we first saw in the first Incredibles, and willing himself to combust into fire.

Image source: AceShowbiz

Role-reversals may not be something new nowadays, since it's something of a current theme, but Incredibles 2 gets along with this just fine. It doesn't undermine the gender roles the way the 2015 Ghostbusters might have done (the whole women rule, men suck type of thing), but encourages them to challenge themselves when they're needed to take over the other's role. Bob for example; has taken over parenting duty, and finds that it is not as easy as it seems. He realizes the struggles of parenting kids who are going through adolescence and puberty, something that Helen had to go through in the predecessor. But through it, he finds a newfound motivation and even meaning for his family. Elastigirl, on the other hand; finds that some missions aren't worth going through alone. It sets a new kind of depth to the role revearsal theme.

And it isn't the only pressing issue of the film. Following similar steps to what Fox and Marvel had previously done with the X-Men, or the MCU with Avengers: Age of Ultron, and Captain America: Civil War, not everyone is happy to have superheroes on their side. The Incredibles may have saved countless lives in the predecessor, but the damages in the city that they have caused is severe, and worth investigating. Their fight with the Underminer had drawn the final straw on the government, resulting in the ban of superheroes, leading the superfamily to comply with their wishes in defeat rather than walk out in victory. This may not be the biggest pressing issue, as the film isn't fully flawless in presenting this issue, which is slightly unfortunate, since this is the main drive of the story and what lead to Elastigirl taking the task of bringing superheroes back into the light again. Since this is an animated film that clocks in under two hours, it's understandable that this isn't delved more than it did in the film.

But the "super" elements are also what drives the film alongside its more non-action elements. Brad Bird directs the action effortlessly. There's a whole lot of fun action going on here, and most importantly, it's cohesive. Bird just knows how to set the stage for an entertaining action setpiece that isn't all over the place and actually has a sort of cohesion to it. Even in both animation and live-action, Bird has a natural talent of bringing cohesion and endlessly entertaining action sequences that aren't repetitive of previous sequences or other films of the same genre, which is why scenes like Tom Cruise's harrowing climb on the Burj Khalifa from Mission: Impossible- Ghost Protocol or the Incredibles' fight against Syndrome in the first Incredibles film remain memorable setpieces. They're easy to follow but impeccably boisterous and entertaining at the same time. And because it's animation, there's plenty of limitless possibilities of crazy action scenes with fluid control over its camera shots that could never be achieved in live-action, no matter how grand the CGI is.

Image source: AceShowbiz

Incredibles 2 offer a new kind territory in terms of story, but remains grounded in terms of showcasing the things we loved about this superfamily. They need to be as tight-knit of a family as they are super, and the film, as well as its predecessor; presents this in a fun and heartwarming way. There's plenty of room for the family to click with us as an audience, and the film does that in incredible fashion. The film's freedom from the bigger picture of setting up a franchise of its own is also evident. Incredibles 2 is not bound in trying to set something that's to come in the next (if there even if a next film) like what most superhero films are doing noawadays. It is simply its own thing, hence why Incredibles 2 is a sequel worthy of standing alongside its predecessor.

Overall verdict: It's clear that Incredibles 2 isn't a film that exists to be a cashgrab, but a well thought-out superhero story that could rival even the best live-action films of its genre. The role revearsals give a bigger depth to the family dynamic without undermining both genders involved, and it remains grounded as it is super. There seems to be a lot of thought and care placed in nearly every single element of story, be it the action, the story, or even the issue that is raised. After 14 years of waiting for this incredible superfamily to return, it's safe to say that this is a sequel worth waiting for.

Stars: 4.4/5

Trailer

By Nadia Ranaputri

Image source: The Indian Express

Director: J.A. Bayona
Cast: Chris Pratt, Bryce Dallas Howard, Rafe Spall, Justice Smith, Daniella Pineda, James Cromwell, Toby Jones.

The very first Jurassic Park has a very special place in my heart. Back in kindergarten, I used to come over to my friend's house and watch it repeatedly with him. Somehow, we never got bored of it. The magic was always there, no matter how much we've seen each sequence. It's a timeless piece of film, and remains as one of my fondest childhood trinkets. Now, it has become a franchise of its own, with the second and the third following closely after the first one. Then 2015 brought us Jurassic World, in the hopes of giving the franchise a fresh concept and a new cast. Fast forward to 2018, and we have its long awaited sequel, Fallen Kingdom.

Three years after the fall of Jurassic World, Fallen Kingdom begins with the ruined Isla Nublar and the remains of the abandoned park, whilst the predecessor's two leads, Owen and Claire; both have different occupations and duties. This of course, is intervened by the sudden active volcano of Isla Nublar that threatens to destroy the island and its remaining dinosaurs; leaving the world to question the safety of the dinosaurs and their right to live. Claire, now an active activist for the protection of the dinosaurs; is enlisted for a rescue mission to evacuate the dinosaurs from the island. This leads her to pursue her former co-worker Owen, an expert on raptor behavior. But what they didn't know was the real sinister reason behind the rescue mission, which they discover once they're on the island.

If it's one thing that Jurassic World: Fallen Kingdom has spectacularly delivered, it's the roars. Fallen Kingdom is fully aware that the dinosaurs are what we're here for, and the tension is raised here. There's more of the familiar scares, and there are some pretty damn good scares here than in the first Jurassic World. Once the dinosaurs are out, the film really gets going and relishes its dino-filled fiesta with tension-filled sequences that are genuinely thrilling and boisterous. Fallen Kingdom has much more of the tension-filled sequences that are brilliantly executed, and nearly succeeding in creating the same kind of tension that the first Jurassic Park is well known for, like a scene where Claire and Owen attempt to hide from a dinosaur that plays out like the kitchen scene with the raptors in the first Jurassic Park. Then they would also throw in some fun sequences like our two leads attempting to draw the blood of a sleeping T-Rex.

Image source: Universal Pictures, Variety

And the visuals are spectacular. Despite being an action packed dino ride, Fallen Kingdom presents some of the best cinematography it has to offer. There are a couple of beautiful shots that the film lingers upon, like the shadow of a dinosaur looming over a wooden horse toy, or a shot of a brachiosaurus being consumed by the ashes of the island's active volcano, and that's just some of them. Given that the film's director, J.A Bayona has some experience with horror, Fallen Kingdom has some appealingly horrific imagery that takes the tension and visual spectacle of the action adventure to another level. This makes the sequences far more enjoyable as it adds a visual spectacle in what could have been only a fun and edge-off-your-seat romp.

Our two leading protagonists, Owen and Claire, have a mature progression in this installment, having different occupations since the fall of Jurassic World. Claire is the head of the Dinosaur Protection Group, fighting for the evacuation and safety of Isla Nublar's breed of surviving dinosaurs, while Owen is busy building his own shack far from the bustling roads and city. There's some good chemistry between the two actors, but that doesn't mean it eventually transcends fully to the characters and the arc that they go through together, particularly if it's meant to be romantic. But fear not, there are more interesting supporting characters this time around (not including its antagonists though), with the appearance of two members from Claire's Dinosaur Protection Group, one being a doctor as well as an expert in dino biology (or paleoveterinarian as she calls it) and a software analyst. The two supporting characters add some much needed variation to the story, providing their skill set and their roles in driving the story alongside our leads.

When the first Jurassic World focuses on the fun of the park, Fallen Kingdom focuses on the much more dire things like whether or not dinosaurs should have the same rights to live as any other living creature on earth. Fallen Kingdom attempts to emphasize on the more sympathetic and human part of the dinosaurs rather than them being used for the entertainment of others. The active volcano on Isla Nublar is only one, if not half, of the two main arcs in the film. As Owen and Claire assist the others on their dino rescue mission, there's a much more sinister intention behind the rescue mission. Think of it as the saying, "out of the frying pan and into the fire." That's essentially what these dinos are getting into. Perhaps though, this is also one of the film's weaknesses in some ways, its execution of the more serious and darker elements of the story. Jurassic World was simply a ride, but Fallen Kingdom dismisses that this time around for a more deeper story.

Image source: Comic Book Movie

However, of course the execution isn't all that satisfying, despite its efforts. In some ways, it looks as if it could fall to the same pit as Jurassic Park II and III in failing to execute its more serious aspects and what could have been a different and unique kind of concept. Not to mention some obvious twists that perhaps one may have already seen from a mile away, especially with the reveal of its big bad. The antagonist of the film, unsurprisingly not limited to only a dinosaur, is the equally unsurprising reveal of an evil military cooperation that seeks to use the dinosaurs as a weapon of destruction. Wonder where we've seen that before...oh wait, that was the same formula given to the antagonist of the first Jurassic World film. The human antagonists have literally learnt nothing from its predecessor, which makes it repetitive and pretty boring to see.

Overall verdict: Jurassic World: Fallen Kingdom still excels in creating some damn good scares and compelling tension. When the roars start, that's when the film truly gets going. The supporting characters are much more appealing this time around, playing as equally vital of a role as our leads, but its execution of its serious elements is not as compelling as its other aspects. The big bads of the film really feel like a copy of Vincent D'Onofrio's character and his motivations in the first Jurassic World film, except that this time, the villains are slightly one step ahead of D'Onofrio; and the execution of a darker element to the film is not as satisfying as hoped. But simply put, however bland or unsatisfying the execution of the much more concerning message that the film is trying to convey, Fallen Kingdom still has a much more compelling way of creating tension and at least still an appreciated attempt at actually adding some depth to the franchise.

Stars: 3/5

Trailer

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