Letterboxd — Your life in film

Taking a slightly different turn from the predecessor, SHAZAM! FURY OF THE GODS (David F. Sandberg, 2023) builds the momentum with a color of what DC could offer if they choose to be carefree - albeit with huge piles of familiarity & mediocrity just like Black Adam. (2.5/4)

At the height of its narrative, PANDUAN MEMPERSIAPKAN PERPISAHAN (Adriyanto Dewo, 2023) is like a surefire guide to a doomed relationship. While some points of discussion make sense, the montage-like edits & imbalance acting between the two leads scatter them away. (2/4)

Makoto Shinkai’s third fantasy in 7 years, SUZUME (2023), is still as enchanting visually & narratively as ever. Coming for the same formula - a coming-of-age story with a breathtaking twist of spiritual lore - leaving with the expected heartfelt melancholy. (3.5/4)

VIRGO & THE SPARKLINGS (Ody C. Harahap, 2023) seems to be in the know of what it wanna be - but for every little spark amongst the cast, there’s the jarring narrative; for every cool soundtrack, there’s this choppy editing that steers it away from the full potential. (2.5/4)

When Michael B. Jordan mentioned CREED III (2023) is anime-inspired, it really shows in his vigorous directorial debut- through cinematography, narrative foundation, his own character & especially Jonathan Majors’ melancholic eyes that sting harder than any punch. Although I must say, the fact that Rocky’s barely mentioned (there are some instances but not that substantial) leaves a sour aftertaste in an otherwise a solid entry to the Balboa-Creed legacy. (3/4)

Throwing it right into the Shannoh game might be the bravest & cleverest move THE FIRST SLAM DUNK (Takehiko Inoue, 2023) has pulled before the ultimate stunt - leaping into Ryota Miyagi’s pov to frame Shohoku’s hive-mind. This isn’t just a nostalgia; it’s everything. (4/4)

Following up the steps of a story as inventive as SEARCHING (2018) sounded like a mission impossible until MISSING (Will Merrick & Nick Johnson, 2023) tries — with a same-ol-brand-new riveting internet sleuth thriller using the formula laid bare by the predecessor. (3/4)

If there's a real thing called a cinematic love, BABYLON (2022) is the factual manifestation of it. Damien Chazelle crafts a chaotic celebration-and-condemnation love letter to cinema (or Hollywood especially) – where dreams come true and vanish into thin air; a sanctuary that makes and breaks hopes – in a rather self-indulging yet poignant hyperlink narrative. (3.5/4)

Reza Rahadian flaunts his range in Teddy Soeriaatmadja’s BERBALAS KEJAM (2023) & how luscious his controlled, fully measured performance as a cold, grief-stricken widower is hardly news for us. He single-handedly gives life to this rather formulaic revenge thriller. (2.5/4)

The idea of Ant-Man as the herald of colossal events in MCU always stands true & intriguing, given how often he’s been overlooked. Yet, like recent Phase 4 films, QUANTUMANIA (2023), a fun mix of Lovecraftian lore & dark forest hypothesis, misses a few beat to work.

Majors, however, packs another punch. His Lovecraftian Kang is so unreliable that we’re convinced to see more of him (hence, KANG DYNASTY). This variant hits differently from the one in LOKI S01; but making it like QUANTUMANIA is his film. A recent recurring problem in MCU.

(2.5/4)

While the taking-back-sexuality theme sparks fire & the casts capitalize on that fiercely, DEAR DAVID (Lucky Kuswandi, 2023) couldn’t live up to its thought-provoking discourse & well-intended message to opt for a more uplifting catch that’s unnecessarily unsettling. (2.5/4)

A montage-heavy, lightweight Jalan yang Jauh, Jangan Lupa Pulang (Angga Dwimas Sasongko, 2023) might better translate Marchella FP’s non-narrative book into a melodrama. It’s an enticing reflection about home as a place or a feeling that feels distant (unsurprisingly) and lacking gravitas. Only with Dara Aisha’s stunning performance, it might feel closer to home – even when it’s never, by any chance, close to home.

(2.5/4)