James Wan Constructs A Whole New Cinematic World in 'Aquaman'

We've all seen the Aquaman origin movie the moment Patti Jenkins and Gal Gadot's Wonder Woman exploded in the box office. And to be honest, we're all here for it. It doesn't hurt that Jason Momoa is playing a character in one of the beloved TV series of our generation so this is a movie waiting to be made. Good for DC! Good for them they were able to snag James Wan to direct this because if there's anyone who could make this as big and as accessible as possible, it's him. And yes he did.

Warner Bros. Pictures

I'd even dare to say that he captured the vibe of a George Lucas film, or even a Spielberg film even if the latter comparison is quite reaching. But it's pretty close. James Wan has constructed a whole new cinematic world for Aquaman which can be set side by side with Star Wars, Lord of the Rings and other cinematic dimensions. It won't be as iconic as those, but it will be as fun. David Leslie Johnson-McGoldrick and Will Beall's screenplay embrace the elements of cinematic epics, purposely injecting cliche'd lines reminiscent of Queen Amidala and Anakin in the Star Wars prequels to their characters -- whether it's Willem Dafoe whispering the words "The king has risen", or Patrick Wilson defending his title as the 'Ocean Master', or Nicole Kidman declaring her love for her human lover and sea children.

It's a bit silly and campy, but you will grow to accept it as the film progresses. After all, DC has revamped their superhero films from being too dark to this. At first it felt forced, but it becomes natural eventually. Credits to Jason Momoa and Amber Heard's chemistry. Both are not comedians but they make work of what was given to them. Same with the ensemble who is willing to withstand the goofiness.

It's still James Wan who made this work, though. There are several inspired scenes that are incredibly cinematic. No matter how bogus the CGI appears in some of its scenes, the monster chase scene in The Trench, and the Avatar-esque waters of 'The Hidden Earth' looked amazing, the touristy but action packed Sicily was also amusing. And the last 20 minutes is just the icing on the cake, where a Kraken along with seawater creatures go on war and it was chaotic but visually astonishing in IMAX.

I wouldn’t mind seeing a sequel without his Justice League colleagues.

'Spider-Man: Into the Spider-Verse' is Easily a Favorite

An animated Spider-Man movie seems random considering the number of Spidey flicks we've already seen in the last two decades. In a span of 18 years, we witnessed three actors playing this captivating superhero in a total of six movies, and then some (where he's with his fellow superheroes). It's becoming a bit tired especially with several production companies vying for the best, trying to juice out any angle possible until it gets drained. Then, out of nowhere, an animated superhero movie like Into the Spider-Verse invigorates the genre.

Columbia Pictures

With its bursting neon visuals, epic action sequences, witty script, and the heart of what superheroes are all about, Spider-Man: Into the Spider-Verse is easily my favorite Spider-Man movie and it could easily be yours too. It's unlike any other Spider-Man or any superhero movies I've ever seen.

It's about Miles Morales, a young Brooklynite teenager with a police officer dad, and a devoted nurse mom. When his parents enrolled him in a private school in Manhattan, he struggles to cope up. He'd rather spend his time with his uncle Aaron, who supports his love for graffiti art. Catch is, he had a falling out with Miles' father after his past troubles with the law.

Then, he's bitten by a radioactive spider and develops Spider-Man superpowers just like what happened to Spider-Man's origin as we know it. Sounds old and familiar? Things got interesting from there. As there's a secret nuclear super collider being developed by a man named Kingpin. This opens up a portal to different dimensions pulling various versions of Spider-Man. That alone is an interesting premise that jumpstarts Miles' series of mishaps and adventures.

And so with the several dimensions and new Spider characters each having their own back-stories, Miles remain to be the center of the film. His new-found friends slash sidekicks are  just there to help and to add to the fun, avoiding the risk of over-stuffing storylines. Although to be honest, everyone is so likable that we would not mind seeing more of each of them.

We got an older Peter Parker with a dad-bod, a badass Spider-Gwen, Peter Porker Spider-Ham Porky Pig, a black-and-white man from the past Spider-Man Noir, and a cute anime Peni Parker with her robot. All of them are designed and drawn in unique animation.

Columbia Pictures

A lot can be said about its overall animation. For one, it is really amazing. It is colorful, stunning and eye-popping. It brims with psychedelic neon colors while emphasizing the intricate details of New York City--from the graffiti filled alleys of Brooklyn, to the towers of buildings of Manhattan, and to the suburban houses of Queens where we saw an energetic Aunt May--every frame is creative, and the comic-inspired theme with thought balloons and split screens make it even more amusing to watch.

It has the complete package. From their adventures in defeating different versions of Spider-Man villains--lady Doc Oc, monstrous Green Goblin, etc.--to the animation, to the entertaining variety of Spider-Man and dimensions, it shines even more because it ultimately goes back to Miles' family, in which this film equates to being a superhero.

Spider-Man: Into the Spider-Verse completely supplies all what's lacking in superhero movies nowadays. It overflows with love, and sometimes that is the most important factor even in action films like this.

Christmas is Impossible to Hate in 'The Grinch'

United International Pictures

The grumpy, green, hairy, Christmas hater is back to steal the holiday from everyone. This time, he's not a live action figure played by Jim Carrey. Instead, it's Benedict Cumberbatch taking a stab as the voice of the newest The Grinch.

Staying true to the Seussian spirit, the film tells the timeless story of the Christmas thief Grinch who had a change of his 'two sizes too small' heart after a little girl from Who-ville showed him what Christmas is really all about.

Of course, a film about The Grinch wouldn't be The Grinch without the endless cynicism. It's all in the beginning of the film where it almost makes hating Christmas a little bit fun. Since everyone is positive, especially in Who-ville where everyone celebrates Christmas like it's the only event in the world, Grinch does his best to ruin the community's source of joy. It's hilarious to watch him kill everyone's positivity and the film doesn't want you to feel sorry for it. It actually wants you to laugh at him while he gets even more mad.

United International Pictures

And you won't be sorry for him because he actually has company in Max, the cute sidekick dog who refuses to leave him despite his bad attitude. And with another new found friend, a fat reindeer named Fred, they become an unlikely dysfunctional team. With Fred and Max's innocence and cuteness plus Grinch's hatred and mishaps, they balance each other out and they make the film even more likable than it already is.

United International Pictures

It also helps a lot that the whole Who-ville looks incredibly colorful and flashy, and the animated little citizens are as cute as a button, making The Grinch a stand out. Benedict Cumberbatch's voice makes him even more distinct from the rest especially when it has Rashida Jones' soft and playful voice as the little girl Cindy Lou Who, and Pharell Williams' pleasant and calming poetry narration.

As negative as The Grinch is known for, it's also a certified heartwarmer. The film poetically explained where Grinch's negativity is coming from, and it feels justified to a point where he becomes agreeable and sympathetic. Even after stealing everyone's "Christmas". But as we know, his Christmas is about decorations and lights when it's completely the other way around for the rest despite their community's facade. It has always been about belongingness and at the end of the day, that's also what Grinch dreams to have.

Being faithful to Dr. Seuss' story is what this film needs and it grants us that. It gives us another reason why Christmas is impossible to hate in spite of the pleasure we get when The Grinch tries to destroy it.

'Creed II' is a Great Sports Flick, and An Even Better Family Drama

Movie franchises are everywhere. Some seem unnecessary, but some just feel right. Creed II falls on the latter. Because a Rocky reboot or remake or sequel, however bad or good they may be, always feels right. They always stick to its essence and never forget the important stuff--aside from passion, it always goes back to family, friendship and love. That is the legacy of Rocky, and Creed II continues to strengthen that gift.

Warner Bros. Pictures.

Creed II jump starts three years after Adonis Creed (Michael B. Jordan) found his footing under Rocky Balboa's (ever charismatic Sylvester Stallone) wing. With his success, he is now also ready to start a family with his longtime lover Bianca (Tessa Thompson), a rising star who's also finding her place in the music scene. These three are the heart of the film, and they carry it together from start to finish.

As always, it's not rainbows and butterflies. Adonis Creed still struggles to follow the footsteps of his father, Apollo Creed, who as we know is also a former heavyweight champion. To worsen it, a younger newcomer confronts his self-doubt. His name is Viktor Drago, and he's none other than the son of Ivan Drago, the Russian boxer who killed his father three decades ago. A bit cliche if you ask me, but Rocky is all about that and we're just here to eat it all up.

Warner Bros. Pictures.

If there's anything this year has taught me, is that using the same good old formula isn't so bad. If it works, then I really don't mind. Creed II is just like its predecessors. It lacks Ryan Coogler's flair from Creed, sure, but it's still as compelling, as heartwarming, and as heart-racing as ever.

The good thing about this sequel is that it returns to its origin but it keeps on making compelling arguments as to why it needs continue. Like in this sequel, everyone seems like a hero and it still makes complex dilemma for the protagonists. Even the alleged villain Viktor Drago is someone we could root for because of his tragic history with his parents. The future of this franchise could explore further on that. Although I wouldn't mind if they continue to focus on Adonis' growing family.

Warner Bros. Pictures.

Which leads me to Bianca and their baby. One of the most heartbreaking moments of this film is when they found out that their baby inherited Bianca's hearing problems. This scene is a true standout to Michael B. Jordan and Tessa Thompson's overall stellar performance. It would make people weep and root for them. Then we have Sylvester Stallone who hasn't lost his charisma over the years. They make a great ensemble that each of them offers something likable to the table. I particularly enjoyed Thompson's singing and numbers, Stallone's pleasantries, and Michael B. Jordan being a boss.

On its own, Creed II is a great modern sports flick, but it is an even better family drama. Bottom line, it captures what Rocky is all about. Formulaic or not, it still rules.

'The Girl in the Spider's Web' is Light in Action, and Heavy with Emotion

I find Claire Foy's take on Lisbeth Salander brave and admirable, not only because the role is complex and one-of-a-kind, but also it's inevitable that she will be compared with the prominent portrayals of Noomi Rapace and Rooney Mara back in 2009 and 2011 respectively. The latter even garnered an Academy Award nomination. Needless to say, Claire Foy held her own. The movie? A different situation. First, this is from a different book. Second, it's totally lighter in action, albeit heavy with emotions.

Claire Foy as Lisbeth Salander | Columbia Pictures

The previous adaptations focused on Lisbeth Salander's psyche. They're more of a character study capturing her substance. Fede Alvarez' adaptation is more interested in the action and back stories which made Claire Foy's Lisbeth a bit thankless except for that one scene at the end where we, once again, witness how great of a dramatic actress she is.

In Spider's Web, Lisbeth Salandar finds herself entangled into a violent web of intrigue and history after evildoers attempt to take encrypted nuclear launch codes, blasts her apartment, and leave her for dead. As she tries to retaliate, she is drawn to her mysterious past which dramatically connects the beginning of the film to the end.

To be fair, they made Salander the center of the film, a feminist that wants to make a statement. She's portrayed as a feminist savior and they made that clear from the beginning when she tortures and blackmails a misogynist pig who assaults prostitutes. That whole sequence is my favorite in the film and too bad, it's part of the beginning and did not pick up from there. The cinematography is top-notch which makes every black and white scenery breathtaking and slick. The score is a bit over-the-top but it helps the light action a bit more intense.

Alvarez shows his skills in executing big action set pieces. The blast of Lisbeth's apartment for one, is a great display of style. But the film still leaves you wanting for more. As polished as it looks, it demands more violence and surprises.

Overall, The Girl in the Spider's Web is a customary spy-action film at best. It's stylish, it's James Bond-ish, and it's well-acted.

'Ralph Breaks the Internet' Finds the Good and Bad Side of the Web

Vanellope and Ralph | Walt Disney Studios

Feels like only a few years ago when video-game bad guy Ralph won our hearts in the beloved Wreck-It-Ralph--a mix of old-school-new-school video game animated feature by Walt Disney Studios. I cannot believe that it's already six years since. Now Ralph is back in Walt Disney Animation Studios' first ever sequel since they did Fantasia way back in 2000.

This time, Ralph, along with his video game pal Vanellope, leaves Litwak video arcade to venture into a way bigger world we call the internet--a new world that tests the strength of their friendship, and opens their eyes to endless possibilities for their future as video game characters.

In their arcade world, Ralph learned to love his role and his community. Vanellope, on the other hand, got tired of the repetitive and predictable races of her own video game. The internet becomes a deal breaker for both of them. Ralph struggles to cope with its chaotic nature, while Vanellope is thrilled of the unpredictability of it all--particularly the internet place called 'Slaughter Race' that gives Vanellope her own princess song "A Placed Called Slaughter Race". This gives the film a good dilemma for their friendship. At the same time, it caters both the good and bad side of the internet.

Ralph Breaks the Internet is not limited to the growth of its main characters. It also effectively shows the good and hazardous effect of its titular setting. Like in real life, internet could be fun at times or at first, until it gets ugly. It's certainly a source of entertainment but it lures some people in until it becomes unsafe--may it be because of addiction, bullying, and even destroying our motherboards with its virus. It's all in this film.

The animation of the internet world here is astounding. It's colorful, lively, and it's a smorgasbord of the never-ending internet features. It has all the social media, the cat memes, and other websites that we visit. The only thing it doesn't have is porn, but there's a small possibility that I just missed it. Case in point, it's a big world and it's very pleasing to the eyes. Not to mention, it has several Disney characters not exclusive to the Disney princesses like Star Wars. But the latter are certainly the highlight I did not expect to fully appreciate. I find the trailer for this a bit gimmicky because of them but they certainly exceeded the promise and delivered a great sequence around the film's climax. Also, because of this sequel, I think it's safe to say that Vanellope is now officially a Disney princess.

Disney Princesses  | Walt Disney Studios

It's not the world of the princesses that would make people love this, though. It is the lesson and the characters' relationship that would warm people's hearts. The test of friendship between Ralph and Vanellope goes into something real and relatable. It asks the questions, how long would friendship last if it's not anymore convenient for the other? Would you hinder your friend's happiness to satisfy yours?

Ralph Breaks the Internet packs a nice message about selflessness and friendship. It achieves it amidst all the chaos and unpredictability of the cyberspace. It's not all colors, video games, and memes, it also has a huge heart like the first one.

'Fantastic Beasts: The Crimes of Grindelwald' Continuously Expands the Wizarding World

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J.K. Rowling has no plans in keeping the Wizarding World in a frozen state. She continuously gives us new stories and answers about our favorite world and characters that ignited our imaginations several times. Just two years ago, she introduced us to a new Harry Potter spinoff that opened a new world of magic and spells. Fantastic Beasts and Where to Find Them gave us a lovable character to follow, Newt Scamander, a magizoologist who was kicked out of Hogwarts.

Now, as he continues his adventure with his new friends and sole Hogwarts defender, Dumbledore, they plan to stop the rise of Gellert Grindelward, who threatens to destroy both the wizarding, and non-wizarding worlds. There is a lot at stake, and with The Crimes of Grindelwald, J.K. Rowling seems like she's just about to start.

True enough, this sequel sets up a lot of bridges for its future -- the mystery surrounding Credence's identity whom we are unsure of which side he's on, the thing between Dumbledore and Grindelwald, the future of Newt's friends Queenie and Jacob, the awkward but supposedly cute love story of Newt and Porpentina, the evolution of the 'fantastic beasts', so on and so forth -- and it's impossible to know if it'll be worth it at this time.

It ambitiously expands the forthcoming of the wizarding world, to a point where it reaches even real life monumental events. In the process, however, it also forgets to close open doors and answer flaming questions. And sometimes when it does, it underwhelms. One example is the mystery between Grindelwald and Dumbledore. It certainly wants to be big, and at this point, it's just a promise that we either look forward to, or forget altogether.

The great news is, it's visually appealing from start to finish. It has always been the franchise's strength and it's slightly safe to say that it makes up for the convoluted stories of this sequel. Even the characters and beasts are as colorful and creative as ever. Fans of anything creature-related will be delighted by the new beasts that they've introduced--an enormous swimming horse made up of seaweeds, wild Siamese looking cats with plain blue eyes, a Chinese monstrous cat dragon like something straight from a Ghibli film, you name it. They are one of the reasons why this feels different from Harry Potter, good way or not.

With all the abovementioned quibbles, Crimes gives fans something to be giddy about. This sequel has references that will induce nostalgia. It would be just more awesome if it didn't seem like a filler. One day, we'll look back at this sequel as a footnote, rather than a remarkable chapter in one of the most beloved stories of our generation. It'll always be worth a watch.

Part War Zone, Part Monster Horror, 'Overlord' is a Cool Addition to Both Genres

Nowadays, it's rare to see a hybrid of two completely different film genres. On top of my head, only a few movies in recent years accomplished this feat, one being Dan Trachtenberg's 10 Cloverfield Lane, a fusion of monster horror and kidnap drama. So when something like Overlord happens, a concoction of a war film and monster gore, it's always overly refreshing.

Photo Credit: United International Pictures

Overlord is about a team of American soldiers on the eve of D-Day, who fell into Nazi-occupied France after their plane crashed on a mission to destroy a German radio transmitter atop a barricaded church. There they meet a French villager who became instrumental in taking down the Nazis and accomplishing their mission. Little did they know, they must also fight otherworldly creatures created by their enemies hiding beneath the church.

With this interesting plot, it's hard not to be glued on screen from start to finish. On top of that, the film begins in a pulse-pounding scenery of World War II. Introducing us to paratroopers with different personalities, and a war zone so loud and intense, it immediately grabs you along in the ride.

The first half brims with serious war zone action from the soldiers led by no-bullshit Corporal Ford played by Wyatt Russell, and the young and determined Pvt. Boyce, played by Jovan Adepo. When they fell into a bomb-infested forest, they also meet their other troops. Things get a little more interesting when they finally meet the mysterious French villager Chloe (Mathilde Ollivier), who took them home with her younger brother and her aunt hidden inside a closed room in their house.

Photo Credit: United International Pictures

It's purely a war film at first until we get bangingly introduced to Chloe's aunt. It perfectly shifts the tone from military adventure to horror slash science fiction really quick and hilariously scary. The thing about Overlord is it never takes itself seriously and that's when we eat it all up even if it's freakishly a fantasy material.

The second half of the film thoroughly elevated everything. War films are cool, but the monster horror portion of this is bonkers. It doesn't hold back in utilizing the gore factor. Bloods splatter everywhere, open flesh, bones clunking. It's all there and there's a lot of it. It makes for a lively and intense theater experience that is both fun and horrifying. It doesn't hurt that all the characters are also a mix of buffoons, yet all of them are badasses.

Overlord is a great addition to both war and monster horror genre that I don't mind seeing another take of this crazy and fun ride.

'Halloween' Arranges a Suspenseful Laurie - Michael Myers Reunion

Jamie Lee Curtis as Laurie Strode | Photo Credit: United International Pictures

Forty years since the original Halloween, director David Gordon Green brings back Jamie Lee Curtis to her breakout role as Laurie Strode, who has dedicated decades of her life planning her retaliation against the iconic killer, Michael Myers.

Judy Greer joins the fun as Laurie's daughter Karen, who was taken away by child services after Laurie's post-traumatic stress took its toll in their family. Now that Karen has her own daughter Allyson (Andi Matichak), they struggle to bridge the rift as the two also clash with their differences.

Sequels tend to force additional storylines resulting to over-expanding their origins, but Green's Halloween did not fall into that. The additional familial conflict, in fact, brings new layers to the classic slasher film and it felt appropriate and sensible. It even gave Jamie Lee Curtis a good material, not only to revive her scream queen persona, but to showcase her acting chops as well. Here, she's bitingly old and white-haired, but her thirst to confront Michael Myers remains strong. And now with a family to protect, she must juggle that along with her thirst to put the masked killer to an end.

Certainly, there is no Halloween without Jamie Lee Curtis. But Halloween wouldn't also be Halloween without Michael Myers. They both are the true stars of this classic and writers Danny McBride and Jeff Fradley made sure that no one will be ignored. They crafted a plot that paves way from the original story and it's commendable how they blurred the line on who's the predator and who's the prey.

Michael Myers | Photo Credit: United International Pictures

Michael Myers introduction in this sequel is quite powerful. From the get go, we learn that he still reeks of evil, in an enigmatic kind of way. And as the movie goes on, we find out that he's still as unbelievably strong as before, ruthless and hungry despite his old age.

This sequel overall is entertaining. It brings back classic slasher film feels and builds it up from there. It's not a slasher film just for the sake of slash, or a slasher sequel just for the sake of sequel. It actually links this new Halloween from its true essence. It's also not devoid of family values.

Most of the time though, we watch slasher films for its exciting horror. And this might not be the best at that. For an R-16 film, the killing spree is a bit gentle in its gore, and the jump scares are mild in its scare factor. The additional laughs from the writers make it fun for sure.

The climax on the other hand, which happened in Laurie's trapped-filled house, was delightful to watch. While short, it never failed to surprise and excite. And it's not only Jamie Curtis Smith and Michael Myers that shined. Judy Greer also added her fair share in her Emily Bluntesque in A Quiet Place gun skills right in the center of the climax.

The ending was satisfying, until a turn of event made it clear that it's still not final. The ending makes the whole thing a bit futile, and the end a bit anti-climactic. The additional layers made this film worthwhile, but at the end of it all, this might just be another sequel for the cold cash. Still, this is a suspenseful Laurie-Michael reunion that original fans might like. One thing's for sure, the hunt for Michael Myers (or Laurie) continues.

Forget About Gravity, 'First Man' Pulls the Emotions

Photo Credits: United International Pictures

When one thinks about astronauts, images of grandeur--space and planets--come to mind. Often correlated with cool white jumpsuits and spaceships, it is considered a glamorous job. You'll never think of it the same way after watching First Man.

Only two years after the six-time Academy Award winning film La La Land, Damien Chazelle and Ryan Gosling reteam to tell the story behind one of the greatest triumphs of mankind--the first moon landing. Told from the perspective of Neil Armstrong, first man on the moon himself, the film explores the sacrifices and difficulties in achieving this mission, and whether or not it is worthy at all cost.

Portraying the strong and independent wife of Neil is Claire Foy as Janet Armstrong whose aspiration is to live a normal married life. But with her husband's risky predisposition in his career, Janet deals with the sacrifices to make everything possible for Neil and their children. The mission is never easy. The never-ending worry is equally tough for the people left behind.

Photo Credits: United International Pictures

Right away, we see Neil as a test pilot corked into the claustrophobic section of the Gemini capsule flying in space, bouncing off the atmosphere, feeling and hearing the metallic rumbles of his machine as if it's going to explode while he tries hard to make his way back to Earth. Matched with Linus Sandgren's appropriately shaky cinematography, an outstanding sound design, and fast-paced editing, this first scene instantly becomes an immersive, panic-prompting experience.

At his home in Houston, he deals with his simple family along with his colleagues who are also part of their neighborhood wherein they create a solid companionship amidst several bad news they receive from their dangerous workplace. Worry is always looming at the back of their heads, but it also gives them commonality to relate with each other.

The film goes back-and-forth between Neil at work as he learns about their moon-landing mission, and Neil with his family as he juggles all the overwhelming feelings within. Josh Singer's script makes both environment a place of anxiety for Neil. Throughout, we see random glimpses of the moon from afar as if it's looking forward to face Neil, constantly reminding him of their union. To a degree, it's also the film's way of teasing a rewarding spectacle of the moon for the audience.

Photo Credits: United International Pictures

It did not disappoint. Damien Chazelle gives new meaning to 'shooting the moon' as he actually does the opposite and makes the moon landing scene a vivid possibility and perhaps, closest to reality. The whole scene is an out-of-this-world experience--complete with an intense buildup, a magnificent landscape reveal, an elegant score by Justin Hurwitz, and an emotional catharsis finalizing Neil's long and hard journey. In a way, it's a bit reminiscent of Maya's in Zero Dark Thirty wherein the ending provides an impassioned sigh-of-relief.

Ryan Gosling strengthens the whole thing with his earnest but heartfelt performance, satisfactorily supporting Chazelle's vision. Funny thing is, while the entirety of the moon scene is already magnificent as it is, it's Ryan Gosling's final moments on the moon that would take one's breath away. Claire Foy, on the other hand, shines bright minutes before the climax when Janet movingly commands Neil to confront their kids about the possibility of never seeing them ever again.

These scenes further prove that First Man isn't mainly about the mission, rather it's about the heroes--whether it's the people working their hardest at NASA knowing the dangerous nature of their work, or each of their families locking in their full support despite the non-stop wonder of going light-years to an unexplored place.

Photo Credits: United International Pictures

It's an elegant movie overall, and Damien Chazelle continues to find innovative ways to tell stories. JFK's We go to the Moon speech probably rings true to him, that he makes films not because they're easy, but because they're hard.  He demonstrates once again how to end an already great movie. If Mia and Sebastian's final act in La La Land gave us all the feels, Claire Foy and Ryan Gosling surpasses it with a simple but tender reunion scene, giving us a plethora of emotions to feel.

We often think of the moon landing as one of the greatest triumphs of mankind. But we never once or rarely think of the sacrifices done prior to these achievements. First Man changes our views about space flight, about these monumental missions, and most especially it changes the way we see these heroes. Our heroes.

Rowan Atkinson Keeps Slapstick Comedy Alive in 'Johnny English Strikes Again'

Sir Rowan Atkinson rarely comes out of the woods to do movies, and it's always exciting when he does. He's mostly known for his Bean series, but his Johnny English is also quickly becoming popular. This can be considered his version of the secret agent genre ala James Bond, Mission Impossible, etc.

Launched in 2003 alongside singer-actress Natalie Imbruglia, Johnny English becomes Britain's most confident yet half-witted spy who goes on to find the thief responsible for the missing crown jewels. Almost a decade after, he's back in Johnny English Reborn and goes up against assassins to protect the Chinese Premier.

Photo credits: United International Pictures

This year in Johnny English Strikes Again, English was tasked to inspect the sudden cyber attacks a week before the Prime Minister (Emma Thompson) meets with a Silicon Valley billionaire, Jason Volta (Jake Lacey), to create an agreement between G12 nations. A bit shady to Brexit, to be quite honest. But that's how comedy works.

Rowan Atkinson keeps slapstick comedy alive and I hope he keeps the fire going. What he does here, is what he already did before and that's okay because physical comedy is what he does best, and what people love him for. It's a testament to his legacy that he still looks and acts the same as the first time we saw him in the Johnny English role. There's little to no trace of aging, and he's still unbelievably agile--whether he is epically falling from the terrace of a ship, or dancing energetically on the dance floor all night, or driving a vintage car on the steep streets of Southern France. He's hilarious and there are no buts.

Perhaps, the biggest quibble one would say about the film is although it progresses swiftly, it doesn't develop into something bigger. It's just a series of misadventures, and inadvertent successes that are funny and moronic but a bit repetitive and wouldn't knock anyone's socks off. Spy comedies often go big in the third act, but Johnny English Strikes Again is the opposite. The third act where the G12 nations gather in a Scottish island cannot hold a candle to the chase scene in the beginning and the uproarious VR scene in the middle of the film.

Photo Credits: United International Pictures

It's biggest crime though is how it underutilized Emma Thompson as Britain's no-nonsense Prime Minister. She's fantastic, as usual, but she had no standout scene. For a prime minister, her role could easily be considered thankless. Same with Jake Lacy whose film career is starting to be questionable. 

Needless to say, Rowan Atkinson is still the one and only star of the film. With a little help from Ben Miller's Bough and this sequel's muse Olga Kurylenko, they make a fun team.

'A Star is Born' Soars High Through Its Unforgettable Music and Stars

Bradley Cooper, a well-known actor, and Lady Gaga, a well-known pop star put their stamp together on the classic and timeless tale about fame, human feelings and failings, mixed with today's diverse world of music A Star is Born, and it's incredible. It's also Cooper's directorial debut, and it's Lady Gaga's first ever film leading role and that makes this even more impressive and unforgettable. The two stars portray seasoned musician Jackson Maine and a struggling artist Ally. She has given up on her dream to become a successful artist, until she meets Jack, who immediately sees her natural talent.

The film begins with a knockout concert performance by Jack. We learn about his loneliness and drug and alcohol addiction right away after he immediately goes to his private car with his driver, head down, guzzling a bottle of alcohol. Cut to Ally who's asked to throw a bag of trash from the restaurant she's working on while she hurries to get to the local bar filled with drag queen artists where she's allowed to perform. Walking out of the resto, the film instantly pays a Judy Garland homage. She sings a soulful rendition of Somewhere Over the Rainbow and as the introductory title 'A Star is Born' quietly appears on screen while she's in the center, it makes a signal that this is the start of something wonderful.

Photo Credits: Warner Bros. Pictures

Then they meet in the bar, and with Lady Gaga impressively belting Edith Piaf's La Vie en Rose, the love story of Jack and Ally rises and flows harmoniously. It's the first half of the film that doubtlessly could capture a moviegoer. We are smitten with them--from the moment Ally looks at Jack in the bar, to them eventually falling in love after sharing that whole night together in a local supermarket to a peaceful outdoor parking lot, Jack discovering Ally's songwriting talent where we first hear a few lines of Ally singing Shallow. The whole intimate moments of Ally and Jack together are magical to watch, and a penetrating lens captures each look and every touch. Bradley Cooper, in particular, looks at Lady Gaga like she's the only girl in the world. And when Jack finally says the iconic, "I just want to take a lot at you" for the first time, with Lady Gaga doing the signature touch on the nose head-turn, the chemistry between the two becomes even more solid. I can already imagine the memes and spoofs it's going to make.

Both are extremely charismatic in their roles. Cooper gives such a sincere and emotional performance where most of the time, it's his eyes that do the effective expression of his role. Lady Gaga on the other hand, has never been this natural. She makes an already root-worthy Ally even more likable despite her imperfections. But it is whenever they perform, solo or duet, that makes this film soar higher. The powerful songs, which they wrote with a handful of artists, including Lukas Nelson, Jason Isbell and Mark Ronson, work wonders for the film. And all vocals for the movie were recorded live during filming, that it literally and no exaggeration, makes you want to go 'applause, applause, applause', every time they perform those songs along with a huge audience. Their duet of Shallow is incredibly chilling. Always Remember Us This Way perfectly captures the great turning point of the film from Ally's dreams of being famous to it being a reality. Even the intimate ones are electrifying and heartfelt, and songs vary from different genres making it even more accessible to all audiences. Bradley Cooper makes the performances immersive and epic, often highlighting superb piano and guitar skills, to amazing voice ranges.

Photo Credits: Warner Bros. Pictures

The second half of the film is when it gets a little more serious, and dark. When Ally is finally a famous pop star and Jack's alcohol problem are both quickly becoming a problem in their complicated relationship. Here, we get to see the sad struggles of being famous where authenticity and marketability become an issue, and fame and loneliness mix up with each other. Both are fueled by their dreams, and yet it also caused their misunderstandings. A Star is Born completely confronts these dilemma and it's most likely the reason why there's a slight feeling of downward spiral at this point of the film, because the first half puts you on cloud nine.

The climax leaves a feeling of quiet sadness, in which Cooper chooses to let the audience (and the cute dog) feel the slow but intense buildup, to the actual tragedy of Jack's struggle to live as a famous artist. There was no scene of Ally learning about it. Instead, we see her devastated by the love she's lost. It's beautiful and dramatic without being over-the-top and again, both stars shine portraying the final moments of the film. With Lady Gaga, solidifying her outstanding performance with a heartfelt number of I'll Never Love Again.

A Star is Born is tragic and unforgettable. Movies sporadically captures this kind of relationship, and when they do, it's enduring. Jack and Ally's raw and passionate tale will continue to resonate throughout the years as it already does since the previous remakes. Thanks to Bradley Cooper for making a modern version and introducing this to our generation! Credits to the ensemble for making it memorable.

'Venom' is an Acting Playground for Tom Hardy

When Spiderman 3 was released in 2007, it pretty much put a period on Maguire's career. It did not receive good reviews compared to the first two and it was considered a misfire. But to me, it's actually still at par with Spiderman 1 and 2. In it, we were introduced with the symbiote organism that darkened Spiderman's suit and persona. And while it didn't suit Maguire's usual goody goody character, it gave us a good villain in Topher Grace as Eddie Brock.

Photo Credits: Columbia Pictures

This year, Eddie Brock slash Venom is back in the body of Tom Hardy. The symbiote, or what he refers to as alien, is still very much alive and kicking. But Hardy's Eddie Brock is way different. Still the journalist that we know him for, but way more likable and less like a douche.

In Venom, the Marvel's antihero takes the center stage as Eddie Brock, a persistent journalist who's been trying to take down the notorious genius founder of Life Foundation, Carlton Drake (Riz Ahmed) where his obsession for it ruined both his career, and his relationship with his girlfriend, Anne (Michelle Williams). He tries to win Anne back, but when a scientist (Jenny Slate) called him to show the evil happenings behind Carlton's Drake laboratory, a symbiote accidentally merges with Eddie's body and becomes its powerful host, turning him into a monster like the chasing demon monkey from Temple Run--spooky white eyes, a mouth full of razor-sharp teeth, and a long, slimy, muscular tongue.

Photo Credits: Columbia Pictures

With these features, 'Venom', both the character and the film, become an acting playground for Hardy, who is fully into the crazy and dark fun side of the whole thing, very much committed, up to the challenge, and impressively hilarious to boot. Most especially the moments after the symbiote takes charge of his body, and he tries to fight it. His antics are very reminiscent of Leonardo DiCaprio's iconic high scene in The Wolf of Wall Street. His chemistry with Michelle Williams is also commendable, and Williams as Anne looks enthusiastic and ready to portray the craziness of the movie.

Can't say the same on the whole movie, though. While extremely fun and entertaining, the story is very much slight. It has all the formula of a Marvel superhero movie, but the abundance of its silly humor is a bit too much, that it's difficult to take it seriously. It doesn't help that the CGI Venom suit doesn't look believable at all, and the overall visual effects is weak. Even the Venom character turned from scary to sentimental and cheesy. It went from serious, to funny, to goofy and it would probably work if it's the other way around.

Photo Credits: Columbia Pictures

It also tries to put a romcom vibe whenever Michelle Williams is on screen, and while a change in scene is always welcome, it doesn't fit the supposed bleakness of Venom. To further push Eddie and Anne's love story, it made it feel like there are hearts are all over the crooked streets of San Francisco, where most often we see Hardy and Williams sharing a lovely scene in a cutesy frontyard of a pretty house, with Venom playing the unlikely cupid.

Then again, we go back to how fun it actually is, where the highlight involves Venom finally capturing Eddie's body amidst an exhilarating motorcycle chase scene in the busy San Francisco streets. The final showdown between Ahmed and Hardy, however, is a slight letdown, with both looking like they're fighting as slimy grimers.

Still, this is a highly entertaining movie. Thanks to Tom Hardy's full commitment who most definitely upped the standard of acting in the Marvel cinematic universe. Other actors better keep up!

Tiffany Haddish Schools Kevin Hart Values and Comedy in 'Night School'

Night School is about Teddy Walker (Kevin Hart), a high school dropout who becomes an impressive and successful salesman with an out-of-his-league fiancé, Lisa (Megalyn Echikinwoke). At first, it seems like another dropout success story ala Steve Jobs or Mark Zuckerberg. But when an accident happened in his workplace, Teddy is definitely neither Jobs nor Zuckerberg. He got terminated. To find a new job, he had to go to ~Night School~ at his former alma mater, where his former school nemesis, is now working as a principal (Taran Killam).

There, Teddy meets his no nonsense teacher Carrie (Tiffany Haddish), and a group of misfits as his classmates. Together, they push each other to pass the GED exam for each of their own purposes.

Photo Credit: United International Picture

To be frank, Night School feels like a big excuse for Kevin Hart to lead another movie. As funny as he is, his humor is not everyone's cup of tea. And appropriately enough, he needs more support from other actors to make the cheap laughs worthy of our time, and alas, this is a stacked cast of talented actors and needless to say, thank you movie gods for Tiffany Haddish!

As the lead, Hart does most of the comedy here, but it's Tiffany Haddish who proves to be the main comedic force. Here, she does what we love her for but remains refreshing with the role. Intelligence suits her. She still got the dance moves, the funny faces, and most of all, the SASS. I bet the movie would have been funnier if she’s the lead, front and center.

The ensemble shines despite the weak material that they're working on. Particularly Lynn Rajskub, as a homemaker who goes to night school to help her family when clearly, she just wants to get out of her house for some fun, peace and quiet. Each of them has their own story to tell, but then again, everything feels like a bogus.

For what it's worth, it's still a funny movie because everyone commits to their roles however silly it gets. And as for Haddish's limited screentime, she leaves us wanting for more. 

It's difficult to say that this movie is about self-improvement even after his supposed-to-be movingly funny speech at the end of the film because it's really just about Kevin Hart, doing what he's done in his previously lead films. Reverse his role with Tiffany Haddish then it would definitely be a different story.

'The House with a Clock in its Walls' Embraces its Weirdness

Jack Black and Cate Blanchett team up in a spooky adventure with Owen Vaccaro, as the young Lewis Barnavelt, who goes to live with his peculiar warlock uncle in an old-house with a cryptic tick-tocking sound. It's The House with a Clock in its Walls, based on the first of six volumes of the beloved children's book series by John Bellairs, directed by master frightener Eli Roth and penned by Eric Kripke.

Photo Credit: Universal Pictures

The House with a Clock in its Walls is comprised of what seems to be a perfect project for Tim Burton featuring a familiar Amblin mood with a lot of quirky characters and spells. There is a lot of kid-friendly humor in this, but it might be too highfalutin especially with Lewis's love for dictionaries. It helps a lot that the scare tactics involve a lot of magic, and children would surely appreciate that.

However, the film fumbles to exude a lot of crucial appeal and bewilderment a children's movie needs. The characters are not as iconic as the story requires it to be and the magic is not as prominent aside from the necromancy spell, which we have already seen in a lot of movies. If anything, it reminded me of Michael Jackson's Thriller music video and the latter did a better job in making it engaging.

It also moves a little slow to get to the point, making the mystery of the titular clock seem a bit astray and uninteresting. It's not until the final act--Cate Blanchett headbutts one of the jack-o-lanterns while using her magical umbrella (not the Mary Poppins kind), creepy dolls coming into life, and Jack Black turns into a weird-looking, crying baby--when the exciting and spellbinding action elevates the film even just by a little.

Photo Credit: Universal Pictures

If there's one thing to commend about this, though, is how it fully embraces its weirdness, and it works for the most part. Cate Blanchett and Owen Vaccaro are fantastic in the job, especially Vaccaro in the end when he finally embraces his courage to perform spells and face the demonic villains of the film. Cate Blanchett's turn as a cartwheeling old witch, a bit reminiscent of Eva Green in Miss Peregrine, is also a welcoming change in her choice of characters.

Kids will love this. They would relate to Lewis, especially with his school dynamics as a young student who wants to belong. And also, let's face it, kids love to be scared. Eli Roth designed this film for that, so much that adults might not fully enjoy, but the kids they bring with them would.

Ranking Tofarm Film Festival 2018

I haven't watched 1957 and Alimuom yet, both won the 2nd and 3rd Best Picture of TFFF but I've seen the rest. Here are my thoughts:

1. Tanabata's Wife

Charles Ong, Choy Pangilinan, & Lito Casaje

“We may not understand the language we speak, but the love you’ve shown nurtures my soul.”

An exquisite cross-cultural love story between a lonely Japanese farmer and a strong independent Bontoc woman seemingly amidst the American colonialism.

This is a simple story told in the simplest way but its impact is lasting with one of the most haunting endings I’ve ever seen.

Both Fas-ang and Tabanata are characters I’d love to see more. Watching them bargain money and rice, to living together with each other’s unique culture, falling in love... and even simply planting vegetables together is weirdly therapeutic. Helps a lot that it’s furnished with magnificent cinematography of Bontoc matched with a sad oriental-sounding score.

2. Sol Searching

Roman Perez, Jr.

Funny, disturbingly silly even, but always grounded with the sad reality, vision about farming :), and humanity, at least with some of its characters.

It’s scene after scene of hilarity, that one would find themselves guilty for laughing, because it’s about death and the unfortunate truth of the titular character’s legacy.

There’s that one scene in Sol’s wake where her daughter gives an intense heartfelt tirade against their disrespectful visitors only to be outshined by an explosive scene involving Chokoleit. It’s ridiculous, but in a good way. Patay Na si Hesus could never. JK

Pokwang has always been good in dramatic roles. Like her turn in Mercury is Mine, she thrives in characters that are morally complex.

Lastly, I love the Carol-esque same beginning and end scene with different meanings treatment. Genius!

3. Mga Anak ng Kamote

Carlo Catu

Set in the Philippines, 2052, sweet potato planting has been outlawed and those caught planting and selling them are put in jail, no thanks to the "Kamote Planting Regulation Act".

I like it better as a mystery drama. Loses me in the second act when it tries to overexplain and be political. Lures me back in the dramatic third and final act.

I’d like to see another version of it without the politics because there are several interesting moments even without it.

Carlo Catu and Pacala are really fond of metaphors and I love it. Although I’d like to know why half of the movie was spent on Katrina Halili’s enigmatic and deglam'd (daw) face. It’s not until the ending when we saw a wide shot of her in a cathartic breakdown moment.

4. Kaugayan

Julienne Ilagan

“When was the last time you embraced your way of life?”

Kauyagan has a concrete story of family, identity and culture complete with restrained but impactful climax, enhanced by soaring music that elevates the film and uplifts hearts, but stricken by terrible acting that it makes the whole thing look unnatural.

Makes me wonder, what matters more for filmmakers? Opportunities for indigenous people to act in movies? or simply make a well-acted film regardless of the actors? Can’t it be both? James Mayo did in The Chanters so it’s definitely possible.

Still, this movie has a lot of heart and tender moments that one can’t help but be smitten by its simplicity, and what it’s trying to convey.

'The Nun' Teeters Across The Line Blurring Horror and Fantasy

It must be true that haunted ghosts wandering in holy places are the scariest and the most powerful. "The Conjuring Universe" tries to prove that with their new horror thriller, The Nun, which dives into the origins of the demonic nun Valak who plagued Lorraine Warren's visions in The Conjuring 2.

Taissa Farmiga as Sister Irene | Warner Bros. Pictures

The film goes back to 1952 when priest slash exorcist Father Burke (Demián Bichir), and young novitiate Sister Irene (Taissa Farmiga) were ordered by The Vatican to investigate the case of a young nun who killed herself in a secluded abbey in Romania. Along with a young man who found the decaying body of the nun (Jonas Bloquet), they unveil the secrets of the gothic nunnery only to find out that it's being haunted by one of the most powerful forces of evil disguised as a nun.

The Nun has jump scare tactics as effective as the previous Conjurings while maintaining a refreshing anecdote from the Dark Universe. The franchise's usual familiar household setting, however, is badly missed that The Nun's gothic Romanian convent, and eerie (and smoky) cemetery suffers from being mystical and too away from home.

Demon nun Valak’s folklore leaves a little space for realism and logic that its impact is not as lasting and scary as its predecessors. Doesn't help that the story often teeters across the line blurring horror and fantasy, that it comes across as a fantasy world than a scary one.

Still, it's another fun and stylish horror movie that would remind its audience why they love the genre.

Demián Bichir as Father Burke | Warner Bros. Pictures

Anchored by the solid trio of Taissa Farmiga, Demián Bichir and Jonas Bloquet, they make their characters rootable against the evil forces of Bonnie Aaron's Valak. Farmiga, in particular, matches her sister Vera Farmiga's energy and grit in the franchise, and she does this with elegance and likability. Her turn as a simple novitiate to a tenacious nun leading the pack in defeating the monster nun, is one of the assets of the film. Bloquet provides the titters but are often out-of-place and hackneyed.

To me, The Conjuring's twisted magic seems lost in the spectacle of The Nun. Valak was effective as a ghost in the halls of a modern house, but doesn't quite feel at home, or perhaps the problem is it's too at home, in the gothic corridors of an old Romanian abbey.

'Searching' is a Twisted Whodunnit Told Via Internet

John Cho as David Kim in Searching | Columbia Pictures

An investigation is opened after David Kim's (John Cho) 16-year-old daughter suddenly goes missing. After days of this 'gone girl' case, David decides to search her daughter's laptop revealing secrets, not only about her daughter, but about his family as well.

The story unfolds just by watching a series of events in a computer screen giving an immersive effect as if we are searching along with David Kim. It’s like Unfriended minus the supernatural stuff, and more of a twisted whodunnit told via internet.

It explores enticing, some familiar and some new, internet features especially for teenagers nowadays who use these tools to explore their identities and validate themselves in the process. It also shows the good and bad effect of this in family relationships and the society in an innovative cinematic way posing questions like "how much independence to afford your children?" "When should one interfere in one's privacy?" and more.

I love the witty internet references—from Reddit conspiracy theories, to stock photos, to "I dont usually post on Facebook” clichés and other inventive feats.

The film is fast-paced with turns in almost every ten minutes, and the second half provides bold and countless twists without going absurd. The reveal tends to over-explain, though, especially Debra Messing's character who reveals all the twists in the end as the weirdly frantic investigator.

It also carefully tackles coping up with death in the family, thus, it is not devoid of family values. It’s a family drama first before it becomes a mystery thriller. The father-daughter relationship, after all, is the fuel of the movie. Its formula is reminiscent to Up in a sense that the adventure is fueled by family. Not to mention, Searching also starts with a family montage ala Carl and Ellie’s married life, and along with it we saw a clever glimpse of the evolution of the internet.

Searching is an inventive and detail-oriented mystery thriller about the endless possibilities of what the internet can do and how it affects everyone in the society. The possibilities are scary, but the movie itself is pretty fun!

'The Equalizer 2' Pulls The Trigger For A New Action Franchise

The Equalizer 2 brings back Denzel Washington as Robert McCall, the  protector of the oppressed equalizing bad deeds with courageous authority. He's back hiding in plain sight as a seemingly dark angel disguised as an ordinary man. This time with a troubled youngster (Ashton Sanders) under his wing, as he seeks justice for the death of his friend, Susan Plummer (Melissa Leo) killed by the same assassins wanting nothing but to destroy him.

Denzel Washington as Robert McCall | Columbia Pictures

Denzel Washington's filmography spans from drama films to action, and he's always been remarkable when it comes to the latter. From Malcolm X, to Training Day, and The Equalizer, he maintains his exceptional frondeur presence. With his action career continuing to keep up, The Equalizer seems like his Mission: Impossible, or Die Hard, or Bond. This is his first sequel ever so that's probably a career direction that he wants to take.

This is also Washington's fourth collaboration with Antoine Fuqua (Training Day, The Equalizer, Magnificent Seven), and it's difficult to say that they're moving in a dynamic direction. Equalizer 2 is a bit reserved compared to other action franchises in recent years, and while this caters Washington's gripping acting capability, to the point where he somewhat reprises his tough-patriarchal role in Fences, it's not enough to make this franchise outstanding. He's backed by a great cast in Ashton Sanders and Melissa Leo, as two significant characters in the film, but there's not much to explore in their characters related to Washington's McCall.

The Equalizer seems focused on making a franchise that involves more plot, and less action when it could combine both in a compelling way. Unfortunately, the convoluted plot drags in the first half. Good news is that it picks up big time in the second with a nail biting house hunt with Ashton Sanders, and a great action set piece in a seaside town during the middle of a typhoon. It's like watching a twenty-minute video of Counter Strike with all the hiding and seeking, waves crashing, rain pummeling, and guns a blazing.

Overall, while it seems that it takes its audience seriously by showcasing a decent plot with legitimate action stuff, the future of Equalizer might not be as clear as this whole sequel ought it to be.

'Crazy Rich Asians' is an Extravagant RomCom for All

Constance Wu as Rachel Chu | Warner Bros. Pictures

We've been looking forward for months since we found out that Constance Wu will be at the forefront of the film adaptation of the best-selling book, Crazy Rich Asians. Then the hype for the film increased even more when we learned that Kris Aquino was also attached to the project. Months after the excitement building up, it's finally here, and it was an absolute delight.

 The film follows New Yorker and Economic professor, Rachel Chu (Constance Wu) as she accompanies her longtime boyfriend, Nick Young (Henry Golding), to his best friend’s wedding in Singapore. It's only then that Rachel finds out that Nick comes from a "crazy rich" family, and is one of the most desired bachelors. This ticks Rachel’s anxiety, with jealous socialites and, worse, Nick’s own disapproving mother (Michelle Yeoh) taking aim.

I went into this thinking that an all-Asian cast in a Hollywood blockbuster would feel different or unsettling (in a good way, of course), but it’s comfortingly not and everything felt rather natural and universal. I suppose it's because it has all the components of a great romcom--good chemistry between the leads, compelling conflict, immersive mush and thrill, great soundtrack--only with additional Asian flavor. Thus, it makes for a refreshing yet familiar film to enjoy, and Crazy Rich Asians gives sense to that.

Constance Wu, who deserves all the prominence this film has given her, easily makes her character Rachel a lead to aspire, adore and remember. She's gorgeous, classy, and extremely likable even without trying too hard. In one of her highlights, as Kina Granni covers a romantic rendition of Can't Help Falling in Love during their friend's wedding, Wu melts all the hearts as she shares a look with Nick, with so much love and expression in her eyes. Michelle Yeoh, on the other hand, is a fierce yang to Wu's yin as Nick's refusing mother, almost similar to Meryl Streep's Miranda Priestly, who is always calm and elegant, and never trashy with her dislike. She is commanding in every scene she's in. The whole ensemble was a hoot, with Awkwafina being another highlight as Rachel's funny and caring girlfriend. Regarding Kris Aquino, I assume that director Jon M. Chu was in complete control of her. She's not OA, she's restrained, as she should be, as Princess Intan, who shared a short but pleasant scene with Wu. She looks good in the film!

Kris Aquino shares a scene with Constance Wu | Warner Bros. Pictures

The whole film looks radiant that the "crazy rich" aspect is real as hell. Parties are grand, dresses look expensive, jewelries everywhere, every set piece is topnotch. The whole wedding is out-of-this-world extravagant, and the whole cityscape of Singapore beams like expensive jewels.

Ultimately, this movie works wonders because it's about everyone. It's about a mother whose aim is to keep her family intact, a wife whose hope is to make her husband feel confident with her love, a daughter or a son who wants to please their lovers, and anyone who values their family as much as they value their true love.