Review: Crimson Peak (2015)

Mini-Review and Rant: Monsters University, Anti-femininity, and Some Other Stuff

So, this time I am going to have a little rant. I always think that feminism is important, but I usually try not to hit my readers over the head about it. But not today. Because oh boy, I have a lot to say about Monsters University.

I am not sure why Monsters University particularly irritated me. Probably because it’s Pixar, and I do expect better from them. Pixar is famous for producing high-quality, critically acclaimed children’s animation movies, some of which are my absolute favorites. They are also usually excellent at handling femininity and masculinity, and the majority of their movies are non-gendered (neither a girl’s film or a boy’s film). The second reason is probably because I just finished Pop Culture Detective’s thoughtful video essay about “The Complicity of Geek Masculinity on the Big Bang Theory”, so the topic about masculinity and femininity is fresh in my mind.

Anyway, let’s review Monsters University! (Includes spoilers for Monsters University and Monsters Inc.)

Monsters University (or MU for simplicity in this review/rant) is a prequel to Pixar’s Monsters Inc. (or simply Inc). MU tells the story about how Mike Wazowski and James P. “Sulley” Sullivan met in university, way before they worked for Monsters Inc. In MU, Mike is not a scary monster, but he is determined to be a Scarer and works hard for it. Sulley, on the other hand, is a preternaturally gifted Scarer and serves as Mike’s rival for most part of the film.

MU, on its own, is a good film. It has good set up, a definite arc, and satisfying conclusion. It has characters we care about, and it’s pretty funny too. But it’s when we think beyond the scope of the film that things start to get… shakey. First of all, the story arc of MU is immediately undermined by Inc. MU is about how Mike works to achieve his dream to be a Scarer in the company, but we know in Inc that Mike does not even get to be a Scarer. In Inc, Mike serves as Sulley’s partner, which is basically an assistant. So during MU’s runtime, we already know that all of Mike’s hard work in MU eventually will never pay off and he will forever live in Sulley’s shadow.

Also, Inc’s whole premise is about how Mike and Sulley revolutionize their industry by retiring Scream Energy and switching to Laugh Energy instead, because they met Boo. But instead, all of MU is about glorifying the act of scaring. I know, the events in Inc happens after MU, so Laugh Energy is not a thing yet, but there are ways to incorporate a more cohesive theme throughout the two movies. Probably one of their friends from Oozma Kappa could make an off-hand remark about how they wish there’s another energy source other than children’s scream–just something to foreshadow what will happen in Inc. But there’s no such thing in MU, instead MU is laser-focused at idolizing the scaring industry. Which, again, is fitting when we think about Mike’s arc in just MU, but completely falls apart once we consider the broader theme from Inc. 

And that’s all I can say about MU, from the filmmaking standpoint. From here on out, I want to discuss about the representation of social themes in MU. Let the rant begin!

Our protagonist is Mike. Kind, small, with big round eyes, and is underappreciated for his whole life. While the antagonists, the fraternity brothers of Roar Omega Roar or ROR (pictured above)--and also Sulley to a certain degree--are big and muscular, cocky, aggressive, and intimidating. I think it’s safe to assume that ROR is meant to represent the ultimate form of masculinity (they’re fraternity bros, for starters), and, as a consequence Mike and the Oozma Kappas (pictured below) represent a more feminine form of masculinity. You might accuse me of “reading too much into it”, which I think is fair assessment if every other little thing does not reinforce my point.

I also know what you’re thinking: Isn’t it a good thing for feminism, that our protagonists (Mike and the Oozma Kappas) are the more feminine of the bunch? Not in MU, because their whole arc is that they really, really want to be like Sulley and ROR. Also, the movie is relentless at making fun of characters for their femininity. In fact, baking and hospitality, which is usually viewed as a part of femininity, was literally spelled out loud as “L-A-M-E” by the movie. When the movie wants to make fun of a character, they used glitter, flowers, stuffed animals, heart signs, and dream journals with unicorn and golden stars.

The message of Monsters University is clear: masculinity is coveted, while femininity is viewed as lesser and deserves to be made fun of.

I think it’s no coincidence that there’s no notable female character in MU, aside from Dean Hardscrabble. Hardscrabble is one of the good things in MU–she’s legitimately scary, firm, but kind. Other smaller female roles are Squishy’s mother (who is mostly used as comic relief), and sorority groups HSS (the goth one, pronounced “hiss”, who I don’t even think has any speaking role) and PNK (pronounced “pink”, because they’re girls. GET IT??). PNK consists of six non-descript, identical cheerleader-type girls, because…. GURRLS, am I right?

In a comedy movie, it’s important to ask ourselves, “Who do we laugh at and, and who do we laugh with?” Answer: We laugh at the Oozma Kappas. Always. So eventhough Oozma Kappa eventually wins the Scare Games, the takeaway is that they won despite their more feminine form of masculinity, not because of it.

Which is a shame, because none of that animosity towards femininity exist in Inc. No character in Inc is outright masculine or feminine, except the ultra-feminine and flirty Celia (Mike’s girlfriend) but she’s never shown in a particularly negative light. Sulley in Inc is not even particularly masculine. In fact, his defining characteristics in Inc are his kindness and his paternal relationship with Boo.

And I want to emphasize that even though I am here to talk about the portrayal of femininity in MU, it is not about the women. It is about the men. With MU as example, it is clear that feminism is not just a woman’s fight–it’s everybody’s fight. Look at how miserable Mike’s life is in MU. Even though he is kind, smart, and works hard, he is belittled because he does not fit the standard definition of masculinity. Mike is only miserable because of the arbitrary societal rule of “how men should be like". So it is clear that misogyny not only affects women, it affects men too. As Emma Watson once wisely said (paraphrased) about feminism, we can only be truly free if women are allowed to be strong and men are allowed to be sensitive. But even in the end of MU, Mike and the Oozma Kappas still end up conforming to the idea of toxic masculinity.

There’s another thing that I want to discuss about MU. I did point out that the entire plot of MU is about glorifying the scaring industry, which is fine in itself because it fits Mike’s arc (a Scarer is not a real career choice anyway). But the movie also goes out of its way to depict other geekier career choices like scream-can architect, or more creative ones like dancer, as–for lack of better word–lame. So MU basically teaches children who watches the movie that a career in STEM and in Arts is neither an important nor fulfilling career choice (Direct quote from the Dean, “Scariness is a true measure of a monster. If you’re not scary, what kind of a monster are you?”). That’s totally not cool, Monsters University, not cool. (I could add a paragraph’s worth of rant about how MU depicted Scarer as an ultimate “masculine” career choice, but I digress. The article is as long as it is.)

So… yeah. This rant/review is all over the place because I have a lot of things to say, but I hope this will give you a new perspective. Pixar, you could do better.

Review: 10 Cloverfield Lane (2016)

Rating: 9.5 of 10

10 Cloverfield Lane is about 3 people, Michelle (Mary Elizabeth Winstead), Howard (John Goodman), and Emmett (John Gallagher Jr.), who are trapped in a bunker because of some mysterious attacks that poison the air above ground.

If the title sounds a bit familiar, it’s because 10 Cloverfield Lane is named after 2008 film, Cloverfield. But wait! It’s not a sequel or prequel, instead 10 Cloverfield is a “spiritual successor” or “blood relative” of Cloverfield, according to producer JJ Abrams. Honestly, that sounds incredibly confusing and pretentious–usually jargons like those are red flags–but trust me when I say 10 Cloverfield Lane is good. In fact, it’s a great movie and it’s one of the best thrillers I’ve seen in recent years.

I was skeptical when I heard this “Cloverfield 2″ project was happening because while I loved Cloverfield, it had too many gimmicks (the found-footage format, viral marketing, always-on-the-corner-of-your-eye monsters) for it to work the second time. I’m happy to tell you that 10 Cloverfield is nothing like the original Cloverfield. It’s a whole new story and setting, with a set of new characters. So if you wanted a Cloverfield sequel then you need to adjust your expectations, but that also mean those of you who hated 2008′s Cloverfield with a passion (or have never seen that movie and couldn’t care less) can see 10 Cloverfield without reservation.

I WON’T tell you anything about the story in 10 Cloverfield Lane. The best thing you can do is to go in blind, and experience the ride you’re going to have without any spoilers. Don’t read any spoiler-filled review, don’t look up any interview, don’t watch the trailers on Youtube. Just go off the internet and watch this movie as soon as you can. In fact, just in case you need a small taste of the movie to convince you that you need to see this movie (it’s also worth noting that this movie currently sits at 90% in Rotten Tomatoes), I’ll share you this teaser trailer–and only this. Don’t look up any other trailers, because  the other trailers still reveal too much.

10 Cloverfield Lane sets up an unsettling vibe from the very beginning, that you could never quite shake off even when the movie gives you a warm, cuddly scene. In a movie that is set in claustrophobic bunker, the movie never goes to places you expect. There are so many twists and turns, and then there’s the ending. The ending has a MAJOR twist, that frankly, some people might think is too jarring. I, for one, loved the twist. In fact, that’s why I love this movie so much. It gives an excellent dramatic payoff that lines itself quite nicely with the franchise, and it brings an added perspective into an already layered story.

Was the threat chemical? Nuclear? Was it human? Monsters? Aliens? Throughout the movie you’d keep guessing, and the best thing about 10 Cloverfield Lane is that whatever answer you have in your head, you’d still be surprised. 10 Cloverfield Lane also tend to give you hints and not straight answers, and that is one of the reason the movie has so much depth than you’d expect.

TL;DR Crafted with masterful writing, acting, and direction, 10 Cloverfield Lane is an intense thriller that you don’t want to miss.

Music Shoutout: The Libertines - Anthems For Doomed Youth

First, Let Me Tell You About The Libertines...

(TL;DR If you only want to read about their new album, scroll way, way down below until the next section, below the horizontal line.)

Generally, Music Shoutout is a place where I talk about relatively unknown or (in my humble opinion) underrated bands, and while The Libertines isn’t exactly unknown–even downright legendary, depending on who you ask–they aren’t as famous as one diehard indie rock-fan would like to think. Their names weren’t as recognizable outside the UK, and in my home country Indonesia, you’d be better off talking about These New Puritans or something (meaning: nobody’s really heard of them both, but you’d be hard-pressed to explain how big The Libs’ influence was). So I’m writing this Shoutout as a primer (sort of) for those who aren’t familiar with them, because their heyday was 11 years ago anyway so you were maybe like, 4 years old at the time. 

In honesty I feel a bit unequipped to be talking about The Libertines, because there are already so many articles about them written by actual music journalists who, of course, could form words far more eloquently than I do. But now, obviously, is the perfect time to talk about them since they had just released their third album (!), Anthems For Doomed Youth, after a decade-long hiatus. 

The Libertines is a British indie-rock band, composed of lead frontmen/songwriters/vocalists/guitarists/best friends Carl Barat and Pete Doherty (middle-left and middle-right, respectively, in the first group picture above), bassist John Hassall (far-right), and drummer Gary Powell (far-left). They were formed in 1997 and released their first studio album “Up The Bracket” in 2002, reached critical praise and commercial success, released sophomore album self-titled “The Libertines” as a candid account on the mostly-love-but-also-hate relationship between the two frontmen Pete and Carl, and the band dissolved soon afterwards. Their time was short but eventful–with enough history to fill up tabloids full of gossip and several documentaries–but to summarize, it included drugs and betrayal:

“The Libertines legend is action-packed. The full story involves inter-band burglary, toe-curling TV documentaries, Thai monasteries and EastEnders’ Dot Cotton, but the basic facts are thus: group form in 1997, around the fraternal friendship of Doherty and Barât (along with bassist John Hassall and drummer Gary Powell); write songs indebted to both the Clash and Chas and Dave; break down the barriers between artists and fans like no British group since punk; then fall apart when Doherty’s drug intake becomes too much to handle; Barât boots his best friend out of the band until he cleans up his act; the ensuing drama (involving burglary, jail and more drugs) captivates fans until they begin to realise that the Libertines story was all over before it had even begun.” The Guardian.

They were somewhat notorious-and/or-famous in the UK--and while they weren’t quite as much a phenomenon outside of UK, for those initiated, The Libertines made a lasting impression. With startlingly new(-ish, because they certainly had influences from way back) and shocking sound at the time, the band captivated critics and fans alike. They quickly earned massive and extremely dedicated fanbase, while both of their albums routinely listed in Best Albums Of 2000s lists, if not Of All Time, in various publications. Think Oasis, if only a notch below. They had lasting legacy too, with bands like Arctic Monkeys and Franz Ferdinand would not reach the charts without The Libertines (in a similar way, US’ The Strokes paved the way for The Libertines itself).

To the untrained ear, their music might sound like a mess. They are a mess, so to speak, because of their deliberately rough-edged sound, but if one really listens they’d find great lyrical poetry and beautiful melodies beneath the band’s veil of chaos. (watch: Can’t Stand Me Now, and France). And when fans dubbed Pete as true poet, they aren’t joking. He is actually a published poet, and according to one trivia, at age 16 won a poetry competition and went on a tour to Russia for it. Carl is also a literary fan and frequently cited authors as his influences. (the band’s name is taken from Marquis de Sade’s Lust of the Libertines. The song Narcissist is also inspired by Oscar Wilde’s Dorian Gray). Along with British-style wit, self-deprecating charm, and blue-collar worker spirit, that juxtaposition connected with and enlightened sparks of life inside a whole generation of music listeners; most especially the hardened British middle-class worker ones. (watch: Time For Heroes, based on London May Day Riot of 2000)

“It’s like they say: Oasis is the sound of a council estate singing its heart out, and the Libertines is the sound of someone just put in the rubbish chute at the back of the estate, trying to work out what day it was.” Pete Doherty trying to explain their sound.

But judging The Libertines from their published recordings alone is only ill-advised. The band was defined by their adventures almost as well as their music, if not more. They are one of the bands that pioneered using the internet (in the pre-Twitter world) for directly communicating with fans and built a community around it--and they are also the kind of band that used to brand loyal fans with tattoos, played gigs in their own house that once resulted in police interference and sang through it with The Clash cover like it was just another day (watch that old gig), and also gladly sang through a stage-breaking fan like it was, also, another day (watch The Boy Looked At Johnny live performance with one overenthusiastic fan). In true Libertines spirit, of course, they haven’t stopped. They still do, to this day, play “guerilla” gigs--small, intimate, and mostly impromptu gigs--in teeny-tiny clubs, and most recently deviced a pop-up store and a week-long shenanigans with the band (including pub quiz!) for fans to welcome their newest album. From the start, it was clear The Libertines had their own special presence in the music industry, and they had always brought fans-slash-friends along for the ride.

It’s easy to see why fans felt exceptionally strong bond with the band, but it’s also quite hard to explain exactly the allure of The Libertines to the people who’ve never heard or seen them, and especially hard to explain to those who don’t really understand the appeal of the dirty side of rock n’ roll. Not that I imply that The Libertines is the pinnacle of dirty rock ‘n roll–they clearly aren’t–but they don’t try to be “hardcore” or anything like that, and therefore in my eyes, makes them really, really are. My point is, The Libertines’ charm isn’t quantifiable or even explainable, they’re just something that you believe in. To this day, fans would do pilgrimage to staple places of the band’s history (such as Albion Rooms–Pete and Carl’s old flat in which they sometimes held said gig–or a London alley from Up The Bracket’s music video (watch) in which fans would still inscribe drawings or quotes on the wall). The band’s live performances, of course, are always pure, frantic, and kind of unhinged that the fans will always know that their watching the bands’ true self.

“Other groups sold out bigger venues, had more hits and made better albums – but no other band gave music fans something to believe in quite like the Libertines.” The Guardian. 

In their own way, The Libertines would frequently remind you of a fiendishly fierce whirlwind romance, because maybe they are one. Pete and Carl’s relationship is hard to explain except maybe in one word: soulmates. In an interview talking about how they met, Pete said about Carl, “I was fascinated by ideas he had about himself and the country. I’d never met anyone like him. It was - what’s the word when you can’t take your eyes off someone? …Yes, it was riveting. Despite everything, you knew there was goodness there. Something to believe in. Something which is good, pure and untainted by anything.” And Carl said, “I think I felt a bit trapped before I met Pete. Have you seen The Lavender Hill Mob? Alec Guinness plays this wonderful, colourful person who locks it all up and goes through the motions. I always felt a bit like that. But then I met the Pigman (ed: nickname for Pete) and he said, ‘You can actually knock that on the head and get out.’ So we threw ourselves into eternity. And it worked.” While they most assuredly aren’t couples or lovers (because love comes in more than one kind, we aren’t five year-olds), their relationship was indeed like “first love, and all the jealousy and obsessiveness that comes with that”. Their mutual love and respect continued, even when they were apart and hated each other, and it is that fuel that burns the band. They’re one of the greatest pairing in modern musical world–always bouncing off to one another on stage and have a habit of singing on a single microphone. They’re the ultimate bros, on stage and off stage, and it’s that bond that captivated listeners too.  

An Anthem For Doomed Youth...

A third The Libertines album might sound so far-fetched not even a year ago, but here we are, rejoicing its release and finally listening to their newest album Anthems For Doomed Youth. More than a decade have passed by and no one stayed the same after 11 years, and so didn’t The Libertines. I didn’t really follow Pete’s music during the hiatus (he did have a really good solo album, though), but through Carl’s wildly different stuff throughout the years (Dirty Pretty Things, solo album, Carl Barat and The Jackals) it was clear that no one could stay the same. So The Libertines have evolved, and considering how much of their spirit relied on the chaos of youth--and they aren’t exactly young anymore, that’s good.

The album might sound uncharacteristically clean at first, but every bit of The Libertines is still there--if a little bit more mature, for lack of better word. The album might lack a sense of urgent charm that their albums used to have, but they make it up with a more competent, sympathetic, and introspective touch around their usual themes: intermittent self-aggrandizing and self-pity, lament of lost innocence, and full-on romanticism. Maybe the most stark difference can be felt through You’re My Waterloo, an old track (an ode from Pete to Carl) from the band’s back catalogue. Never been officially released but frequently played, this piano-heavy version have a sweeter, gentler vibe throughout the song that we maybe would not get from the old Libertines. 

Treading the line between glories past and present, Anthems of Doomed Youth is definitely an older, wiser version of The Libertines, but they’re still the likely lads that we knew.. And for new listeners: just sit back and enjoy, it’ll be a good ride.

Surprisingly dark and layered, 2003′s underrated Peter Pan movie is my favorite Pan story. Please read and watch the movie (instead of the awful 2015′s Pan ;) )!

The best Peter Pan film is the one you’ve forgotten about

Look even a little past the surface, and Peter Pan is revealed as the tragic figure he is at heart. Yet only one version of the story has really acknowledged this. Not coincidentally, it’s by far the best one: P.J. Hogan’s 2003 film Peter Pan.

The Peter Pan of this film (Jeremy Sumpter) is a wounded creature. Like many troubled children, he reacts with hostility and violence when attacked, though the dangers that set him off here aren’t the physical kind posed by Captain Hook, but emotional ones that are threatening in their adultness. The film sees through his familiar traits, revealing his trademark cockiness and mischievousness as masks over underlying pain. When claims he wants only to be a boy and have fun, Wendy calls bullshit: “I think it is your biggest pretend.”

Remember that Pan’s ability to fly is contingent on not just fairy dust, but optimism; if he lets unhappy thoughts into his head, he will quite literally fall. This doesn’t result in a joyful character, but one in denial. When he plays a kind of word association game, pairing “jealousy” with Tinker Bell and “anger” with Hook, he claims ignorance at the word “love,” hissing that “the sound of it offends me.” While it’s never underlined in close-up, there’s a scar running across Sumpter’s heart.

Full story at avclub.com

Review: Kiss Kiss Bang Bang (2005)

Rating: 8.0 of 10

Robert Downey Jr. and Val Kilmer sharing a witty banter? If it's not your idea of Christmas, it will be after you watch Kiss Kiss Bang Bang, a wonderful tounge-in-cheek outing from director Shane Black. He was practically a no-name then, along with the formerly catastrophic Robert Downey Jr., but now the bigger world might recognize them as director-actor pairing who made Iron Man 3 happened. Today Robert Downey Jr. is famous as the equally witty Tony Stark, worth millions of dollars, and belovedly nicknamed by the world as RDJ, but I believe this is the movie that started it all.

The basic gist is Harry Lockhart (Robert Downey Jr.) was a petty thief who was accidentally spotted to become an actor and was sent to LA, where he met his long lost high-school lover Harmony (Michelle Monaghan), and a private detective "Gay" Perry (Val Kilmer). And oh, he also had the worst luck ever on Christmas, when he witnessed two guys dumped a body in a lake. Eventually, the three of them decided to do some detective work on their own.

This is an action/black comedy movie, and Kiss Kiss Bang Bang had done everything right on every level. It was full of action and black humor. It had the right attitude; the dialogues are fast, smart, witty, and fresh. And highly quotable too, because in the end that is what matters isn't it? 

TL;DR It was a definite fun ride and it delivered everything on the right note. The fact that you've just found a new way to insult idiots is just a bonus.

Review: Black Sheep (2006)

Rating: 8.5 of 10

Let me explain you this lightly; Black Sheep is a sheep zombie movie (and in case you're wondering, yes the movie's from New Zealand). If that doesn't sound like something you'd like then stay clear, but if it sounds interesting to you then definitely go for it.

In this story, Henry Oldfield (Nathan Meister) comes home to family farm, Glenholden Station, after years of living in the city, only to find out there's more sinister things going on involving genetically engineered sheep.

Black Sheep is a gory, survival horror movie--one that plays off of a bizzarely unusual premise. But it works! It plays off entirely straight, especially at the beginning, but slowly and surely it sucks you in into its absurdity, sprinkled with a healthy amount of dark comedy. It's ultimately a B-movie, that's for sure, but Black Sheep has way more dignity than it has any right to be. It has charming and relatable lead characters, beautiful cinematography, and legitimately good score throughout. It's an unexpectedly competent, ridiculously insane movie.

Also, it has a way better special effects than you'd expect (that still looks good even 10 years later), with both believable animals and gore. It even has a transformation scene reminiscent of that classic werewolf transformation scene in An American Werewolf In London (although not as lengthy), which is not a bad thing at all. Believe me, sheep in this movie are absolutely terrifying.

TL;DR Fully embracing its gleefully absurd, blood-soaked story, Black Sheep is definitely a movie worthy of a cult attention.

Bonus: Trailer for Black Sheep! (viewer discretion is advised, so is for the movie)

Review: Cek Toko Sebelah (2016)

Rating: 7.0 out of 10

Cek Toko Sebelah is the second feature film from Ernest Prakasa, an Indonesian stand-up comedian turned writer/actor/director. Cek Toko Sebelah tells the story of Erwin (Ernest Prakasa), a succesful young man on the verge of a promotion, his screw-up brother Yohan (Dion Wiyoko), and their father Koh Afuk (Chew Kin Wah) who leaves Erwin with his small business.

Cek Toko Sebelah has a simple but powerful premise, and it has a promising start. It establishes characters pretty well, filled with witty dialogue including some laugh-out-loud moments, but everything seems to go downhill from there. Ultimately, Cek Toko Sebelah is a typical Indonesian movie, played out in a typical Indonesian fashion: very linear, unimaginative storyline with one dimensional characters. In Cek Toko Sebelah, the story writes itself, and not in a good way. Everything plays out basically exactly like you'd expect with little to no surprises, especially during the first and second act. The characters' storyline does not intertwine in any meaningful way, with minimal character development. The movie does offer good laughs, but everything else is not enough for me. Fortunately on the third act, things started to get a little more exciting, and it does slightly redeems itself.

What's frustrating is, Cek Toko Sebelah has the potential to be an extremely good character-based family drama/comedy. Instead, it only reaches for the easy low hanging fruit, and is either unwilling, or unable to aim higher. Erwin's character is ripe for conflict, but ultimately, he has given nothing to lose. The writer thinks that everything that's being thrown at Erwin is conflict, but Erwin is not given time to process it--and neither was the audience--so ultimately they did not become conflict. They were just stuff. Stuff that happens. Cek Toko Sebelah is a film that does not dare to hurt the characters, therefore it becomes a relatively uncompelling viewing experience. Yohan's dark past is hinted, but is wholly unexplored, and the movie is afraid to put obstacles in front of him. Natalie (Gisella Anastasia), Erwin's girlfriend, has exactly one purpose in the movie (being the nagging girlfriend), and the only attempt to give Ayu (Adinia Wirasti), Yohan's wife, a dimension besides being, y'know, "Yohan's wife", falls flat. The only compelling character is Koh Afuk, largely because of Chew Kin Wah nuanced portrayal. This father figure is not perfect: reserved, cynical, stubborn, but he cares deeply about his family and his employees. He does not say much, but Kin Wah was able to carry it all with authenticity and wit, that we could not help but to fall in love with his character.

Aside from family, there's another theme explored in this movie: living as a Chinese-Indonesian in Indonesia. On that account, Cek Toko Sebelah is very successful in showing the nuances of their everyday lives. Ernest Prakasa himself is Chinese-Indonesian, and he frequently talks about it back from his stand-up comedy days, so it's not surprising. Diversity overall, is a win here. But there are also some problematic social treatments in this movie. I was really hoping that this movie would be above resorting to male gaze for jokes, but with how the males treat Anita's (Yeyen Lidya) character repeatedly, apparently not. In general, the female characters in this movie are uninspired at best. It also features typical Indonesian representation of an LGBT character (a comic relief that other characters laugh at), which while it is funny, only cements the stereotype.

I hope I do not come across as mean or nitpicking, or unsupportive of local films. I really, really do hope for quality filmmaking in Indonesia and this is my way of supporting it. TL;DR Cek Toko Sebelah offers good diversity, some pretty funny moments, but serviceable characters.

Music Shoutout: Bernhoft

Bernhoft or Bern/hoft, sometimes also known by his full name Jarle Bernhoft, is a singer and musician from Norway. He's pretty well-known in his home country and part of Europe, but trust me when I say he really should be worldwide famous. With unique musical sensibilities that is drenched in soul and funk, he's the grooviest white man you'll ever meet and you know it.

If you listen to his recorded songs and albums and think, "Eeeeeh, this guy is pretty good, I guess," wait until you see his live performances. With the help of loop machine, he plays all the instruments himself and magically always sound like he has a full band with him. (Basically, for the Orphan Black crowd, he's virtually the Tatiana Maslany of music ;) ) Honestly, it'd be a gimmick if he weren't so good at it, but he somehow makes it all seem so naturally easy.

He already had 3 irresistible solo albums: Ceramik City Chronicles, Solidarity Breaks (buy), and most recently Islander (buy). Each of them had somewhat different vibes, but equally good. Being a well-rounded musician that he is, of course, the "gimmick" isn't all that he is. If you're interested, he also published live performances that he did with orchestral companion (with album Walk With Me (buy)), and also with actual band (in the double CD, 1:Man 2:Band). All of that showed that yes, there is nothing that he could not do. Oh, and he was also nominated for the Grammy Awards for his album Islander, so there’s that.

So, check him out already!

Disclaimer: All videos embed and linked above are for promotional purposes only. Please support the artist legally!

Coming soon: Avengers: Age Of Ultron (2015) Review

We have early release here (and I’ve seen it), but I’ll hold off the review until this week’s Marvel’s Agents of S.H.I.E.L.D. Stay tuned!

Trailer: Pitch Perfect 2

Despite for my love for everything dark, I'm unashamed in my love for Pitch Perfect. So here's a trailer for the sequel! Out May 15th 2015, starring Anna Kendrick, Hailee Steinfeld.