Netflix’s feature films have never been particularly great ones at that but the idea that Bong Joon-ho was directing one to be distributed under their name only left me feeling optimistic. Bong Joon-ho only left behind a sign of promise when he transitioned towards directing English-language films with Snowpiercer and with his second Korean-American production, what has come by goes beyond just being exciting. It only wears that on the outside, but then comes by something far more thoughtful almost akin to the early work of Steven Spielberg, drawing upon something far more impactful. And as far as Netflix-distributed original features have gone, Okja is not only the most exciting one of the bunch but it also might very well be the best one by far. And by the standards of their original features, it says a lot for what Bong Joon-ho provided in Okja is a fantastic film as expected of him.
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While not lifeless, there’s not enough presented by The Jungle Book for me to get on board with. I like the fact that it knows whom it’s geared towards, but what I hate about its acknowledgement is how in turn something more restricted comes about. After Cinderella (which I’m indifferent to) and Alice in Wonderland (which I despise), Disney comes about with another live action remake of one of their classics, and this time, they tackle The Jungle Book. I was hoping for more out of this adaptation because I was particularly indifferent to the original Cinderella film and I was wondering what Jon Favreau could have done with his own spin on a different Disney film, and one which I had more of an attachment to at that. It was certainly something that looked very nice as it should, but trying to find the reasons for myself to get invested was where the real challenge came in. Continue reading →
Jodie Foster stated at one point she wishes to be known for directing although at this rate it’d be impossible to deny her icon status at least from playing Iris in Taxi Driver or Clarice Starling in The Silence of the Lambs. However she’s convinced me that she can pull off something rather solid after seeing Money Monster, which convinced me that she might have more capabilities as a director than I’d have thought after having been left unimpressed with The Beaver. Although it very much is extremely flawed, Money Monster leaves behind enough to provide a solid thrill from start to finish. Continue reading →