Hereditary (2018): Intense Horror with Confusing End

Hereditary (2018): Intense Horror with Confusing End

Directed by: Ari Asher | Produced by: Kevin Frakes, Lars Knudsen, Buddy Patrick | Written by: Ari Asher | Starring: Toni Collette, Alex Wolff, Milly Shapiro, Ann Dowd, Gabriel Byrne | Music by: Colin Stetson | Cinematography: Pawel Pogorzelski | Edited by: Jennifer Lame, Lucian Johnston | Production Company: PalmStar Media, Finch Entertainment, Windy Hill Pictures | Distributed by: A24

8.2/10

Creepy yet fascinating, Hereditary contains all you need in a horror movie: gore details, slow burn horror and twisted story. The story also contains twists that you don’t talk in details because you would ruin all the surprises, or just making anyone who haven’t watched it think you are only blabbering. The movie delivers slow burn horror in its first 30 minutes, then goes stressful in the next 90 minutes. The director-slash-writer Ari Aster also keeps us wondering if the horror we’ve seen is real or only happens in the imagination of Leigh family.

Hereditary set after the death of family matriarch Ellen Leigh, who has strange relation with her daughter Annie (Toni Collette), but loves her granddaughter Charlie (Milly Shapiro). Annie is a miniature artist who has difficulties coping with her mother’s death while finish an exhibition of miniatures that appear to depict her own family’s life and Annie’s mental state. Besides the allergic-to-nut and somewhat disturbed Charlie, Annie is married to kindhearted and logic Steve (Gabriel Byrne) and having her eldest son Peter (Jumanji: Welcome to the Jungle (2017)‘s Alex Wolff). The family is having their own secret that they choose not to show to one another. Annie lies to her husband that she’s going to the movies when she’s really attending a grief management circle. Peter anesthetizes himself with marijuana. Charlie draws obsessively in a small notebook.

The more I watch Hereditary, the more I grateful for things that I haven’t any idea when I decide to step onto the cinema. The key itself lies on the title of the movie, and I would reveal all the surprises if I wrote the details of the story here. Like the other slow-burn horror, the story makes you care about all the characters, and the more you know about them, the more the story would hurt you. I don’t eventually like the horror that contains too many jump scares, but still Hereditary has enough images of mutilated body organs, strange behaviors due to their mental illnesses, and sound effects that seem to be happening inside your head.

However, the story would more make senses if it is made to be making sense. Hereditary, unfortunately, is ignoring all these realistic logic. If an accident occurs that results in severe injury or even someone’s death, we would expect police involvement. This makes Hereditary less believable and severe our ability to take the situation seriously. The ending also didn’t work for me, since there are no further and proper explanation on what really happens to this family and why the descendant have to bear such a “hereditary” burden that they have no idea occurs. I even need to watch several fan-made video that explain the ending.

The whole movie develop so well thanks to the actors performance. Toni Collette steals the whole movie and her stellar performance as mental troubled Annie Leigh helps to sell the movie. Her dinner table scene face-to-face with Alex Wolff is probably the best emotional scene I’ve watched so far in 2018 and that scene somehow makes us believe that there’s something unspeakable between this family. Alex Wolff and Gabriel Byrne are also solid, although the script steal their emotional ability to react even in a difficult situation. The Handmaid’s Tale‘s Ann Dowd plays Joan with her charisma as creepy as her role Aunt Lydia.

For a horror movie, this probably one of the best I’ve watched during 2018. Although the jump-scare count is low, Hereditary has the ability to hurt us in different level. The confusing end somehow leave an unpleasant feeling, although the other aspects of this movie are mostly solid and remarkable.

 

Advertisements
Ant-Man and The Wasp (2018): Delightful yet Forgettable Sequel

Ant-Man and The Wasp (2018): Delightful yet Forgettable Sequel

ant-man-and-the-wasp

Directed by: Peyton Reed | Produced by: Kevin Feige, Stephen Broussard | Written by: Chris McKenna, Erik Sommers, Paul Rudd, Andrew Barrer, Gabriel Ferrari | Starring: Paul Rudd, Evangeline Lilly, Michael Douglas, Michelle Pfeiffer, Michael Pena, Laurence Fishburne, Walton Goggins, Hannah John-Kamen | Music by: Christoph Beck | Cinematography: Dante Spinotti | Edited by: Dan Lebental, Craig Wood | Production Company: Marvel Studios | Distributed by: Walt Disney Studios, Motion Pictures | Official Website

7.9/10

Scott “Ant-Man” Lang is the hero we least recognized as a true hero. He is an ex-con, starting his adventure as superhero by stealing the suit from S.H.I.E.L.D’s probably most notorious scientist, Dr. Hank Pym (Michael Douglas, aging handsomely), and he was once trying to save the world by teaming up with Captain America in Civil War. So yes, Lang is the hero that somehow always puts himself on wrong circumstances by making bad decisions, not to mention alienating his friends and those who loves him.

Lang is probably the most humane superhero in Marvel Cinematic Universe nowadays, and he’s back on his sequel movie with more humor and delight performance. Director Peyton Reed is back on director’s chair, but this time he is not burdened with introducing a superhero like he did on the first movie. The result is happier version of Ant-Man, mixed with Rudd’s charming goofball.

Set a few years after Civil War, Scott Lang is now under house arrest for his involvement in the Berlin showdown. Few days before FBI agent Woo (Randall Park) is to remove Lang’s monitoring device, he’s summoned by the brains behind his adventure: Dr. Hank Pym (Michael Douglas) and Pym’s daughter Hope Van Dyne (Evangeline Lilly, freeing herself from that excruciating bob wig), whose winged Ant-Man-like suit has earned her nickname “The Wasp”. Pym believes his wife, Janet (Michelle Pfeiffer) has been locked away in the “quantum realm” for the last 30 years, and he believes that Lang’s connection to the realm could help him find his wife.

Don’t worry and be happy, since the quantum tunnel Pym has made to find his wife has also summoned some “villains” to try to take it over. First, there is Sonny Burch (Walton Goggins), tech and weapon smuggler who wants to sell the high-tech lab where the tunnel is built. Second, we have Ghost a.k.a Ava Starr (Hannah John-Kamen), daughter of Pym’s ex-scientist who exposed to quantum explosion and made her can phase through objects.

The term villain is debatable here, since there are several characters that have purposes against Lang, Pym and Van Dyne. However, the real purpose of Pym and Van Dyne in this movie is also far more simple than save the world: to bring Janet Van Dyne home. For these reasons, this is a superhero movie that unlike the others, it tells us about the dynamic of superhero’s personal life. The movie is not going any bigger, since it seems that Marvel uses different approach in delivering Ant-Man to us, and the narrative of Scott Lang still touches the ground with the fact that Ant-Man is probably one of superheroes that still have ordinary family and friends outside his superhero life. This is the main attraction of this movie.

Supporting “villain” characters—like smug weapons dealer Sonny Burch, mysterious Ghost, clueless FBI agent Woo and Pym’s estranged former colleague Dr. Bill Foster (Laurence Fishburne) are also helping the storytelling and gives reasoning behind their catastrophic actions: if Ghost doesn’t steal Pym’s lab and tunnel, she will dissolve and die; if Pym doesn’t get Lang’s help in finding the exact location, his wife will vanish; and if Lang doesn’t get back to his house before Woo returns to check up on him, his new post-“Ant-Man” life is over and he will go straight to jail for another twenty years. The juggling of these various plot points is well-reserved so we can follow through with enough subplots and willingly invest our time in a set of well-choreographed set pieces.

This is story you can watch with your whole family. Just sit there and enjoy the whole movie. There are two after-credit scenes, one defines what happen to Ant-Man when Thanos completes all the infinity stones together, and one to make you laugh.

Bad Samaritan (2018): Hold by David Tennant’s Solid Performance

Bad Samaritan (2018): Hold by David Tennant’s Solid Performance

Directed by: Dean Davlin | Produced by: Dean Davlin, Rachel Olschan, Marc Roskin | Written by: Brandon Boyce | Starring: David Tennant, Robert Sheehan, Carlito Olivero, Kerry Condon, Jacqueline Byers | Music by: Joseph LoDuca | Cinematography: David Connell | Edited by: Brian Gonosey | Production Company: Legion M | Distributed by: Electric Entertainment | Official Website

7.2/10

When I first watched the trailer of Bad Samaritan, and knowing it was directed by Dean Davlin, I was fascinated. The trailer is promising, this movie is kind of Hitchcockian movie blended with trending technological advances like GPS tracking, smart houses, smart cars, and hacked social media accounts. Devlin himself, with Roland Emmerich, is the man behind hits like Stargate (1994) and Independence Day (1996). I think, this could be a smart movie that will show us that psychopath nowadays would be able to crush us not only physically and psychologically, but also virtually due to our vulnerability in accessing the internet.

Bad Samaritan is Devlin’s attempt to create a traditional thriller that tries so hard to keep the audience’s interest, but finally lost to Brandon Boyce’s weak screenplay. Opens with the scenes that probably would make you think twice on using valet services. Two valet drivers Sean (Robert Sheehan) and Derek (Carlito Olivero) work outside a high-class Italian restaurant. Instead of parking the car, the two used the cars as their gateways to theft by accessing a home address via the navigation system. They can drive to the owner’s house, use the garage door opener in the car, and commit the robbery while the family is enjoying their dinner. One day, Sean tries to rob the Maserati arrogant Cale Erendreich (former Doctor Who David Tennant), where at his locked office, Sean finds a bonded woman (Kerry Condon) who has been badly beaten and chained up using gears that make Christian Grey’s stuff look like babies toys. Haunted by not be able to help the woman, Sean tries to place anonymous call to the police, but due to his crime record, police won’t take his report seriously. However, you cannot underestimate the sociopath in a thriller movie, especially when the sociopath is played by David Tennant, right? Erendreich quickly discovers his house intruder and begins a plan to destroy Sean’s life.

Calculating villain’s next step in a thriller is always be the main attraction. This the only reason why Cale Erendreich is fascinating. Erendreich looks like he is just brought up from any episode of Criminal Minds, with the same insanity and intensity Tennant shows from playing Kilgrave on Jessica Jones. Erendreich is having mental problem, obviously, but he analyzes situations and calculates his steps very carefully to beat his target. Erendreich is almost as fascinating as you wonder how he will end his insanity if it’s not for how dumb his ending would be. Near the end, Erendreich suddenly lost his complexity and turned into a frustrating criminal who swear and threaten a lot. Sean, played by Robert Sheehan, might not be the best protagonist, but as the man who stands against Tennant, he doesn’t need to be. Tennant is the real deal here, and his character changes is one point that shattered the whole movie.

With its positioning to not release widely, Bad Samaritan would be a nice choice to watch on TV or maybe smaller devices. However, Devlin still has capacity to shot with very nice cinematography of Portland, Oregon. While calculating Erendreich’s next move and disappointing with the ending, you can enjoy the beautiful snowy views and some jump scares every thriller needs.

Kulari ke Pantai (2018): We Need More Heartwarming Movie like This

Kulari ke Pantai (2018): We Need More Heartwarming Movie like This

Directed by: Riri Riza | Produced by: Mira Lesmana | Starring: Maisha Kanna, Lil’li Latisha, Marsha Timothy, Ibnu Jamil, Lukman Sardi | Production Company: Miles Films

7.5/10

Setiap kali mau nonton film Indonesia, saya sebal sekali. Apa pasal? Saya susah banget menemukan review terpercaya yang membahas film-film Indonesia. Kalau untuk film luar, saya masih bisa mencarinya di situs-situs kritikus film macam Reelviews dan Roger Ebert, tetapi untuk film Indonesia? None. Saya tak sepenuhnya percaya pada rating di IMDb atau Rotten Tomatoes, dan lebih memilih untuk membaca review yang langsung dari para kritikus film. Saya tadinya bergantung pada review Tempo yang kadang ditulis Leila S. Chudori, tetapi kebanyakan film yang mau saya tonton belum di-review.

Waktu melihat trailer film Kulari Ke Pantai ini, saya membatin, here we go again. Mira Lesmana dan Riri Riza lagi-lagi menelurkan film anak-anak setelah Petualangan Sherina (2000), Laskar Pelangi (2008) dan sekuelnya Sang Pemimpi (2009) dan terakhir Sokola Rimba (2013). Film-film ini punya ciri yang khas: pemeran anak-anak yang mengendalikan keseluruhan jalannya cerita, lokasi syuting yang memotret keindahan tanah Indonesia, dan jalan cerita sederhana yang bisa dinikmati berbagai kalangan usia. Sebagaimana pepatah don’t change the winning team, hal ini terbukti menjadi winning formula yang diulang oleh Mira dan Riri untuk merumuskan Kulari Ke Pantai.

Kulari Ke Pantai bercerita tentang dua sepupu: Samudera “Sam” Biru (Maisha Kanna) dan Happy (Lil’li Latisha) yang berbeda latar belakang. Sam dibesarkan oleh ibunya Uci (Marsha Timothy) dan ayahnya Irfan (Ibnu Jamil) yang membuka resort di Rote, sehingga Sam tergila-gila pada surfing dan mengidolakan Kailani Johnson, surfer profesional. Sementara Happy yang dibesarkan di Jakarta oleh ibunya Kirana (Karina Suwandi) dan ayahnya Arya (Lukman Sardi) tergila-gila pada eksistensi di media sosial. Kedua sepupu ini bertemu kembali pada ulang tahun nenek mereka di Jakarta, dimana Uci mengungkapkan rencana road trip-nya bersama Sam untuk bertemu Kailani di G-Land, Banyuwangi. Tak disangka, Kirana meminta Happy untuk ikut bersama mereka, sebagai syarat untuk diizinkan menonton konser bersama teman-temannya.

Sesuai kata Mark Twain: I have found out that there ain’t no surer way to find out whether you like people or hate them than to travel with them, disinilah drama kemudian terjadi. Dua sepupu berbeda latar belakang yang dibesarkan di dua dunia berbeda harus berbagi segalanya dalam perjalanan mereka: dari mulai mobil, kamar, hingga orang dewasa yang jadi guardian mereka, Uci. Pertengkaran-pertengkaran kecil mereka sederhana, kekanakan dan cute in some ways, mengingatkan saya akan pertengkaran Sherina dan Saddam dalam Petualangan Sherina delapan belas tahun silam (yes, I’m that old). Maisha dan Lil’li mungkin tak memainkan karakter mereka sekuat Sherina dan Derby Romero pada masanya, tetapi berbagi layar dengan aktris sekuat Marsha Timothy sudah cukup membuat keduanya menonjol dalam kekanak-kanakan mereka.

Sama dengan film Mira dan Riri yang lain, kali ini mereka mengangkat keindahan perjalanan Java Overland sejauh 1000 kilometer yang sudah lama saya impikan. Bentang dari Pacitan hingga Blitar, matahari terbit di Bromo hingga ombak di G-Land, Banyuwangi membuat sekali lagi kita berpikir betapa indahnya tanah air tercinta ini. Jika ditambah Baluran dan Kawah Ijen, lengkaplah sudah film ini menggambarkan perjalanan Java Overland yang saya sempat bayangkan beberapa waktu lalu, sebelum saya mendewasa dan negara api menyerang, halah!

Kisah seperti Kulari Ke Pantai yang menyenangkan dan cocok dinikmati segala kalangan usia tanpa berpikir banyak rasanya jadi penyegar di tengah perfilman Indonesia yang dibanjiri film-film bergenre drama remaja dan horor asal-asalan yang membosankan bahkan untuk pengecut seperti saya. Saya sempat menyesali mengapa film ini tidak dirilis pada saat Lebaran sehingga saya punya film untuk ditonton bersama seluruh keluarga saya tanpa harus menderita selama dua jam. Meskipun demikian, Mira Lesmana dan Riri Riza sepertinya harus mulai memikirkan untuk menciptakan winning formula baru untuk mendulang rupiah dari layar perak Indonesia sebelum mereka dicap sebagai pencipta film anak-anak sepanjang masa.

The Incredibles 2 (2018): It Worth 14 Years of Waiting

The Incredibles 2 (2018): It Worth 14 Years of Waiting

Directed by: Brad Bird | Produced by: John Walker, Nicole Paradis Grindle | Written by: Brad Bird | Starring: Craig T. Nelson, Holly Hunter, Sarah Vowell, Huck Milner, Samuel L. Jackson | Music by: Michael Giacchino | Cinematography: Mahyar Abousaeedi | Edited by: Stephen Schaeffer | Production Company: Walt Disney Pictures, Pixar Animation Studios | Distributed by: Walt Disney Studios, Motion Pictures | Official Website

8.8/10

In term of I-get-tired-of-remakes-and-sequels, I found two reasonable reasons for making any of them: First, the first movie, or the original one, must make tons of money. Second, because there is still something going on after the event in the first movie. Disney, and Pixar in this case, are not exceptions to these two reasons, although the second reason must be echoing louder than the first one. Though still making money through new and original movies like Coco (2017), they surely think that alternating original one with sequels to their already known characters will give them more profits. Some sequels must live up to its original first movie, like the whole Toy Story movies, but some of them performing poor in the box office charts, like sequels of Cars.

When they think of creating sequels to the beloved superhero family The Incredibles back in 2004, Pixar must not think about there are some stories to be told about how they balance their superhero lives with their ordinary lives. So it’s all about money, and since money, not profit, is king (ehem, I think back on my Financial Management lecture on college), so here you are: your beloved superhero family is back!

When the original The Incredibles was released back in 2004, superhero things were quite unpopular. There were no Marvel Cinematic Universe, Superman still held by Christopher Reeve, and DC even still haven’t enter their Dark Knight trilogy. That’s why this family becomes so popular and their animation movie becomes classic. Today, 14 years later, superhero movies become so familiar, thanks again to Disney itself that released Marvel Cinematic Universe at least three movies each year. That makes a huge impact on how we feel about The Incredibles 2.

Set right after the event on The Incredibles, with the sudden attack of The Underminer (or course he’s voiced by Pixar’s familiar John Ratzenberger), our family protagonist failed to save the city and therefore, superhero program has been shut down and they were pushed to live the ordinary lives. One telco tycoon, Winston Deavor (Bob Odenkirk), intends to relaunch superhero program as his late father’s wish, so he asks the help of Helen “Elastigirl” Parr (Holly Hunter) to support his campaign. They were also supported by Winston’s sister Evelyn Deavor (Catherine Keener). So when Helen is advocating the superhero program, her husband Bob “Mr. Incredible” (Craig T. Nelson) has to deal with their three children: Violet (Sarah Vowell) with her first love Tony (Michael Bird), Dash (Huck Milner) with this Math homework, and the superhero power (or powers since it’s plural) of baby Jack-Jack (Eli Fucile).

The program becomes successful, thanks to Elastigirl’s bright and effective works. They are now facing a new enemy who calls himself Screenslaver. Meanwhile, Bob is overwhelmed with his three children, asking the help of Edna (Brad Bird) and their buddy Frozone (Samuel L. Jackson). It’s not long before Elastigirl realize the true face of Screenslaver. The family is torn apart, and the three Parr children have to work together to save both their parents and also the world.

The characters are recognizably same from our beloved characters of the original movie, though the animation looks slightly better. The movie is still lovable too, although some actions and stories might not so appropriate for children. So parents, your guidance are needed here. However, after the release of Avengers: Infinity War (2018) and Deadpool 2 (2018), it is hard to imagine that The Incredibles 2 will make great hit in 2018 Summer Blockbuster. The movie doesn’t give any new refreshment from the original one, but it’s well-paced, funny and cute as a family movie. This movie reminds us about one thing: that we might be aged, but there are some sides of us that remains constant no matter what.

Sicario: Day of Soldado (2018): Another Charming but Unnecessary Sequel

Sicario: Day of Soldado (2018): Another Charming but Unnecessary Sequel

Directed by: Stefano Sollima | Produced by: Basil Iwanyk, Edward L. McDonnell, Molly Smith, Thad Luckinbill, Trent Luckinbill | Written by: Taylor Sheridan | Starring: Josh Brolin, Benicio Del Toro, Isabela Moner, Jeffrey Donovan, Catherine Keener | Music by: Hildur Guonadottir | Cinematography: Dariusz Wolski | Edited by: Matthew Newman | Production Company: Black Label Media, Thunder Road Pictures, Rai Cinema | Distributed by: Columbia Pictures, Lionsgate | Official Website

7.6/10

On 2015, Sicario is one of the best crime thriller I’ve watched. It has violence intensity, thrilling gun and shot scenes, and most of all, it had heart. Despite of its intense plot, Sicario (2015) was still having human heart, thanks to Emily Blunt’s portrayal of Kate Macy, an FBI agent who recruited by Matt Graver (Josh Brolin, this is his year, obviously) to capture a drug trafficker and bring him back to the States for questioning, without giving any further explanation. Kate was left wondering, and representing us for the rest of the movie.

Unfortunately, that wasn’t the case with Sicario 2: Day of Soldado. Since the sequel already lost director Denis Villenueve, Johann Johannson, Roger Deakins and of course Emily Blunt, it lost quite lots of its charm, and relies completely on how Josh Brolin and Benicio Del Toro bring this movie together. New director Stefano Sollima tries to resemble the original movie with the same tone and intense shots from helicopters on US-Mexico borders, which is impossible not to do so, but the movie still lost something, and it’s quite understandable with the absence of the four persons I’ve mentioned before.

Sicario 2: Day of Soldado brings us ugly truth of what really happens in US-Mexico borders. Opens with the bombing of Kansas City, we’re treated to the scene of a mother and child desperately trying to get to an exit before they’re blown by suicide bombers. It’s almost a statement that “This movie could be as violent as the original movie.” The bombings brought us to Matt Graver (Brolin) in Somalia, interrogating a man who believed to be the figure behind how and why a terrorist would come through Mexico. His investigation draws the interest of Secretary of Defense James Riley (James Moddine) and and black ops agent Cynthia Foards (a sadly wasted Catherine Keener). The US Government then tasks Graver with setting up the Mexican cartels against each other to disrupt the ecosystem and keep them focused on their rivals instead of anything else. Graver then comes with the idea to kidnap the daughter of one of the cartel kingpins, a man named Carlos Reyes, who just so happens to be the man that Alejandro (Benicio Del Toro) has vengeance against. So Graver and Alejandro then become teammate again.

The best part of Sicario 2: Day of Soldado is that action sequences are undeniably well-paced, including a horrible ambush on Mexican arid road, where actors played their role very well. Our Thanos, Brolin, is not only determined as strong military leader, but also intriguing in rebellion to his character. Brolin’s Graver is some kind of man who will follow an order to his point, and that point is be his conscience. This reason makes him one of the best actor here to date, no wonder his star is shining brightly this year, with starring in so many blockbuster movies.

However, that ambush is the only thing that determined Sicario 2: Day of Soldado as a violent action movie. It’s hard for me to understand, or even care, of what will happen next. The theme of international chaotic cartel-related thingy that once defined places on the other side of the world coming to the US border is there but relatively unexplored. Even Del Toro’s trying-to-be emotional scene with Isabela Moner (who plays Isabel Reyes, teenage daughter of cartel kingpin Carlos Reyes) is left unexplored. Del Toro is still the best actor who left confused here, emotional within his cold stiff expression, and his scene then feels shallow, particularly when you get the sense that it’s all merely set-up for a third film.

This movie is not suitable for children, so be a wise parent with not allowing your children watching this. This is a movie that actually have something to say to us, but it ended without saying nothing. It’s quite disappointing, especially when it makes me realize how mindless violent action is a poor substitute for nuance, character, or simply a story to be told.

Ocean’s 8 (2018): And it Runs through Ocean’s Blood

Ocean’s 8 (2018): And it Runs through Ocean’s Blood

poster.jpg

Directed by: Gary Ross | Produced by: Steven Soderbergh, Susan Ekins | Screenplay by: Gary Ross, Olivia Milch | Story by: Gary Ross | Starring: Sandra Bullock, Cate Blanchett, Anne Hathaway, Mindy Kaling, Sarah Paulson, Awkwafina, Rihanna, Helena Bonham-Carter | Music by: Daniel Pemberton | Cinematography: Eigil Bryld | Edited by: Juliette Wefling | Production Companies: Warner Bros Pictures, Village Roadshow Pictures, Smoke House Pictures, Larger than Life Productions | Distributed by: Warner Bros Pictures | Official Website

8.2/10

In the middle of bloated summer blockbuster crammed with comic book superheroes, from Avengers: Infinity War (2018) to Deadpool 2 (2018), this all-female casts spin-off of Steven Soderbergh’s Ocean’s Trilogy is a real deal. This movie brings us the nostalgic feeling of watching the original Ocean’s Trilogy heists, with witty plot and sassy all-female casts. Slickly paced, radiating sexy glamour just like their predecessor trilogy, Ocean’s 8 moves with the swag style and high-class heist like a supermodel prancing down the runway.

We move on from George Clooney’s Danny Ocean to his sister, Deborah “Debbie” Ocean (Sandra Bullock, looking ultimately fierce), who has just been released from the prison. Like the high-style con art was running through their blood, Debbie is now plotting a heist at the Met Gala, the annual fashion extravaganza at New York’s Metropolitan Museum of Art. The first thirty minutes is spent on introducing the whole team: Debbie’s best friend and former partner Lou (Cate Blanchett); designer Rose Weil (Helena Bonham-Carter); a jewelry maker Amita (Mindy Kaling); hacker Nine Ball (Rihanna); pickpocket Constance (Awkwafina) and ex-fence Tammy (Sarah Paulson). One last member that makes the eighth is their own target, actress Daphne Kluger (Anne Hathaway).

The seven women want to steal a 150 millions dollar-worth jewelry from Cartier. The jewelry is planned to complete Kluger’s dress, design by the bankrupt designer Weil. The rest is all about the heist. There is a plot twist there – where Debbie is also planned to take down her former boyfriend Claude Becker (played by our Thorin Oakenshield from The Hobbit, Richard Armitage) who sent her to prison. The goal is literally stealing the jewelry off Kluger’s neck – never mind all the security cameras, the jewelry bodyguards (even the jewelry got Ex-Mossad bodyguards), and the magnetic clasp that makes it impossible to remove while Kluger’s head is attached to her body.

Within the same spirit as the other Ocean’s Trilogy but, although the style is similar and the female cast contains so much talent, the screenplay is bland and empty. As a concept, making an all-female version of an Ocean’s Trilogy is appealing, and the casts are amazing. They just didn’t get the kicking screenwriting they should have. The movie also spends too much running time on the planning and too little time on its execution. The execution seems too be underwhelming, and left the audience with little less excitement compared to the watching of their plan.

The casts, on the other side, seem to have fun on screen. Bullock’s Debbie especially has great chemistry with Blanchett’s Lou, who appears to be in perfect rock and roll persona here. Blanchett’s Lou is not only a cooler character, but also the reasonable one compare to Bullock’s Debbie who is almost always wildly ambitious. However, the real MVP here is Hathaway’s Daphne Kluger, who’s one of the gala’s most anticipated participant and whose neck will carry that expensive piece of Cartier’s classic jewelry. While Awkwafina is a fresh air and Bonham-Carter is once again bringing out her delightfully odd self, Hathaway’s character is nothing short of inspired, controlled lunacy, and becomes a real blast. She’s the movie’s element of surprise, and you will gladly watch her character’s craziness, from selfish celebrity to sexy fragility to insecure ordinary girl.

So this whole Ocean’s 8 movie is about women taking care of each other. Each member of the team have financial difficulties of their won, and Ocean, this time represents by Debbie, is offering a solution.