Based on the critically-acclaimed comics by Budjette Tan and Kajo Baldisimo, Trese is an original Netflix animated series that follows the story of Alexandra Trese, an occult investigator with magical powers. She is also the resident lakan/babaylan, aka warrior/healer; one who upholds the balance between the mortal and the spiritual world.
While the concept may not be 100% original (think Hellboy, John Constantine), what makes Trese unique is its Filipino setting: the story happens in the bustling city of Manila, and features many characters and creatures from Filipino mythology.
When it comes to the fantasy genre, we’ve had plenty of stories revolving around Western, Egyptian, Roman and even Greek mythology, but very little on Southeast Asian culture – which is why the hype was massive (especially in the Philippines) leading up to Trese’s release.
And I’m happy to say that it does not disappoint.
Mysterious crimes are happening all across Manila, and they seem to be from supernatural causes. At their wits end, local police enlist the help of Alexandra Trese. Alexandra’s family has long acted as a bridge between worlds – her father Anton was once the laban, while her mother was a babaylan (shaman) – so ever since she was born, Alexandra has had a strong connection to the spirit world. In the course of the series our heroine, together with her twin bodyguards Crispin and Basilio, investigate a string of murders and disturbances – culminating in encounters with beings such as aswangs (man-eating vampiric ghouls), duwendes (goblins), tikbalang (horse-like creatures), zombies and tiyanaks (baby vampires). The events are not isolated, and indicate that something catastrophic is coming – which would involve the destruction of both the human and the spirit world.
Why You Should Watch It
Trese’s Filipino touch makes for a unique and refreshing take on the fantasy genre. I mean, it’s not everyday that you get an animated series based on Southeast Asian mythology – which is a shame, because the culture is so rich with amazing stories, symbols and characters. The fact that it’s on Netflix is a great step in the right direction (especially in today’s climate where companies are looking to champion diversity), because it appeals to a modern audience of young Filipinos to reconnect with their roots, and at the same time, introduce the culture to an international audience.
While the creatures are fascinating, you also get Filipino references in things such as Alexandra’s weapon (a kalis, which looks very similar to a Malay/Indonesian dagger called the keris). Another example would be Alexandra’s bodyguards Crispin and Basilio, who were named after characters in Jose Rizal’s Noli Me Tangere. In the first episode, Alexandra investigates the apparent murder of the ghost of the White Lady of Balete Drive – a Filipino urban legend that is as popular as Bloody Mary might be to the British.
And then you have a plethora of pop-culture references to spot: in one episode, a movie studio where Alexandra and her team investigates has a sign saying ‘ABC-ZNN’, a cheeky play on ABS-CBN, the now-defunct major TV news network that was embroiled in a licensing controversy last year. You also get glimpses of everyday Filipino life: commutes in jeepneys and packed trains, a neon-lit skyline – all captured through a pretty art style that perfectly showcases Manila’s chaotic beauty.
Granted, I think sometimes these references might be lost on non-Filipino audiences (I only knew about Crispin and Basilio because the hubs and I were discussing about Philippine Independence Day – I initially thought Crispin was from St Crispin and Crispinian), but even if you’re non-Filipino, it’s not crucial to the plot, and doesn’t take away from the enjoyment of the story. They’re more like hidden Easter eggs that those in the know will find satisfaction in spotting.
But what I like the most about Trese which sets it apart from others is that it does not shy away from shining the spotlight on real Filipino issues such as police brutality, the drug war and abortion, in a country that is highly religious and predominantly Catholic. Which to me shows that care has been taken to ensure the show is as culturally accurate and as relevant as possible. It’s not just one of those ‘feel-good, show only the best side’ kind of stories.
Alexandra’s character, despite her grim demeanour, is likeable and well-developed. You feel for her doubts and her struggles, living in her father’s shadow, constantly being told that she is ‘just like him’, but yet feeling inferior that she might not live up to people’s expectations of what she should be. But at the end of the day, I like that she finds her own strength – and the message that one can trust to someone they look up to to guide their actions, but not need to be exactly like them.
My only peeve with Trese? The pacing is good in the beginning but feels extremely rushed towards the end – as is common with many animated series.
Overall, I thoroughly enjoyed Trese, and I think it’s worth a watch for fans of animation and fantasy stories alike. First Raya, then Trese – maybe this will be the start of the rise of Southeast Asian-themed shows. I’d love to see one with Malaysian mythological characters like Badang (not like the shit that starred Aliff Syukri, I mean a proper one), Mahsuri and Hang Tuah.
Now, tabi-tabi po. Time to go catch up on some Trese!
Gone are the days when local and regional films are thought to be inferior to Hollywood productions. Thanks to a burgeoning film industry, Southeast Asian movies are on the rise: and while they may lack the big budget their Hollywood counterparts have, some of these films more than make up for it through creative storytelling, beautifully choreographed scenes, and something Hollywood films might find hard to integrate – culture and heritage.
Tarung Sarung (literally ‘sarong fight’) is one of these movies, and it surprised me with how much heart it has, despite the simplistic plot. Directed by Archie Hekagery and starring young actor Panji Zoni in his movie debut, the film was supposed to be released in April last year, but was postponed due to the pandemic and subsequently released on Netflix on 31 December 2020.
Deni Ruso (Panji Zoni) is the spoiled and arrogant young scion of one of the richest families in Jakarta, who thinks that money makes the world go round. After a fight in a club which was caught on camera, Deni’s mother Dina sends him packing to Makassar, to manage a resort development project and learn some responsibility. There, he meets Tenri (Maizura), a local girl who is passionate about environmentalism, and is opposed to the resort project.
Deni hides his identity from Tenri in order to get closer to her, and sparks fly. Unfortunately, he gets on the wrong side of Sanrego (Cemal Faruk), a local thug who intends to marry Tenri. Sanrego challenges Deni to ‘tarung sarung‘ (literally, sarong fight) – a traditional martial arts practiced by the Bugis people of Makassar, whereby the participants take part in close one-on-one combat within a sarong. Naturally, Deni gets pummeled, and wanting revenge, seeks help from the village’s undefeated former champion Pak Khalid (Yayan Ruhian), who runs the local mosque, to train him in the ways of the sport. And while Deni starts off wanting to get back at Sanrego, he soon finds motivation and strength from other reasons: the love of Tenri, belief in himself, and ultimately, finding god.
Tarung Sarung is heavily inspired by The Karate Kid (I mean, Deni Ruso? Daniel LaRusso? lol) and follows the typical martial arts film formula, where we follow the journey of our naive and inexperienced hero undergoing training and tutelage under a master, emerging not only stronger physically but as a better person. And while the film doesn’t bring anything groundbreakingly new to the table, it still makes for a surprisingly entertaining drama about teenage love and discovering one’s self, with bits of action thrown in.
Now, I haven’t watched many Indonesian films so I don’t have a benchmark to compare it with, but I felt that the acting was pretty good, especially from Panji Zoni, who pulls off the role of rich, spoiled brat really well. (If I was 10 years younger I’d probably be fan girling coz he’s pretty cute).
Yayan Ruhian as Pak Khalid is also superb. He exudes a tranquil, Mr Miyagi vibe; friendly and wise, but not someone you’d want to piss off. Granted, I did feel that some of the other performances felt rather forced, like Deni’s two sidekicks Gogos and Tutu (who are there to provide comic relief), and the villain Sanrego whose one-sided personality seems to comprise of only over-the-top machismo and angry grunting…but overall I liked the characters and performances, as they feel relatable and believable. Tenri, for example, is a well written character who, despite wearing a hijab and being covered up, is a strong, independent girl with her own dreams and aspirations – a departure from the usual damsel-in-distress roles girls that look like her are supposed to play.
What I really enjoyed, however, is the film’s unique Indonesian perspective, which is refreshing to see in a sea of cookie-cutter action films themed around fighting and violence. Deni, who believes in nothing but the power of money and influence, is slowly guided to discover more about god and religion, which is obviously a big part of Indonesian life. Prior to watching the film, I had also never heard about tarung sarung (which is a real thing in Indonesia), so it piqued my interest in art. Back in the day, duels were fought to the death with badik (a traditional dagger) but this is no longer practiced today (in the movie, they fight bare fisted instead).
There are also interesting bits highlighting Indonesian culture, such as a scene where Deni takes part in pindah rumah, a practice where everyone in the village works together to help carry an entire house from one place to another (this can be done because the traditional homes in Makassar are usually made from wood and have stilts, so they don’t have piling in the ground unlike regular houses). Pindah rumah is also done in other Austronesian countries like Malaysia and the Philippines.
Another thing the movie does right is the cinematography, which is gorgeous and highlights the beauty of rural Indonesia – it’s sandy beaches and blue seas, the charm of its small towns and villages, and the warmth of its people. Without spoiling too much, I’d also like to commend the clever ending, I think some audiences might not like it, but I felt like it was very different and subverted expectations.
That being said, Tarung Sarung does have a couple of flaws. For me, it’s the long and draggy run time – at nearly two hours, I feel that the film could have done without certain scenes that don’t add much to the story. The fight scenes are all well choreographed, as expected of a film starring Yayan Ruhian (he was in John Wick 3, by the way. remember that epic scene with the two Indonesian shinobis?), but they are few and far between, which may leave audiences wanting more, since this is supposed to be an action film after all.
Tarung Sarung has a standard if somewhat cliche plot and characters, with a uniquely Indonesian flavour and a good mix of romance, coming-of-age, action and drama. And while it won’t be winning any Oscars anytime soon, I think it’s a nice and entertaining film nonetheless. Worth a watch.
Rating: 3.5 out of 5.
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There are two kinds of people on this planet: those who subscribe to Netflix, and those who don’t.
Until very recently, I belonged to the latter. As someone who has little patience for TV shows and web series (can’t be bothered to sit through multiple episodes), I’ve never felt the need to, despite how popular Netflix is with my peers. I’d much rather spend my free time reading, or playing video games.
My parents, though, don’t have such hobbies – and they’ve been bored watching the same old Astro shows. So one afternoon, after my dad changed channels for the umpteenth time (he wasn’t even watching the TV; more like mindlessly scrolling through shows with remote in hand, eyes glazed over), I suggested we try Netflix.
After subscribing, I finally sat my ass down to watch the much hyped about The Queen’s Gambit (forced myself, more like, lol). It’s decent as far as dramas go, and has quite a unique subject, but like I said, not a big fan of serials. If nothing else, it was good bonding time with the fam, because we all sat down to watch the show together – something we haven’t done for a long time.
Of course, Netflix also has an extensive catalogue of films, which I much prefer watching over serials. I’ve been catching up on some old films (John Wick, Deep Blue Sea, and Small Soldiers – the nostalgia!), and I also checked out an Indonesian film called Tarung Sarung (review up soon – it’s actually pretty decent!).
With cinemas still closed, I think this is the only way I’ll be able to watch films without paying through my nose. The good thing about Netflix is that it isn’t that expensive (about RM35 per month) – and unlike bloodsucking Astro, does not require you to sign a contract tying you down, so you can cancel at anytime.
Do you have a Netflix subscription? If you have good movies to suggest, lemme know in the comments below!
Born Teuku Zakaria Teuku Nyak Puteh on the island of Penang, Malaysia (then the Federated States of Malaya) in 1929, P. Ramlee was a man of many hats. Beginning the late 1940s, he acted in, produced and directed numerous films (some of which are still considered beloved classics till this day), and also performed and wrote hundreds of songs. At the height of his career, his fame reached as far as Brunei, Indonesia, Hong Kong and Japan – cementing his name in the annals of classic Malay music and cinema. Unfortunately, he died of a heart attack at the relatively young age of 44.
My dad is a big fan of P. Ramlee’s black and white films, and as a kid, I often joined him to watch movies like Bujang Lapok, Nasib Do Re Mi andTiga Abdul, which were usually shown on weekend afternoons on national TV (or during the patriotic month). Being young, my comprehension was limited – but I still enjoyed the acting and stories, which often had a moral behind them. Now as an adult, I can fully appreciate the simple and heartfelt artistry that went into the characters and the film, something which I think is missing in many modern films, despite the big budget CGI, better equipment and techniques, and whatnot. Old films had soul.
If you’re keen on finding out more about our national icon, there are a few places dedicated to remembering his contributions, such as the P.Ramlee Memorial House in Setapak, Kuala Lumpur. Tucked within a housing estate, the building is one of Ramlee’s old homes, and was converted into a mini museum in 1986. The space is small, but there are a couple of interesting exhibits. I suggest pairing a visit with nearby attractions such as the Visual Arts Gallery and the National Library.
PS: Filming is not allowed within, but you can take photos.
The exhibition space is neatly divided according to themes. There are sections dedicated to his childhood growing up in Penang to Achehnese parents, his directorial debut, and his love story with another iconic Malay actor, Saloma. Ramlee was married twice, but it seems third time was the charm for these two lovebirds. In fact, Saloma was so overwhelmed with grief at the death of her husband, she suffered from depression and various illnesses, and passed away at the still young age of 48, 10 years after Ramlee’s death.
There is a small AV room within where visitors can watch old P.Ramlee films.
Ramlee’s impressive filmography. My favourite is Tiga Abdul, which draws inspiration from old Malay folktales. Set in a fictional Middle Eastern Country, the movie tells the story of three brothers, who are tricked by the cunning businessman Sadiq Segaraga, who uses his three daughters to force the brothers into parting with their wealth. The story is lighthearted, humorous and dramatic all at once, but with a moral lesson behind it about greed and honesty. Another must-watch is Anak-ku Sazali, where Ramlee shows off his acting chops playing dual roles as both the father and son characters.
Films were not the only thing Ramlee was known for – he often sang and wrote/composed the soundtracks for them as well. In total, he wrote about 400 songs throughout his career.
He was also apparently quite a tall man, judging from these clothes!
Ramlee’s old piano.
Although he is celebrated today as an icon of Malay cinema, it was said that Ramlee’s final years were mired in financial trouble and setbacks, with his once celebrated movies flopping, as the entertainment scene moved on to better, shinier things. Some even saw him as a ‘has-been’, and Ramlee died a broken man, ridiculed by the public and the industry he loved so much. Recognition might have come too late and he might have died poor, but he left behind a rich legacy – one that will hopefully inspire and entertain new generations for years to come.
“Karya seni adalah satu daripada kerja Tuhan. Oleh itu, buatlah sungguh-sungguh dengan penuh kejujuran.” (Art is god’s work. Do it with diligence and honesty.) – Allahyarham Tan Sri P.Ramlee
P.RAMLEE MEMORIAL HOUSE
22, Jalan Dedap, Taman P Ramlee, 53000 Kuala Lumpur
Opening hours: 10AM – 5PM (Tuesdays – Sundays, closed Mondays). On Fridays, they open from 10AM – 12PM and 3PM – 5PM to allow for Muslim prayer break.
*There are no designated parking spots, since it is a residential area – so you can park by the side of the road. Do be mindful of where you park the vehicle though as you don’t want to block someone’s front gate!
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So. The trailer for Disney’s live-action Mulan was just released a couple of days ago; and honestly? I have mixed feelings about it.
As a kid, Mulan was one of my favourite Disney heroines. I remember coming home from school and watching it religiously every other week on VHS (Yes, I existed in the era of VHS. lol). Being somewhat of a tomboy myself, I completely related to Mulan’s struggle to conform to what her parents wanted for her, but still stay true to who she was on the inside. She was also one of the few Asian characters in Disney, and I loved everything about the film – the art, the characters (Mushu and Cri-kee’s dynamic), the humour (Mulan’s ragtag gang of soldiers, ie Yao, Chien Pao and Ling) and of course, the music.
Disney has been in the habit of making live action remakes lately, like Beauty and the Beast which played it pretty safe by following the animated film’s storyline, and Aladdin, which screened earlier this year to mixed reviews. Of course, another Disney remake that has gotten a lot of flak lately is the Little Mermaid, after it was announced African-American actress Halle Bailey would play the titular character of Ariel, who has always been portrayed as white with red locks – launching the #NotMyAriel hashtag on Twitter.
Coming back to Mulan, the less-than-two minute trailer seems to indicate that the film would depart significantly from the original animation, with most of the notable characters missing (aforementioned Mushu, Cri-kee, grandma, and Mulan’s team in the army). There is apparently no love interest either, as we don’t see Li Shang.
All accounts considered, the upcoming Mulan seems to more about her own journey, which would fit the feminist element which Hollywood is pushing strong these days with films like Wonder Woman and Captain Marvel (I fkin hate that film and nothing you say will dissuade me). While I can’t necessarily say it’s a bad thing until I’ve watched the actual film, if this is how it’s going to be, I can’t help but feel a pang of loss and nostalgia – that Disney would take away so many elements that essentially made the original animation such a well-loved, everlasting classic.
Sure, we all want a strong and confident Mulan who doesn’t need no man, but we also want all the other stuff that made us laugh and relate so much to the 1998 version. Perhaps the argument is that Mulan is based on a Chinese legend, and they want to stay true to the source material, but there are plenty of other films out there that have already covered that angle – like the excellent 2009 Hua Mulan starring Vicki Zhao Wei. I want my Mushu and Cri-kee!
Another argument is that concepts/values in old animations have changed, and in order to showcase diversity and the values of today, they should be updated to reflect the current times (eg how Jasmine ended up ruling Agrabah in Aladdin rather than in the original where she was just a ‘princess’). The thing is, Mulan has always been a strong, independent and badass character – heck, the Emperor bowed to her after she saved China – and she still had time to go home and bring honour to us all. I find there is little need to change what was essentially a perfect film on its own.
Disney’s need to ‘push diversity’ is a bold move, but it risks alienating a large group of Disney fans who have waited for years to see their favourite films come to life in live action reenactments, only to find they’ve been changed to the point that they lose their essence. For me, I’d love to see more original Disney films with new and fresh characters promoting diversity (like Moana) – rather than trying to shoehorn stuff into what is supposed to be a ‘remake’.
BTW one of my favourite scenes from the original. Pure, raw, powerful emotions – no dialogue needed.
Reviews have not been kind on The Meg, despite it being one of the largest (pun intended) big budget shark movies since Deep Blue Sea (one of my favourites in the genre). But I’ve learnt that reviews, especially those from so-called ‘film critics’, are not always to be trusted. **Unless if it’s BvS. I think the all round consensus was that it was a piece of shite.
Either way, I went into the cinema with an open mind.
While I won’t call The Meg revolutionary, it delivered as a decent summer blockbuster, with some thrilling sequences and a likeable action star lead. Because let’s face it – how many of you watch Jason Statham for his acting chops? 😀
Jonas Taylor (Statham) is a disgraced rescue diver, implicated in causing the death of two of his crew mates on a deep sea rescue mission five years ago. Taylor protests his innocence, saying that the sub they were in was rammed by a powerful force from an unknown creature, and he had no choice but to leave them behind – but for plot’s sake, of course nobody believes him.
Now a drunk in Thailand, Taylor is forced out of retirement to save his ex-wife Lori, who is part of an underwater research facility called the Mana One. Lori and her crew were exploring a deeper section of the Mariana’s trench concealed by a thermocline (a layer in a body of water with different temperatures), when they were hit by a powerful impact, stranding their submersible at the bottom of the ocean.
Taylor heads down to rescue Lori, and they finally discover that the creature that Taylor encountered five years ago and was terrorising the submersible was a megalodon, an ancient 60-foot-long shark. Back at the facility above ground, they realise that during the escape, the submersible opened a channel in the thermocline – which was what was preventing the Meg from ascending into the regular ocean depths. Now loose, it wreaks havoc on boats and stuff – so the crew have to set out and kill it before it endangers mankind.
As with many monster movies, logic is not The Meg’s strong game. The movie was also unnecessarily draggy at two hours long, when it could have achieved the same effect at 1.5. That being said, I found the movie quite fun to watch, although the jump scares were pretty predictable.
A comment on a review site that I found particularly funny was where the poster suggested that the directors “give The Meg a gun to even things out” – suggesting that even when he is a tiny six foot human against a giant prehistoric shark, Jason Statham is ridiculously overpowered. This manly show of testosterone includes deep grunting, snarls, game face and shots of Statham’s chest muscles – but hey, that’s what people go to watch Statham for ha. And also to see him kick some shark butt (which he does).
Overall, The Meg for me was an okay film and not as bad as people made it up to be. Sure, sometimes it takes itself too seriously and never truly goes down either the Deep Blue Sea path or go over-the-top-crazy-its-so-bad-its-fun like Sharknado, but it’s not a bad action film in its own.
I feel like I have to say this coz there are just so many pretentious ‘reviews’out there by critics so eager to show off their powerful vocab, they’re literally tripping over themselves to stuff words like ‘iconoclast’ and ‘flimflam’ into their articles. All style, and no substance.
Kind of like The Greatest Showman.
Loosely based on the life of P.T Barnum, the movie follows Barnum (Hugh Jackman) and his meteoric rise from poor tailor’s boy into one of America’s most well-known personalities in 19th-century showbiz. The film starts off with young Barnum and childhood sweetheart Charity (Michelle Williams), the daughter of a wealthy family. Separated by class and circumstance, they meet again as adults and get married. The young newlyweds move into a small apartment, with Barnum working as a clerk for a shipping freight company. The couple have two beautiful daughters and are content, but Barnum dreams for more.
After being laid off by the company, Barnum swindles a loan out of the bank and opens a museum, which he fills with wax figures and curiosities. Business was poor, until an idea from his daughter prompted Barnum to recruit, for lack of a better word, ‘freaks’ for his show. Attendance soared, but although Barnum now had riches, he still craved more – acceptance by high society, who still viewed him as nothing more than a circus showman.
In what must be the mother of all cliche plots, he meets Swedish opera singer Jenny Lind – and in his quest to make her the next big thing, neglects his family and the crew who helped build his empire. After failing to see that Lind was falling for him, he spurns her feelings, prompting the singer to cancel her tour and leave Barnum in debt. To make matters worse, the scandal between the two is published in a newspaper, the circus burns down, and Charity has had enough of her husband’s bullshit, taking the girls with her to her parents’ place.
Of course, he then realises that he has lost sight of who he is, and that real happiness was there in front of him all along. He picks himself up, rebuilds the circus, and everyone lived happily ever after.
The Greatest Showman is exactly like its subject matter. You enter a circus tent to be wowed for several hours by song, dance and performances. The film delivers that, and nothing more. Its attempts to convey messages of empowerment or acceptance are flimsy, and the movie misses numerous chances to expand the plot into a more meaningful one. The cast of ‘freaks’ are there to tell Barnum’s show, and glorify his existence as their saviour. At the end of the day, the audience never really finds out who they are. Who is the Dogboy? Why is the Tattooed man covered in tattoos? Even characters with more screen time, like the bearded lady Lettie, are passed off as props to telling Barnum’s ‘grand’ story. The only other story arc, that of the love story between Zac Efron’s Philip Carlyle and Zendaya’s trapeze artist Anne Wheeler, is cheesy and predictable.
That being said, the acting is solid, especially on the part of Hugh Jackman. Man is truly the greatest showman, captivating the audience in every frame, as he prances and sings his way across the stage. Performances by the rest of the cast is stellar as well, and the set is beautifully designed. The best part of the film, however, is the music and choreography. Three songs, in particular, have captivated me, and I’ve been humming them for several days lol. If you view/listen to them separate from the film, the message behind them is positive and uplifting. Here they are, in no particular order:
“This Is Me”
When Barnum’s crew gets the door slammed in their faces by the boss who was supposed to be looking out for them, they come to a realisation that to him and everyone else, they will always be ‘freaks’. Lettie the bearded lady has had enough of it and leads the group outside, bravely putting on a show despite the booing and jeering, before they finish up on stage. It’s a splendid ‘fuck you’ statement.
A powerful and emotional performance by Rebecca Ferguson, who plays Jenny Lind. She did the lip syncing so well that I didn’t realise it was a dubbed song, originally sang by Loren Allred (of The Voice fame). To me, the song embodied the protagonist, who was never satisfied with what he had, and was always craving for more. Also, the look Jackman gives her when she’s ‘singing’ is Oscar-worthy.
“Rewrite the Stars”
Typical song about star-crossed lovers – one idealistic, the other reminding him of reality. It’s very poppy and kitsch but gahddamn why is it so catchy
TGS is fun to watch, and has good songs. But is it a good movie? I wouldn’t lump it in the same category as what constitutes good movies in my book. It is a nice watch nonetheless, and keeps you entertained for the duration of the movie.
I know what they say about actors having to be versatile in order to succeed in the long run; but I also believe that some actors are tailor-made for certain roles. Think Schwazzeneger as the iconic Terminator, or Sylvester Stallone as Rocky. You simply can’t imagine anyone else playing those characters.
For me, Ryan Reynolds found his niche when he played the sarcastic and punny Deadpool – and he seems to fit into this ‘snarky but cute and somehow likeable’ image well. He reprises this persona in his latest movie, The Hitman’s Bodyguard, co-starring Samuel L. Jackson.
Private bodyguard Michael Bryce (Reynolds) offers top notch protection services and has his star on the rise – all until a shot through a plane’s window kills a corrupt Japanese businessman he was protecting. Reduced to protecting druggie corporate executives, he blames his ex-girlfriend, Interpol agent Amelia Rousell, for allegedly leaking the info and getting his client killed.
Meanwhile, ruthless dictator of Belarus Vladislav Dukovich (Gary Oldman) is brought to trial for crimes against humanity at the International Court of Justice, but is on the verge of being let off due to lack of evidence and witnesses being killed on his orders. In a desperate attempt, the prosecution calls for notorious hitman Darius Kincaid (Jackson) to give testimony, with the promise that they will release his incarcerated wife Sonia. Rousell is assigned to escort Kincaid to The Hague to testify, but the convoy is ambushed and everyone killed except them. Realising that operations have been compromised and that there is a mole in Interpol, Rousell is forced to call Bryce for help. Initially Bryce is reluctant as he has had run-ins with Kincaid in the past, but ultimately agrees in exchange for the restoration of his good name. Hilarity and action ensue, as the mismatched pair attempt to escape pursuit and make it to court on time.
One reviewer called the film ‘cartoonish’. It’s certainly OTT, but in a fun way. Kincaid and Bryce are like yin and yang – the former brash and impulsive with a wing-it attitude, the latter meticulous and likes having everything planned out to a tee. Their on-screen chemistry and jokes make for a barrel of laughs, and just about holds the rather cliche plot together. The story itself is very straightforward with no major twist and turns, but I do like some scenes that add depth to the character’s backstory: like the story of how Kincaid became a hitman and his notion of justice. There’s also plenty of good action scenes.
All in all, the bullets fly, blood is spilled, explosions aplenty and epic car/boat/bike chase through Amsterdam make for a fun summer blockbuster.