Night at the Museum, Museum Siam’s signature after-hours event that offers free entry to all patrons until 22:00, will be returning on 14 to 16 Dec. Taking inspiration from Bangkok in the 1960s, the event will feature film screenings, an outdoor dance floor, food trucks, transformation booths, and a replica city of Bangkok in the 60s.
Property developer Sansiri celebrates the Christmas and year-end season with the 6th Winter Market Fest. With more than 170 venders, you have abundant options to partake in the festival vibes—feast on yummy eats from hip pop-ups and food trucks, and join fun activities. Highlights of the event include the four-meter Santa Gashapon, and Santa Garden. Don't miss live performances from Tu Popetorn, Praw Kanitkul, Bell Supol, Pop Pongkool, and 25 Hours. Bring your own shopping bags to get B10 discount from participating shops.
Argentinian-Spanish artist Felipe Pantone best known for the use of bold color and kinetic/op art is heading to Bangkok for an exclusive talk and exhibition this month. Felipe, despite never expose his face to the public, has shown his works at galleries and museums around the world, including Long Beach Museum of Art, Palais de Tokyo in Paris, and Mesa Contemporary Arts Center. Now, it's your chance to see his amazing artworks in Bangkok at Siam Center. Felipe Pantone will be creating a showcase called W3-DIMENSIONAL Park, mesmerizing mall-goers with optical illusion art pieces --- these include four original pieces that are parts of his painting projects he's been working on.
Duty-free mecca King Power has joined up with Disney to transform its downtown complex on Rangnam Road into a magical land for Mickey Mouse and his friends. Make your way around the Mickey Mouse-themed fun park and shop for specially created Mickey Mouse merchandise. On 18 Nov, join thousands of other Mickey fans to celebrate the 90th birthday of the world’s most beloved mouse and help the city achieve a new record for the Guinness World Records. There will also be meet-and-greet sessions with your favorite Disney characters between 23 and 25 Nov, plus more activities throughout Christmas and New Year.
The fauxhemian music festival is making a comeback in December. This year’s headliners include Bobby Pleasure, Costly Wood, Craig Richards, Felix Dickinson and Tishio Matsuura. Chill in different zones, and indulge in food from pop-ups by some of Bangkok’s most popular eateries.
Acclaimed artist Chatchai Puipai’s first exhibition in eight years introduces the imaginary chamber of Vetal, a fictional demon character created from his own imagination. A portrayal of the demon’s life is presented through drawings, written material and paintings.
Apart from exhibiting a gigantic “Lost Dog” sculpture at the Mandarin Oriental Hotel, French artist Aurèle Ricard will also exhibit a series of paintings, drawings and seven more Lost Dog sculptures at PT-Gallery.
Surindr Sonthirati remembers the late King Bhumibol Adulyadej with a solo exhibition of 99 paintings that took a full year to complete. Part of the profits will be donated to Foundation For the Better Life of Children.
Bangkok is hosting its own biennale, a large-scale art festival that involves various kinds of art created by an impressive amount of artists and exhibited in 20 different notable venues throughout the city. The Bangkok Art Biennale features masterpieces from more than 70 Thai and international names, including celebrated Japanese artist Yayoi Kusuma. Read about 5 artists you need to check out at Bangkok Art Biennale's venues in Pathumwan-Wireless area, the historic East Asiatic Building is now open to the public to showcase Bangkok Art Biennale art works, and the Chief Executive and Artistic Director of Bangkok Art Biennale Apinan Poshyananda talks everything about the citywide art festival.
Chakrabhand Posayakrit is a living art legend. For more than five decades, he has been praised as one of the greatest Thai painters of the century, known for harmonizing traditional Thai art with modern aesthetics. His delicate brush strokes, flawless drawing and dreamy use of color result in intriguing and priceless works that usually become part of the collections of wealthy art collectors and premiere galleries. Chakrabhand’s skill, however, isn’t only limited to painting. He’s also a master in sculpture, illustration, writing (he’s the author of a series of best-selling books) and all things related to Thai puppetry (hoon lakhon lek). It’s Thai puppetry which has consumed most of his efforts in the last 20 years—his dream is to reacquaint the next generation with this national heritage. In The Chakrabhand Posayakrit Exhibition, a retrospective showcase of the master’s works, we get the rare chance to view the legendary artist’s original paintings alongside Thai puppets from the artist’s private collection. The exhibition is so massive that the pieces will be rotated on a four-month basis. Please note that proper attire is required. The space isn’t air-conditioned, and no parking space is provided (but you can park at Big C Ekkamai mall across the street for B30/hour). The exhibition acts as a prequel to the opening of a permanent museum facility in Saimai next year. The museum will also feature a puppet theater.
Movies now showing
With so many animation franchises content to tread water—or in one interminable case, ice—it’s seriously refreshing to see a sequel that’s not only an upgrade on the original, but more thoughtful too. If Wreck-It Ralph launched us head-first into a 16-bit wonderland fit to blow the synapses of bright-eyed kids and weathered gamers alike, this surprisingly vibrant follow-up is a giddy, sugar-coated joy. And it’s an expansion pack that plugs in plenty of new ideas: about friendship, insecurity and the mind-bending transience of the online world. It’s not every animation that features an eBay-spoofing riff involving a corn chip shaped like Beyoncé. The story sends arcade-villain-turned-good guy Ralph (voiced by John C. Reilly) and his new BFF, arcade racer Vanellope von Schweetz (Sarah Silverman), into the internet to find a new part for her broken arcade game. Their arcade’s newly installed “wifey”, as the endearingly slow-on-the-uptake Ralph calls it, is a portal to a host of opportunities for witty visual representations of cyberspace. If it’s sometimes a touch literal—the internet is a sci-fi city filled with buildings marked “Amazon” and “IMDb” and (presumably for legal reasons) “Buzzfood”—the finer world-building is sharp. Every facet of cyberspace has a walking, talking avatar, including a patronizing search engine that notes its “autofill is a touch aggressive today,” and weasely clickbait pop-ups that are shunted aside by ad-blockers clad like burly security men. Refr
The first Fantastic Beasts had a lot of heavy lifting to do. It needed to establish a world connected to the Harry Potter universe, but also one that was self-contained. It had to introduce several busloads of new characters and kick off a story complex enough to sustain another four movies (at least). With all that done, the second instalment should have earned itself some breathing room, a bit of time to cut loose and enjoy the possibilities of a new magical universe. But as beautiful and inventive as it is, The Crimes of Grindelwald often feels like we’re starting the world-building all over again. Trying to establish where everyone is at the beginning of this sequel without giving too much away is going to get confusing, so our apologies in advance. Fascist wizard Gellert Grindelwald (Johnny Depp, looking rough) has broken out of jail in London and fled to Paris to lay the groundwork for an uprising. In order to stop him, the wizarding government approaches Grindelwald’s ex-friend Albus Dumbledore (Jude Law, relishing his fairly brief screen time), who refuses the mission but enlists the help of animal-lover Newt Scamander (Eddie Redmayne) for a more secret version of the same mission. There are about eight other major characters involved, but we’ve only got so much space. Short version: A wizard war is a-brewing. Moving most of the action to Paris gives the film’s creative team the opportunity to run wild with some gorgeous production design. Visually, the world couldn
A war-hardened Crusader and a Moorish commander mount an audacious revolt against the corrupt English crown in a thrilling action-adventure. Packed with gritty battlefield exploits, mind-blowing fight choreography, and a timeless romance, ROBIN HOOD is a never before seen story of how Robin Hood became the icon and legend as we know him today.
The Grinch is back, free of the grip of Jim Carrey, voiced by Benedict Cumberbatch and, in Grinch terms, a bit less grinchy (ungrinchy?) than you might expect. Unlike the 2000 live-action Carrey movie, this new spin on the Dr. Seuss tale is computer-animated by Illumination, the same studio behind Sing, The Secret Life of Pets and the Minions movies, so by design it feels a little closer to the slim, hand-drawn 1957 book that bore it. (The Grinch’s green color, meanwhile, has another source: the 1966 Chuck Jones cartoon that first brought the character to screen.) British actor Cumberbatch plays the Grinch as a grouchy American, all prissy and nasal and mischievous, but with a sad, soft aspect too—a side of his character amusingly winked at in a scene where he plays “All By Myself” at home on a huge organ. He’s a grump, of course, but this is the 21st century, so he’s a grump with issues and a bit of a backstory. There’s not much psychological exploration, though (fine by us); the film is mainly a series of slapstick episodes, not always neatly hung together, and with barely any memorable side characters. Even the Grinch himself fails to make a massive impact at times. This new version features the voice of Pharrell Williams as the narrator, dipping in and out of Dr. Seuss’s warming rhymes. That binds to the film to its authentic source, but the gaps between the spoken verse still remind us that this is a slender story s-t-r-e-t-c-h-e-d into a feature. That said, it’s likab
Operation Neptune is in full flow as Allied troops storm the beaches of Normandy. Overhead, the US is flying in air support. One misfit team, led by a grizzled commander (Wyatt Russell), is tasked with destroying a radio transmitter located at a fortified church behind enemy lines. When their plane is shot down, the bruised and battered troops scramble to the church only to discover that, beneath its foundations, the Reich has been busily amassing an unholy army of undead mutants. On paper, Overlord sounds like a run-of-the-mill midnight movie. In reality, it has much more going for it, most significantly the talented young cast—including British actor Jovan Adepo as the captivating lead. Admittedly, the characters are thinly-written cliches – the brooding man-of-few-words commander, the wise-cracking crack shot, and the heart-of-gold newbie. But these simple archetypes are forgivable, especially in the case of the gloriously-over-the-top-jack-booted antagonist, played by Game of Thrones actor Pilou Asbæk. Meanwhile, Mathilde Ollivier impresses as a tough-as-nails villager who would be a worthy addition to the French Resistance. The story is also much more artful than the premise suggests, playing with the concept of monstrosity and asking what separates good from bad in times of war. And how far are each side willing to go? Or rather, who are the real monsters here? Be prepared for blood, guts and gore. The violence, both in the high-octane opening scenes and the more mon
Lisbeth Salander, your #MeToo moment has arrived: If ever there was a perfect time for the avenging hacker of Stieg Larsson’s Millennium series to make a rebooted comeback, it’s now. So call it a spectacular failure to read the room that the new action-tooled The Girl in the Spider’s Web—James Bond without the bondage—strips its hero of everything that made her spiky and singular. It’s not that the movie doesn’t have a terrific lead (The Crown’s Claire Foy, who knows from mining subtle shades of rebellion) or a sleek, inky visual template, established by David Fincher in 2011 with his Rooney Mara–led The Girl with the Dragon Tattoo. Problematically, Spider’s Web sees nothing to celebrate in Salander but a bland video-game avatar, someone who speeds across icy ponds on her Ducati, flees explosions in slo-mo and barely gets it on (one listless same-sex sleepover with a club kid hardly counts). Foy wasn’t made to frown at laptops; what little psychology there was in the literary version of this antihero has been scaled back to nothing. Meanwhile, sad little girls play ominous games of chess and several actual spiders make their long-legged presence known—but wouldn’t a properly cryptic Lisbeth have been better? Worse, she’s up against one of those generic madman-steals-a-nuke-app scenarios that went out with Roger Moore. (Ineffectual side characters include Get Out’s Lakeith Stanfield as an NSA agent and Sverrir Gudnason as this installment’s hero-journalist Mikael Blomkvist,
The afterlife has rarely been quiet for Queen frontman Freddie Mercury, who died young in 1991 after a flurry of creativity. First came Wayne’s World, with Mike Myers head-banging to Queen’s 1975 hit Bohemian Rhapsody. Then came a massive tribute concert later in 1992 and a globetrotting stage musical, We Will Rock You in the 2000s. Now, 27 years on, comes the authorized movie biopic to push the Freddie Mercury legend even further into the realm of the unreal. Bohemian Rhapsody is as brash, loud and mask-wearing as Mercury at his most playful. Another movie would try to get behind that mask—or play with the idea of it—but this does neither. Instead, it grabs the legend by the neck and gallops recklessly with it, climaxing in a wholesale extended re-creation of one of the most famous rock gigs of all time, Queen at Live Aid. Modest and inquiring it is not. It boasts a film-stealing, possessed performance by Rami Malek, who pouts, struts and quips as Mercury, turning the rest of the cast into bit players. The energy of Malek’s imitation helps to bind what amounts to a series of gossipy but harmless rock-world anecdotes into something vaguely coherent. The story starts and ends with Queen playing Live Aid at Wembley in July 1985. In between, we see how Farrokh Bulsara, born in Zanzibar, became Freddie Mercury and helped to transform a student band into a stadium-rock behemoth. The movie, though catchy and often seductive, is an act of brazen myth-making. Facts and chronology
Impressively silly even for a submarine thriller (a genre that often plunges into ponderous waters), Hunter Killer exists in a fantasy world reflecting its delayed release, following a shoot that began in mid-2016. A reform-minded Russian president (Alexander Diachenko) is kidnapped by rogue elements, dudes who have never heard of fake news. A Hillary-esque U.S. leader (Caroline Goodall) soberly weighs responses in her war room, nary a Big Mac wrapper in sight. A belligerent admiral (crazy Gary Oldman, pre-Oscar) gets into shouting matches with a brilliant junior officer (Common). All of it amounts to desperate nostalgia, not only for Bruckheimer action dramas but for an alternate political landscape marked by showdowns over honor conducted by semi-intelligent people. Still, even this kind of WWIII escapism—it’s based on a 2012 novel by Don Keith and George Wallace called Firing Point—requires a sturdier hero than Gerard Butler, who finds himself in a time machine that delivers actors to rejected Tom Cruise projects. Butler plays sub captain Joe Glass, whom you wish you could call a man of few words; he talks way too much. (Perhaps Rock Hudson in Ice Station Zebra wasn’t that bad after all.) Splitting the difference between scenes of Navy SEAL rescue attempts, underwater evasive maneuvers and your own countdown clock toward an incipient nap, Hunter Killer feels both generic and underheated. You’re struck by the amount of technology on display: laser-targeted missile launches