1. Project Hail Mary
2. Hoppers
3. Pegasus 3
4. Kong Tao
5. Ready Or Not 2: Here I Come
6. The Magic Faraway Tree
7. Blades of the Guardians
8. They Will Kill You
9. Liang Po Po Vs Ah Beng
10. GOAT

Genre: Drama/Mystery
Director: Woody Allen
Cast: Emma Stone, Joaquin Phoenix, Parker Posey, Jamie Blackley, Meredith Hagner, Ethan Phillips, Ben Rosenfield
Runtime: 1 hr 35 mins
Rating: NC-16 (Sexual Scene and Some Coarse Language)
Released By: Shaw
Official Website: 

Opening Day: 23 July 2015

Synopsis: Woody Allen’s IRRATIONAL MAN is about a tormented philosophy professor who finds a will to live when he commits an existential act. Philosophy professor Abe Lucas (Joaquin Phoenix) is at rock bottom emotionally, unable to find any meaning or joy in life. Abe feels that everything he’s tried to do, from political activism to teaching, hasn’t made any difference. Soon after arriving to teach at a small town college, Abe gets involved with two women: Rita Richards (Parker Posey), a lonely professor who wants him to rescue her from her unhappy marriage; and Jill Pollard (Emma Stone), his best student, who becomes his closest friend. While Jill loves her boyfriend Roy (Jamie Blackley), she finds Abe’s tortured, artistic personality and exotic past irresistible. Even as Abe displays signs of mental imbalance, Jill’s fascination with him only grows. Still, when she tries to make their relationship a romantic one, he rebuffs her. Pure chance changes everything when Abe and Jill overhear a stranger’s conversation and become drawn in. Once Abe makes a profound choice, he is able to embrace life to the fullest again. But his decision sets off a chain of events that will affect him, Jill and Rita forever.

Movie Review:

This reviewer is worried - he is concerned about his well being. As the phase of life known as mid 30s welcomes him, he finds himself in what many would term as a “first world” problem. With no accomplishment whatsoever in career or family, he finds himself oddly connecting with Woody Allen’s latest creation, Abe Lucas.

You see, Abe Lucas finds himself in an existential crisis, and cynically discusses seemingly profound topics like life and death on a minute by minute basis. He has the reason to do so actually, considering how he is a much respected and to a large extent, adored philosophy professor. Would his bleak outlook on the emptiness of life change for the better after joining a new school and meeting a new community of people? Is there something special between him and a positively chirpy student that will change both courses of life altogether?

If you are familiar with 79 year old Allen’s body of work, you would know what to expect from this mystery drama film dripping with dark humour. As usual, the movie is driven by dialogue so those expecting action and computer generated effects can sit this one out. The outlook on things, or life as a whole, is expectedly harsh and this seems to be a reflection on Allen’s controversial love life - the actor, writer, director, comedian and playwright, whose career has spanned more than 50 years, is no stranger to a number of complicated marriages, relationships and sexual allegations. Go read more on the Internet if you want a low down on the veteran filmmaker, whose past works include To Rome with Love (2012) and Blue Jasmine (2013).

In his latest feature, Allen has aptly cast Joaquin Phoenix (Walk the Line, Inherent Vice) as the protagonist. Sporting a huge beer belly, you see the man lounging from one place to another, spouting philosophical quotes that will make any young girl swoon in awe. Enter Emma Stone’s (Easy A, Birdman) Jill, a student who becomes romantically entangled with the man, who is feeling an increasing frustration in his mental space. Stone, who last worked with Allen in last year’s Magic in the Moonlight, is cast again as the optimistic and idealistic female character who turns the protagonist’s life upside down. 

In a dramatic turn that is almost similar to 2006’s murder drama Scoop, this 96 minute movie makes you sit up when Abe suddenly finds a purpose in life after eavesdropping on a woman’s complaint about how unjust a certain judge is. He takes it upon himself to rid the judge, with the objective of making the world a better place. As the film proceeds, one thing leads to another and the sharply written screenplay ends in a manner that is both cruelly hilarious and reflectively heartbreaking.

This reviewer, who can sometimes morph into Abe’s unwarranted cynicism at times, may not be successful with his job (and women!), but there’s this part of him which wishes to find the lost vigour in life. But after watching this film, he does wonder where all that will lead to eventually? Ah, the complexities of a “first world” problem.

Movie Rating:

(Those familiar with Woody Allen’s filmmaking style, or even his outlook in life, will connect with and enjoy this dark humour laden mystery drama)

Review by John Li

Genre: Action/Thriller
Director: Lo Chi-Leung
Cast: Lau Ching-wan, Nicholas Tse, Yang Mi, Boran Jing, Liu Kai-chi, Wu Gang, Yumiko Cheng, Wang Ziyi
Runtime: 1 hr 47 mins
Rating: PG13 (Some Violence and Scene of Intimacy)
Released By: InnoForm Media and Cathay-Keris Films
Official Website: 

Opening Day: 11 October 2012

Synopsis: In an arsenal during the warlord era in China, a girl, accused of stealing bullets, is shot to death by the Boss. Six months later, a series of murders occur. Policemen Bao and Guo investigate the case. But all the clues point to the dead girl! They then discover that “stealing bullets” is a cover-up for a conspiracy between the Boss and the Police Chief. The latter tries to have Bao and Guo killed, but that increases their determination to solve the mystery. Finally, they find the real murderer…

Movie Review:

The first we see Lau Ching Wan’s superintendent Song Donglu, he straps a noose around his neck and kicks off the chair – all for the sake of seeing firsthand the physical signs of someone who commits suicide from hanging. It is a bold introduction no less, especially since it immediately recalls one of Lau’s best films – Johnnie To’s ‘Mad Detective’ – in which he played an equally eccentric investigative persona. Aside from the similarities in personality and detail-oriented deductive skills however, the setting is entirely different – but one that this thriller is all the better for.

Taking place in the Tiancheng prefecture during China’s warlord era (similar to that of producer Derek Yee’s earlier ‘The Great Magician’), co-writer and director Lo Chi Leung spins an impressive whodunit around the heady elements of industrial unrest and bureaucratic corruption. Any direct exploration of the social subtext might trigger attention from the Chinese censors, so Chi-Leung and his other screenwriter Yeung Sin-Ling focus their attention on the mystery at hand, allowing what references that may be drawn to the industrial unrest plaguing the country today to emerge subtly.

The title refers to a string of puzzling murders at a bullet factory where the bullets seem to have disappeared after the acts. While many of the workers immediately attribute the deaths to the vengeful spirit of a female employee who had been accused of stealing and thereafter forced into a game of Russian roulette with the boss (Liu Kai-Chi), Song is not so sure – and together with another young detective Guo Zhui (Nicholas Tse) dubbed the fastest sharpshooter in the precinct, attempt to unravel the mystery before it claims its next victim.

Those who think that the answer might be rather straightforward will be sorely mistaken, for Lo demonstrates ambition by assembling a host of supporting characters who may or may not be connected to the murders. With the deftness of Agatha Christie or even Sir Arthur Conan Doyle, Lo takes turns casting doubts on each of these characters and their possible motivations, leaving his audience guessing till the final reveal. That means too that it does take a while before the mastermind finally comes to light, but what overplotting Lo and Yeung might be guilty of along the way is ultimately overcome by Lo’s tight control over the unfolding narrative.

Not content to be just another Christie suspense novel, the movie also delves into the psychology of criminal behaviour through the mind of Song, who believes that there is no such thing as a bad person. Illustrating this point is a completely unrelated subplot that shows the demure Fu Yuan (Jiang Yiyan) plotting “the perfect crime” of her husband’s (Chin Kar Lok) murder – depicted in a humorous Chaplin-esque way – the former of whom in prison becomes somewhat like a muse to Song to better understand the criminal mind. Song’s belief that there are just “good people turned bad” is increasingly challenged as he comes up along greed and corruption, and kudos to Lo for adding an additional layer of intellect into the twisty proceedings.

Besides the mystery at the heart of the tale, the movie also rests on the chemistry between Song and Guo, their pairing of which has been compared to that of Sherlock Holmes and Watson. Nonetheless, this isn’t the Robert Downey Jr and Jude Law equivalent that you might be expecting, but a more traditional one in the spirit of the books – so really while Song is largely the brains of investigation, Guo assumes the role of the brawn. This might be the first time that Lau and Tse are cast opposite each other, but the two heavyweight actors complement each other with finely nuanced performances that do not draw too much attention to their respective character’s idiosyncrasies.

Both also look like they fit right into the opulent period setting, brought vividly to life by gorgeous costumes and elaborate sets that project both the stylish and the seedy side of 1930s Shanghai. They are also joined by stellar supporting performances – both Liu and Wu Gang as the factory boss and shady police chief respectively delightfully smarmy in their villainous roles; as well as Yang Mi looking suitably sexy as a fortuneteller and Guo’s love interest. Of course it is ultimately Lau and Tse who own the movie, and both are consistently engaging from start to finish.

So too is the entire film, even though it might not unfold at a breakneck pace like Guy Ritchie’s ‘Sherlock Holmes’. Rather, Lo prefers a low-key expositional approach that is more in line with the deductive methodologies of the investigation and simultaneously affords space for his audience to get to know the characters – though rest assured that he still packs enough shootouts to keep the adrenaline going. Like a good ol fashioned detective story, this one packs wit, suspense and then some impressive visual pizazz – we guarantee you’ll be as intrigued as we were. 

Movie Rating:

(With wit and visual pizazz, this well-acted whodunit will have you captivated in its web of intrigue)

Review by Gabriel Chong

Genre: Sci-Fi/Action
Director: Joseph Kosinski
Cast: Olivia Wilde, Garrett Hedlund, Jeff Bridges, Michael Sheen, Bruce Boxleitner, James Frain, Beau Garrett, Yaya DaCosta
RunTime: 2 hrs 7 mins
Released By: Walt Disney Studios Motion Pictures
Rating: PG
Official Website: http://disney.go.com/disneypictures/tron/

Opening Day: 16 December 2010

Synopsis: TRON: LEGACY is a 3D high-tech adventure set in a digital world that’s unlike anything ever captured on the big screen. Sam Flynn (GARRETT HEDLUND), a rebellious 27-year-old, is haunted by the mysterious disappearance of his father Kevin Flynn (Oscar®- and Golden Globe®- winner JEFF BRIDGES), a man once known as the world’s leading video-game developer. When Sam investigates a strange signal sent from the old Flynn’s Arcade—a signal that could only come from his father—he finds himself pulled into a digital world where Kevin has been trapped for 20 years. With the help of the fearless warrior Quorra (OLIVIA WILDE), father and son embark on a life-or-death journey across a visuallystunning cyber universe—a universe created by Kevin himself that has become far more advanced with never-before-imagined vehicles, weapons, landscapes and a ruthless villain who will stop at nothing to prevent their escape.

Movie Review:

It’s been a 28-year wait for fans of the sci-fi fantasy “Tron”, the 1982 original a costly flop when it was first released which eventually amassed a cult following for its gamer sensibility and breakthrough visual effects. That following was enough for Disney to decide to invest US$170m into this sequel, an aesthetically startling piece of sleek, shimmering entertainment that more than lives up to the legacy of its predecessor.

From the opening digital Disney logo, “Tron: Legacy” astounds with its dazzling visuals courtesy of first-time director Joseph Kosinski and his art direction team (led by Kevin Ishioka, who also worked on last year’s Avatar). Kosinski and his team have taken the basic design templates of Steven Lisberger’s original and applied the latest advances in CGI technology to create a totally immersive experience that stays true to the look and feel of its predecessor while expanding it in scope and imagination.

The modern-day Tron universe is a stormy, blacklit landscape with towering skyscrapers and crystal highways drawn in electroluminescence. It is a world populated by programmes (basically, digital denizens of Tron) dressed in skintight glowing suits and carrying light discs as their power source cum data bank, a world traversed by the use of motorcycles that streak mesmerising liquid-like ribbons of light. Every frame of this CG environment is fascinating, and in geek-speak, beyond cool.

Complementing the gorgeous visuals is the pulsating electronic score by dance-music duo Daft Punk, pumping unique verve and life into the action and emotion in the film. The duo also make an appearance as the house DJs in the one-and-only futuristic nightclub sequence in the movie, led by Michael Sheen’s OTT Bowie-esque owner Zuse. Indeed, it’s hard to overstate the visceral experience that Kosinski has detailed in his contemporary vision of Tron, right down from the stunning images to the virtuoso soundtrack.

The perfect example of this fusion lies in the film’s many exhilarating action sequences, and there are many, beginning with Sam Flynn’s initiation into the Tron universe. That introduction consists of a gladiatorial fight where Sam has to battle first with glowing Frisbees and then atop the aerodynamic light-cycles, both of which also pay homage to perhaps the most memorable elements of the original. The distinct colour schemes (orange and red for the programmes; blue and white for the users or outsiders) add to the visually breathtaking nature of these sequences, choreographed by the same people behind 300 and Ninja Assassin. The film aspires to be a virtual thrill ride, and it fulfils that ambition brilliantly.

While “Tron: Legacy” rests comfortably on the laurels of the technical achievements of its predecessor, it sits less easy on its predecessor’s failings. One of the fairly levelled criticisms of the original “Tron” was the lack of a story; here, no less than three credited screenwriters have tried to compensate it with an overly convoluted story. The father/son reunion narrative between Kevin and Sam plays out nicely enough, but the middle act of the film gets too bogged down by tech mambo-jambo that will likely fly over the heads of most viewers. That exposition really isn’t necessary, since the result of it is a standard world-domination plot in the final act spearheaded by Kevin’s nefarious ‘programme’ alter-ego Cru.

Characters too are just as underwhelming as the original. Our hero Sam is sketched too thinly as the son looking for a long-lost father; and his romance with ‘programme’ warrior-chick Querra (Olivia Wilde) is given scant thought. But more baffling is the film’s reduction of game designer Kevin Flynn to Zen-master spouting incongruous surfer-dude exclamations like ‘radical, man!’ and other equally clunky bits of dialogue throughout the film.

If these characters manage to resonate more than that of the original, that’s because of the excellent father-son chemistry between Jeff Bridges and Garrett Hedlund. The duo emulate genuine warmth aside each other, overcoming the script’s shortcomings to make their characters and the plot more convincing than the sum of the clichéd lines and middling plot of the film. Of course, these inadequacies shouldn’t come across as a surprise to fans of the original.

Indeed, for better and for worse, “Tron: Legacy” is an appropriate sequel to the 1982 film. Like that cult classic, it also boasts superb visuals which, combined with a modern-day dance score and groundbreaking special effects, create an instantly mesmerising experience for its viewers- despite similarly simplistic plot and character development. Still, this is a wholly befitting sequel to the legacy of “Tron”, and will likely add a whole new legion of fans to its following.

Movie Rating:

(Boasting some of the most dazzlingly stunning visuals you’ll see this year, this sequel reinvents the Tron universe for an immersive and impressive spectacle)

Review by Gabriel Chong

Genre: Comedy/Thriller
Director: Park Chan-wook
Cast: Lee Byung Hun, Son Yejin, Park Hee Soon, Lee Sung Min, Yeom Hye Ran, Cha Seung Won
Runtime: 2 hr 19 mins
Rating: NC16 (Violence and Sexual Scene)
Released By: Purple Plan and Golden Village
Official Website: 

Opening Day: 23 October 2025

Synopsis: Man-su (Lee Byung Hun), a specialist in paper manufacturing with 25 years of experience, is so satisfied with life that he can truthfully tell himself, “I’ve got it all.” While happily passing his days with his wife Miri (Son Yejin), their two children and two dogs, Man-su is suddenly informed by his company that he has been fired. “We’re sorry. We have no other choice.” Feeling shocked as if his head had been cut off by an ax, Man-su vows to find himself a new job within the next three months for the sake of his family. Despite his firm resolve to turn his life around, Man-su spends over a year drifting from one job interview after another, and working at a retail store. He eventually finds himself in danger of losing the very house that he struggled so hard to buy. Desperate, he visits Moon Paper out of the blue and tries to hand over his CV, but he just ends up getting humiliated by line manager Sun-chul (Park Hee Soon). Man-su knows he is better qualified than anyone to work at Moon Paper, so he comes to a certain decision. ‘If there is no opening for me, I’ll just have to get hired by creating an opening.’ 

Movie Review:

With No Other Choice, Park Chan-wook once again proves that few directors can blend moral unease, visual precision, and dark humour quite like he does. From the stylised vengeance of Oldboy (2003) to the sensual intricacies of The Handmaiden (2016), Park’s films have always been cinematic feats—gorgeously composed yet deeply unsettling. His latest feature continues that tradition, though in a quieter, more human register. It’s less about revenge or obsession and more about the quiet desperation of losing one’s place in a world that no longer has use for you.

At the centre of the story is Man-su (Lee Byung-hun), a seasoned specialist in paper manufacturing whose well-ordered life begins to crumble after an unexpected retrenchment. The premise is simple, almost mundane, but Park uses it to explore something far larger—the erosion of self-worth in an age of ruthless efficiency. Faced with mounting rejection and financial strain, Man-su begins to make choices that are morally unacceptable. You may not agree with what he does, but you’ll understand why he does it.

Park’s filmmaking remains razor-sharp. Every shot is composed with painterly care, and it’s hard not to admire every frame. The cinematography isn’t grand, but it’s strangely beautiful, evoking a world where even failure looks immaculate. The sound design is just as precise. Park has always been a master of atmosphere, and here he channels it into something quietly unsettling.

Lee Byung-hun ditches his big boss image and gives one of his best performances in years. Stripped of glamour, he embodies an ordinary man’s quiet breakdown with precision and empathy. His Man-su is prideful, bewildered, sometimes absurd—but never unsympathetic. Even as he takes questionable turns, it’s impossible not to feel for him. Lee makes failure deeply human, even relatable. And we can’t help but chuckle when he shows up with his moustache. Also, watch out for a scene where he shows off an awkward but surprisingly charming dance move.

Son Yejin, reuniting with Park after her early work in Sympathy for Mr. Vengeance, brings warmth and moral gravity as Man-su’s wife, Miri. Her understated performance reminds viewers of what’s at stake—the quiet pain of watching someone you love lose themselves. Together, their scenes anchor the film’s emotional core.

What distinguishes this highly recommended film from other social dramas is Park’s wickedly funny and sharply scripted approach. The dialogue brims with irony—biting but never cruel, sad but never sentimental. And then there’s the ending: lingering, ambiguous, and achingly human. You might think Man-su has achieved what he set out to do—to give his family the life he wants for them—but while things appear fine on the surface, a quiet dread seeps through. It leaves you with the uncomfortable realisation that Man-su’s struggle isn’t just his, but ours too.

In the end, Park’s latest work stands as another sharp, thought-provoking entry in his filmography. It’s visually immaculate, sonically inventive, and emotionally resonant in its restraint. For those who appreciate films that look exquisite while making you quietly squirm, this one’s hard to shake.

Movie Rating:

(Park Chan-wook's latest film features a beautifully crafted, darkly funny story of pride and survival, anchored by Lee Byung-hun’s performance, which is funny, sad, and unexpectedly relatable)

Review by John Li

First trailer for DON'T BE AFRAID OF THE DARK Posted on 01 Jun 2011 FilmDistrict has released a full-length trailer for the horror flick DON'T BE AFRAID OF THE DARK,the remake of the creepy 1973 telepic.Directed by Troy Nixey and produced by Guillermo del Toro and Mark Johnson, the film stars Katie Holmes, Guy Pearce and Bailee Madison. Here's a look at what to expect: ... more

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