Genre: Horror/Thriller
Director: Steven Quale
Cast: Emma Bell, Nicholas D'Agosto, Miles Fisher, Arlen Escarpeta, Jacqueline MacInnes-Wood, P.J. Byrne, Ellen Wroe, David Koechner, Courtney B. Vance, Tony Todd
RunTime: 1 hr 32 mins
Released By: Warner Bros
Rating: M18 (Violence And Gore)
Official Website: http://www.finaldestinationmovie.com/

Opening Day: 25 August 2011

Synopsis: In "Final Destination 5," Death is just as omnipresent as ever, and is unleashed after one man's premonition saves a group of coworkers from a terrifying suspension bridge collapse.  But this group of unsuspecting souls was never supposed to survive, and, in a terrifying race against time, the ill-fated group frantically tries to discover a way to escape Death's sinister agenda.

Movie Review:

As much as it defined the success of the franchise, the once-novel formula of the ‘Final Destination’ series has also become restrictive with every subsequent entry, prescribing a narrative structure that fresh or returning screenwriters have found difficulty injecting the element of surprise. And so it is with foreknowledge that we know a group of young people will narrowly escape a freak accident thanks to a premonition that one of them has, only to discover that Death has returned to claim their lives by gruesome ways in the same order they were supposed to die.

Here, the group of people consist of employees from a paper manufacturing firm on their way to a corporate retreat. Among them is sales representative and aspiring chef Sam (Nicholas D’Agosto), to whom the vision of their impending death following the collapse of a suspension bridge appears. Turning frantic upon realising that the little events preceding their intended death are happening for real, Sam inadvertently manages to save seven other folks including his girlfriend Molly (Emma Bell), his co-worker and best friend Peter (Miles Fisher) and their egotistical boss Dennis (David Koechner).

Like the later entries into the franchise, this one attempts to outdo the rest by upping the gore factor, so those who do not have a stomach for impalements, decapitations, and dismemberments best steer clear. Indeed, from the very elaborate opening scene which features all of the above, it is obvious that the film is not afraid of engineering grisly deaths for its characters. But more than just the shlock, director Steven Quale fully understands that part of the thrill is also from guessing how the interlocking events of each kill will eventually lead to demise.

So Quale and screenwriter Eric Heisserer keep their audience on edge by laying out the happenstances and bringing the pieces together slowly, alternating their audience’’s feelings between terror and false relief before springing a surprise and then adding a nasty twist at the end. Each death- from a gymnast’s fatal dismount off the bars to a nerdy sleazeball’s prickly demise at a Chinese spa cheekily titled ‘Ming Yun’ to a bespectacled hottie’s eye-opening kill at a laser eye surgery clinic- is ingeniously devised and well executed for maximum suspense.

Up-and-coming horror scribe Heisserer (who also penned the ‘Nightmare on Elm Street’ remake and the upcoming remake of ‘The Thing’) also attempts to invigorate the plot by introducing a twist midway into the movie- each one of the unlucky survivors can escape their destiny by offering someone else to die in their place. Unfortunately, the idea isn’t fleshed out fully enough, and works only to recalibrate a key sequence involving Sam, Molly and Peter near the end of the film from one borne out by Death to one engineered by man.

More successful is Heisserer’s touch of macabre humour (e.g. said sleazeball’s apparent lost-in-translation conversation with an old massage lady at the spa just before his death), and knowing winks to the previous instalments of the franchise (e.g. the corporate video the employees were watching before the accident is from the company 180 Consultancy). To top it off, he wraps things up beautifully with a killer ending that brings the franchise back full circle to the first film.

Like Heisserer, Quale is also new to the franchise, and the two newbies infuse new life into this fifth entry with well-knitted suspense and a generous dose of black humour- although both can’t quite get away from using the additional dimension for cheap thrills like the last movie. Unlike the ‘Saw’ series which became content on offering more of the same, this latest addition’s attempt to reinvent the wheel within the confines of its formula is gratifying especially for fans. And whether it itself was prescient of its dismal United States box office so far, the ending is nonetheless a beautiful finish should this be the last in the series.

Movie Rating:

(More of the same ‘Final Destination’- but this latest entry trumps the rest with well-knitted suspense and macabre humour)

Review by Gabriel Chong

Genre: Action/Sci-Fi
Director: Jon Favreau
Cast: Daniel Craig, Harrison Ford, Olivia Wilde, Sam Rockwell, Adam Beach, Paul Dano, Noah Ringer, Keith Carradine, Clancy Brown, Abigail Spencer
RunTime: 1 hr 58 mins
Released By: UIP
Rating: PG13 (Violence)
Official Website: cowboysandaliensmovie.com

Opening Day: 9 August 2011

Synopsis: 1873. Arizona Territory. A stranger (Craig) with no memory of his past stumbles into the hard desert town of Absolution. The only hint to his history is a mysterious shackle that encircles one wrist. What he discovers is that the people of Absolution don't welcome strangers, and nobody makes a move on its streets unless ordered to do so by the iron-fisted Colonel Dolarhyde (Ford). It's a town that lives in fear.

But Absolution is about to experience fear it can scarcely comprehend as the desolate city is attacked by marauders from the sky. Screaming down with breathtaking velocity and blinding lights to abduct the helpless one by one, these monsters challenge everything the residents have ever known.

Now, the stranger they rejected is their only hope for salvation. As this gunslinger slowly starts to remember who he is and where he's been, he realizes he holds a secret that could give the town a fighting chance against the alien force. With the help of the elusive traveler Ella (Olivia Wilde), he pulls together a posse comprised of former opponents—townsfolk, Dolarhyde and his boys, outlaws and Apache warriors—all in danger of annihilation. United against a common enemy, they will prepare for an epic showdown for survival.

Movie Review:

First and for most, let me just briefly indulge my fan boy glee of how cool the concept is when it first dawn upon my nerd-ism seeing this masterpiece on the wooden shelf of the comic section at a local bookstore. The wild wild west, gun slinging, dust settling, weed rolling, desert thralling and cactus thriving set piece that sets against, insect aliens from outer space who abduct humans to study our weaknesses in order to steal gold from us. Mind blown. Two totally different genre, blending into one massive blockbuster never seen before! Why haven’t anybody done that sooner? How about comedy and horror? Oh, that’s done. Drama and sci-fi? Done. Animation and drama? Done. Holy crap, this maybe the last cross genre film to cross our silver screen (i have this nagging feeling i missed something. Lets see who can prove me wrong eh?)!

So here’s what you miss, James Bond here wakes up in the middle of the hot desert not knowing his past and realises that there is thingamajig that is braced to his arm. Stumbles upon a rundown town and was captured by the sheriff. Also captured was Indiana Jones son who was drunk and also kind of like  a tool. Night came upon thier departure to the main city to be bought to justice, the aliens arrived. Chaos ensures, Bond's alien-ware comes alive and manages to shoot down one of the crafts but alas among the battle, most of the town members were unfortunately captured by the outer visitors. Awesome plot isn’t it. But somehow, we have a case of overvalue concept and undervalue storyline. A never heard before cross genre but somehow, it all played too familiar which totally undertones its grandeur without giving it a second look. Don’t get me wrong, as a blockbuster summer film, its fit very well into the mold. It started out a pretty great western and Craig very much fit into the role of a cold blooded shooter/killer with a soft heart (but the amazing blue eyes and *ahem physic is rather distracting). Even without the sci-fi introduced, i was rather intrigued and even nearly forgot that this film had bloody aliens in it! Then the zap, boom and bang started and everything died down alittle and soon the western-style essence soon went under-par , barely breathing above water.

But don’t get me wrong, the sci-fi, although has been a recycle bit of any or some sci-fi film you’ve seen around, the execution was a digestible fill to anyone who is hungry for some space dish. Kudos to the person to come up with the concept of how the aliens wrangle up humans for study and destroy. It ties really nicely to the whole western concept. Pun intended. Special effects were top notch helming the director who brought you Ironman, enough said. Although, i must say, some of the sub-storyline were alittle too mushy and only served its purpose to bring that extra emotion to be yanked out, balancing the violence surrounding it. Plus, the violence around wasn’t as half bad as it mostly happens off screen or too fast to see what really happens and if blood were to be presence, dark red was its choice of colour, lowering down its rating.

For a summer block buster, the cast list of indie A-Lister and blockbuster superstars and abound. you’ve got Daniel Craig, Harrison Ford, Olivia Wilde, Sam Rockwell, Paul Dano, Adam Beach and the list goes on. That is why, it’s rather a shame that this film was meant to be an explosive blockbuster genre for which with these cast list, we could have had an indie-western-sci-fi-drama (with a bit of dark comedy?) in our hands. Oh hey Hollywood! There’s your new cross genre film to ponder upon!

Movie Rating:

(Saddle up your horses partner, we gonna have a blast!)

Review by Lokman B S 

Genre: Comics/Action
Director: Kenneth Branagh
Cast: Chris Hemsworth, Natalie Portman, Tom Hiddleston, Anthony Hopkins, Jaimie Alexander, Kat Dennings, Stellan Skarsgard, Rene Russo, Ray Stevenson, Tadanobu Asano, Idris Elba, Colm Feore, Adriana Barraza, Clark Gregg
RunTime: 1 hr 55 mins
Released By: UIP
Rating: PG (Some Violence)
Official Website: http://thor.marvel.com/

Opening Day:  29 April 2011

Synopsis: Paramount Pictures and Marvel Entertainment present the epic adventure, "Thor," which spans the Marvel Universe from present day Earth to the realm of Asgard. At the center of the story is the mighty Thor (Chris Hemsworth), a powerful but arrogant warrior whose reckless actions reignite an ancient war. Thor is cast down to Earth by his father Odin (Anthony Hopkins) and is forced to live among humans. A beautiful, young scientist, Jane Foster (Natalie Portman), has a profound effect on Thor, as she ultimately becomes his first love. It's while here on Earth that Thor learns what it takes to be a true hero when the most dangerous villain of his world sends the darkest forces of Asgard to invade Earth.

Movie Review:

The Norse god Thor is admittedly one of Marvel’s second-league superheroes, but just like Iron Man, both are inevitable steps in Marvel’s continuing march towards arguably the most highly anticipated comic book adaptation in movie history next year- “The Avengers”. Yet, if there’s anything to learn from the “Iron Man” experience, it’s that it’s entirely possible to turn a B-league superhero into an A-grade feature film with just the right star and the right director. 

And kudos to the Marvel team for doing it once again with “Thor”, a thoroughly entertaining blockbuster of a film that succeeds thanks to the unlikely choices of Kenneth Branagh as director and Chris Hemsworth as the star of the titular character. Kenneth is the English director best known as cinema’s foremost exponent of the Bard, while Chris is the Australian actor probably only known as the father to James T. Kirk in last year’s “Star Trek”. Both are equally unlikely choices to headline this US$150mil tentpole, though Marvel’s gamble has paid off handsomely. 

Unlike Iron Man, Incredible Hulk, or for that matter the upcoming Captain America who were products of science, Thor was the hammer-wielding alien-god who was always going to be a tricky proposition adapting for the big screen. After all, the combination of Norse mythology and science fiction could easily have degenerated into kitschy camp, so it’s a good thing that Kenneth knows when to get serious and when to have fun. He films the scenes of Thor in his homeland Asgard with the utmost gravitas, while leaving the humour for his brief fish-out-of-water stint on Earth.

Indeed, Kenneth handles the power feuds and sibling rivalry with the same intensity as he would a Shakespearian production, and brings a deeply human perspective to his godly characters. In particular, the tussle between father and sons is emotionally charged- whether Odin’s heartbreak at banishing his son Thor, whom he was about to coronate as king, out of the kingdom for arrogantly and impetuously reigniting a war with an ancient enemy; or Loki’s confrontation with Odin about his true origins- and therefore electrifying to watch. 

To add weight to the proceedings at Asgard, Kenneth brings in two excellent character actors alongside Chris- Anthony Hopkins and Tom Hiddleston. Anthony’s patriarchal role isn’t new for the actor, but he delivers a restrained yet powerful and dignified performance as Thor’s father Odin. Tom, on the other hand, is deliciously snarky playing the sibling jealous of Thor’s impending ascension to the throne, and the British actor gives a surprisingly intimate and affecting villainous turn that brings unexpected depth to his character. 

In contrast to the godly solemnity, Kenneth brings some welcome Earthly humour to Thor’s subsequent banishment. The trio of scriptwriters Ashley Edward Miller, Zack Stentz and Don Payne (working from an effective origin story by J. Michael Straczynski and Mark Protosevich) reserve the movie’s wittiest lines for Thor’s interplay with three mortal beings- astrophysicist Jane Foster (Natalie Portman), her gal-pal/assistant Darcy Lewis (Kat Dennings) and Jane's mentor, Dr. Erik Sevig (Stellan Skarsgard), while Kenneth directs Thor’s awkward adjustment to life on Earth (an absolutely hilarious scene has Thor storming into a pet store and asking for a horse to go about his mission to find his mysterious magical hammer Mjolnir) with just the right amount of infectious fun.

There’s also an intercelestial romance thrown in for good measure, as Thor and Jane develop a growing attraction for each other. But more than just obligatory, the love between god and human becomes a lesson in humility and self-sacrifice for the fallen Thor to pave his restoration back to glory. Though thinly written, Portman makes the best out of her role, and it is to her credit that Jane becomes an engaging and believable character that the audience roots for. Portman also shares a warm chemistry with Chris, which brings poignancy to their relationship as well as Thor’s subsequent transformation.

Thor’s time on Earth is also used to forge the necessary narrative links with “The Avengers”, in the form of Clark Gregg’s S.H.I.E.L.D. agent Coulson, an unbilled cameo by Jeremy Renner as the archer Hawkeye, and Samuel L. Jackson’s Nick Fury appearance right at the end of the credits. Fans of the Thor universe from the comic books will also delight in the awe-inspiring presence of Heimdall (Idris Elba), as well as Thor’s entourage of Asgard warrior pals Sif (Jaimie Alexander), Volstagg (Ray Stevenson), Fandral (Josh Dallas), and Hogun (Tadanobu Asano). 

These pals also add colour to the action sequences, which Kenneth choreographs with surprising aplomb. He stages a thunderous battle very early on as Thor leads an attack against the Frost Giants on the planet of Jotunheim with every bit of might and muscle one would expect from a clash of godly beings. There are at least two other money sequences- Thor’s duel with a hulking piece of metal known as the Destroyer (which Coulson first tongue-in-cheek mistakes to be one of Stark’s equipment) in a small New Mexico town; and the thrilling climactic battle between Thor and Loki back on Asgard. 

The latter takes place around Heimdall’s Observatory, the celestial portal connecting the various realms, which is just one of production designer Bo Welch’s visual triumphs that includes the gleaming utopian-like world of Asgard and the icy wintry landscapes of Jotunheim. Also deserving of mention is Haris Zambarloukos’ lensing, which complements Bo’s designs with an impressive stereoscopic vision that gives the action and the visuals the added dimensional quality. 

But the star that holds it all together is really Chris Hemsworth, his performance a well-calibrated blend of brawn and heart that will put sceptics to rest. His physicality is apparent right from the start, but Chris gradually reveals a winning charm and a heartfelt sincerity that enables his audience to relate with his character’s inner struggles. It is a breakout star-making turn, which shows Chris adept at action, comedy and even romance. 

And certainly, it is to Kenneth Branagh’s credit that these disparate elements can belong so comfortably in a movie that also combines mythology and science fiction. True to its origins, “Thor” is nothing less than superhero entertainment, and a definitive A-list one -despite the initial regard of its source character- that kicks off this summer with a bang, boom and rumble.

Movie Rating:



(A thrilling blend of action and drama- with some comedy thrown in for good measure- Marvel’s latest superhero addition is perfect summer entertainment)

Reviewed by Gabriel Chong

Genre: Sci-Fi/Thriller/Action
Director: Duncan Jones
Cast: Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffrey Wright
RunTime: 1 hr 33 mins
Rating: PG
Released By: SHAW
Official Website: http://www.enterthesourcecode.com/

Opening Day: 21 April 2011

Synopsis: When decorated soldier Captain Colter Stevens (Jake Gyllenhaal) wakes up in the body of an unknown man, he discovers he's part of a mission to find the bomber of a Chicago commuter train. In an assignment unlike any he's ever known, he learns he's part of a government experiment called the "Source Code," a program that enables him to cross over into another man's identity in the last 8 minutes of his life. With a second, much larger target threatening to kill millions in downtown Chicago, Colter re-lives the incident over and over again, gathering clues each time, until he can solve the mystery of who is behind the bombs and prevent the next attack. Filled with mind-boggling twists and heart-pounding suspense, Source Code is a smart action-thriller directed by Duncan Jones (Moon) also starring Michelle Monaghan (Eagle Eye, Due Date), Vera Farmiga (Up in the Air, The Departed), and Jeffrey Wright (Quantum of Solace, Syriana).

Movie Review:

This thing about alternate realities has been making us think a lot these days. Concepts of time loop and multiple worlds have left us mystified, if not perplexed, about the possibilities of another one (or even many) of us existing in another space. And what better devices than science fiction thriller movies could we turn to, to explore these beguiling ideas?

After the success of his debut feature Moon (2009), English director Duncan Jones is back to impress us with another engaging production that will leave you wondering about the existence of another you in another time frame.

Instead of a one man show (you have to admit that having Sam Rockwell as the one and only cast member in Moon was an ingenious move), Jones has an ensemble to work with this time. The story’s protagonist is a helicopter pilot whose last memory is a flying assignment in Afghanistan. He suddenly finds himself in a commuter train and has assumed the identity of another man. Eight minutes later, the train explodes and he finds himself in a pod. It is then revealed that to prevent an impending bomb blast, he has to go back in time to relive those eight minutes repeatedly until he finds out the identity of the bomber.

Wasting no time to explain unnecessary details, the thriller plunges into the action from the very first scene. With a screenplay written by Ben Ripley, Jones (also known as the son of rock star David Bowie) has managed to deliver another action thriller that entertains, without leaving the viewers feeling dim witted. The concept of this mode of time travel is fascinating enough to compel audiences – it’s no walk in the park like 1993’s Groundhog Day starring Bill Murray, as our hero is fighting against time to prevent another tragedy from happening. As absurdly outrageous as the plot may sound, the movie still makes you go along for the ride.

One main reason why you’d have your eyes glued to the screen is male lead Jake Gyllenhaal’s on screen charisma. After his somewhat lackluster performances in 2010’s Prince of Persia: The Sands of Time and Love and Other Drugs, Gyllenhaal wants to let you know that he is back in form. Here, he is a man who is on an urgent quest, one that showcases the handsome star’s ability to capture your attention. His commendable performance is complemented by the pleasant looking Michelle Monaghan (Due Date) as a fellow train passenger, the ever reliable Jeffrey Wright (Quantum of Solace) as a scientist with a motive, and Oscar nominee Vera Farmiga (Up in the Air) as an air force captain, who manages to shine despite her role’s limited scope to stand out.

The film has also managed to avoid the trap of being drearily long. Its very serviceable runtime of 93 minutes is enough to leave an impact with your mind. Viewers who are familiar with how the average science fiction or action movies tell their stories will be pleased with how the last third of the film plays out. When the end credits begin rolling, you will be awed by the cleverly inventive script. Without giving away too much, you may also find yourself appreciating how scientific concepts of alternate realities and time travel are essentially humane in nature.

Movie Rating:



(There’s heart and intelligence in this highly recommended sci fi action thriller)

Review by John Li

Genre: Action/Adventure
Director: Justin Lin
Cast: Vin Diesel, Paul Walker, Dwayne Johnson, Jordana Brewster, Charisma Carpenter, Tyrese Gibson, Ludacris, Don Omar, Elsa Pataky, Matt Schulze, Tego Calderon, Sung Kang, Joaquim de Almeida, Gal Gadot
RunTime: 2 hrs 10 mins
Released By:  UIP
Rating: PG (Violence)
Official Website: http://www.fastfivemovie.com/

Opening Day: 5 May 2011

Synopsis: Vin Diesel and Paul Walker lead a reunion of returning all-stars from every chapter of the explosive franchise built on speed in Fast Five. In this installment, former cop Brian O'Conner (Paul Walker) partners with ex-con Dom Toretto (Vin Diesel) on the opposite side of the law. Dwayne Johnson joins returning favorites Jordana Brewster, Chris "Ludacris" Bridges, Tyrese Gibson, Sung Kang, Gal Gadot, Matt Schulze, Tego Calderon and Don Omar for this ultimate high-stakes race. Since Brian and Mia Toretto (Brewster) broke Dom out of custody, they've blown across many borders to elude authorities. Now backed into a corner in Rio de Janeiro, they must pull one last job in order to gain their freedom. As they assemble their elite team of top racers, the unlikely allies know their only shot of getting out for good means confronting the corrupt businessman who wants them dead. But he's not the only one on their tail. Hard-nosed federal agent Luke Hobbs (Johnson) never misses his target. When he is assigned to track down Dom and Brian, he and his strike team launch an all-out assault to capture them. But as his men tear through Brazil, Hobbs learns he can't separate the good guys from the bad. Now, he must rely on his instincts to corner his prey...before someone else runs them down first.

Movie Review:

Unless you’re “Harry Potter”, franchises rarely have much gas left in their tank by their fourth instalment, let alone their fifth. But two years ago, the “Fast and Furious” franchise defied its slow but sure decline by reuniting the original stars of the first movie that made it such a runaway success ten years ago, thus finding its groove once again and speeding away with the best box-office results the series has enjoyed. 

To prove their success then wasn’t just a fluke, the stars- Vin Diesel and Paul Walker- are back at it again with a fifth-quel, and you know what- it’s even faster, even more furious than anything the franchise has done. Yes, dear fans of fast cars, hot babes and most of all brawny men, “Fast Five” takes the hallmarks of the franchise and brings it to a whole new level. It’s the best “Fast and Furious” movie by far, an adrenaline shot of pure guilt pleasure that promises and delivers white-knuckle thrills and edge-of-your-seat excitement. 

Certainly that’s the expectation thanks to an exhilarating opening sequence where our favourite recalcitrant criminal Dominic Toretto and his newly-minted criminal associate Ryan O’Connor are off stealing luxury race cars on board a moving train. Besides federal agents, Dom and O’Connor also have to contend with double-crosses and oh, a looming bridge. So when you have our heroes leaping out of a speeding car while plunging into a ravine, you know you better buckle up for the ride you’re going to be in for. 

A memory jolt for those who may have forgotten- Dom was arrested at the end of the last movie, and was sentenced without parole to 25 years in federal prison. But where’s the fun in having him behind bars? So en route to a maximum security prison, Dom’s transport is promptly ambushed by Ryan and his girlfriend Mia (Jordana Brewster). The trio end up in Rio, where said daring midday heist occurs and lands them on the wrong side of Rio’s most feared criminal kingpin Reyes (Joaquim de Almeida). 

True to Dom’s nature, he seizes it as an opportunity to do one big score and then go off to relax. With this nifty twist, screenwriter Chris Morgan (also the writer of the previous three films) turns what used to be a movie around the confines of the underground street racing circuit into a heist movie. Morgan also does an Ocean’s Eleven as Dom assembles just about every supporting character who has appeared in one of the franchise’s films for his latest crew- including Roman (Tyrese Gibson), Tej (Chris ‘Ludacris’ Bridges), Han (Sung Kang) and Gisele (Gal Gadot). 

The chemistry between the returning cast and characters is delightful, and Morgan reserves the best zingers in his script for their banter. New additions Tego Calderón and Don Omar also add to the fun, their mutual riffs on Tej that exploit the language barrier between the two Americans simply hilarious. Of course, the highlight of this movie is really the introduction of just about the most badass F.B.I. agent from up North, Hobbs (Dwayne Johnson), sent into Rio to apprehend Dom and O’Connor. 

The relentlessness of Johnson’s Hobbs is a good foil against the arrogance of Diesel’s Dom, and their subsequent mano-a-mano no-holds-barred fistfight that results is brutally efficient. Indeed, watching Diesel and The Rock go up against each other is worth the price of admission itself, because there simply is no one bigger, badder and balder than Diesel. It’s a duel made in action heaven, and director Justin Lin milks it for every punch, kick and body-smash it is worth. 

But Lin isn’t content to rest on the laurels of his hulking action stars. A footchase across rooftops and down alleyways of the crowded, crime-ridden hillside favelas (neighborhoods) of Rio surpasses the sheer adrenaline that Jason Bourne induced in “The Bourne Ultimatum”, and makes great use of its locale’s backdrop. The finale, though, is quite something in itself and beats anything that Lin has done, or for that matter, anything that you have seen so far in the “Fast and Furious” franchise. We’re not about to spoil the surprise for you here, but suffice to say that it will go down as one of the most breathtaking car chase sequences in cinematic history. 

And with that, “Fast Five” has more than about justified its existence by being a souped-up, pumped-up, revved-up action movie that floors its throttle from the get-go and doesn’t let up for a full two hours. Yes, there are times when the dialogue borders on laughable, especially when Morgan tries to give his characters- Dom in particular- more depth and some semblance of character development. 

But this is not a movie that you watch for those things, and a franchise that was built on these things- rather “Fast Five” is about revving engines, crashing cars, brawny men and hot babes and on every one of these counts, it delivers spectacularly. We guarantee you by the time the end credits roll with a sneak peek of where the franchise is headed to next, you’ll be cheering for the sixth “Fast and Furious” film

Movie Rating:



(Packed wall-to-wall with breathtaking action sequences, this fifth entry is easily the most thrilling and the best of the ‘Fast and Furious’ franchise)

Reviewed by Gabriel Chong

To the Gleeks who are, ahem, not too well informed, we are sorry to dash your dreams: “Don’t Stop Believin’” isn’t an original composition created for the popular TV series. Believe it or not, it is a 20 year old song originally performed by American rock band Journey. With its energetic tune and relevant lyrics, the song has been described in music guide Allmusic as “an anthem for the young who wanted to feel free and unrestricted”.   

No wonder the producers of the cultural phenomenon known as Glee chose the song to be featured in the TV show.

It is hence apt to open this concert soundtrack album with the version performed by the Glee cast, before launching into other hits from the show. Fans would reminisce the moments during episodes where songs like “Dog Days Are Over”, “Sing” and “I’m A Slave 4 U” were featured. Fans would smile with the mental images of the good looking stars crooning songs like “P.Y.T (Pretty Young Thing)”, “Born This Way” and “Firework”. These covers would do the original performers Florence and the Machine, My Chemical Romance, Britney Spears, Michael Jackson, Lady Gaga and Katy Perry proud.

One standout track from this 66 minute album is a beautiful rendition of English rock band The Beatles’ “I Want to Hold Your Hand”. Performed by Chris Colfer (who won the Golden Globe Best Supporting Actor for his portrayal of Kurt Hummel on the show), the three minute track is affectingly moving. Together with TV Carpio’s version from the 2007 film Across the Universe, this cover is one tune that will stick in our mind for a long time.

Other familiar tunes include covers of Pink’s “Raise Your Glass”, Barbra Streisand’s “Don’t Rain on My Parade” and Queen’s “Somebody to Love”. An original composition featured here is “Loser Like Me”, which was featured in the second season of the show.

It doesn’t matter if you are not a follower of the TV series. It doesn’t even matter if you haven’t caught the concert movie. This is one album that makes for easy listening any time of the day.

ALBUM RATING:

Recommended Track: (6) I Want To Hold Your Hand

Reviewed by John Li

Genre: Horror
Director: Luis Berdejo
Cast: Kevin Costner, Ivana Baquero, Samantha Mathis, Gattlin Griffith, Erik Palladino, Noah Taylor
RunTime: 1 hr 48 mins
Released By: Cathay-Keris Films
Rating: NC-16 (Supernatural Theme and Some Disturbing)
Official Website: http://www.goldcirclefilms.com/movies/movie_the_new_daughter.html

Opening Day: 18 August 2011

Synopsis: On the heels of an acrimonious divorce, John James moves his children, Louisa and Sam, to a secluded countryside house in order to give his family a fresh start. Louisa finds solace exploring a mysterious mound situated close to the home, and soon begins assuming a dark new persona. Then, when increasingly disturbing events plague the James’ household, and John subsequently investigates the locale's past, he finds he must save Louisa from a terrifying, centuries-old phenomenon.

Movie Review:

Not counting the supernatural thriller “Dragonfly”, “The New Daughter” actually marks Kevin Costner’s first foray into the horror genre. While that’s typically a risky venture, it would seem though that his maiden voyage is in good hands- after all, the director is one Luis Alejandro Berdejo, better known as one of the co-writers of the Spanish horror hit [REC], who makes his English-language debut here.

The premise of the movie seems straight out of the textbook of Horror 101- a single father moves in with his two children into a secluded old house in rural South Carolina, only to discover that there is something sinister going out in and around the compounds. Just as predictably, his daughter starts to exhibit strange behaviour- spending much time alone outside, falling into catatonic trances, and returning home covered with mud and scars.

Though these disturbing occurrences aren’t particularly original, Berdejo does a good job building up the tension in the movie. The floorboards creak, strange footprints are seen in the house, and an ominous-looking earthen mound is discovered outside- with the usual horror tropes of jump cuts and jarring sound effects, Berdejo handily unnerves his audience and sets you up in anticipation for that final revelation.

Of course, he also has assembled a competent cast for that task. Costner exudes a low-key but no less dignified presence as a father grappling to come to terms with his teenage daughter whom he quickly realises is not the little girl she once used to be. But even the veteran leading man is upstaged by a terrific disquieting performance by Pan’s Labyrinth star Ivana Baquero, who incidentally also makes her English-language debut here, Baquero isn’t given much to say, but conveys much more with her creepily expressive demeanour. 

Berdejo’s slow and steady buildup comes to a head in the last third of the film, and here’s where we suspect many viewers may not take too kindly to the change in tone of the movie. We won’t be giving away any spoilers here, but suffice to say that screenwriter John Travis (working off a short story by John Connolly) turns the horror into quite something else entirely, especially when Costner realises the danger from which he has to rescue his daughter from.

While the last third does strain credulity, Berdejo keeps a tight rein on the subsequent mayhem, never letting it descend into camp. Kudos too to both Costner and Baquero, whose consistent and even unflinching performances go a long way in getting their audience to buy into the rather unexpected twist of events. Berdejo also has the courage to avoid ending the film conveniently, which we suspect may further antagonise viewers who weren’t convinced in the first place.

Though it is nowhere near a perfect film, “The New Daughter” is a nice little horror flick that surely deserves a much better reception than what it had received in the States. Some have even gone as far to proclaim it as the grave of once-A-list Hollywood star Kevin Costner’s career, but we disagree- at the very least, it shows Costner’s versatility as an actor that shines through even in a vastly different genre from his usual movies. Go into it with an open mind, and you’ll find this an atmospheric thriller with a daring twist.  

Movie Rating:  

(A creepy horror thriller that threatens to, but thankfully never quite, falls apart during its third act- also featuring Kevin Costner in his first horror film)

Review by Gabriel Chong 

Genre: Horror/Thriller
Director: Craig Gillespie
Cast: Anton Yelchin, Colin Farrell, Christopher Mintz-Plasse, David Tennant, Imogen Poots, Dave Franco, Toni Collette
RunTime: 1 hr 46 mins
Released By:  Walt Disney Motion Pictures
Rating: NC-16 (Violence and Coarse Language)
Official Website: http://www.welcometofrightnight.com/

Opening Day: 22 September 2011

Synopsis: Senior Charlie Brewster (Anton Yelchin) finally has it all—he’s running with the popular crowd and dating the hottest girl in high school. In fact, he’s so cool he’s even dissing his best friend Ed (Christopher Mintz-Plasse). But trouble arrives when an intriguing stranger Jerry (Colin Farrell) moves in next door. He seems like a great guy at first, but there’s something not quite right—and everyone, including Charlie’s mom (Toni Collette), doesn’t notice. After witnessing some very unusual activity, Charlie comes to an unmistakable conclusion: Jerry is a vampire preying on his neighborhood. Unable to convince anyone that he’s telling the truth, Charlie has to find a way to get rid of the monster himself in this Craig Gillespie-helmed revamp of the comedy-horror classic.

Movie Review:

Here’s one to kill off the glittery blood suckers we’ve all love to hate. Gone (not yet though, there’s still a sequel) are the brooding one and in comes the bad-ass, freaking ugly horrifying creature to grace the silver screen. Now that's what you call a vampire. Welcome to Fright Night.

Now, everyone knows how much of a nag i am about remakes and how Hollywood has bastardised the very essence of classic flick we all ave loved and enjoy. Now many of you would think, yes, it is time for an update and those of us squawking away are old geezers who wouldn’t let the old memory go and relent us as stubborn to begin with. Now, that isn’t entirely true. I wouldn’t mind at all for a total remake/re-imagined/re-whatever but please do it justice and at the very least make it better then the original yeah? And what about Mr Jerry, our horrifying vampire next door fare in this turn of the time update? It’s much to my pleasure, gladly to say that this horror flick did pass it’s test. Yes ladies and gentlemen, a remake that has test it’s litmus test and found it new heart of the new generation and old. And here what made it jump over the hurdle in this miraculous leap:

The horror humour: I don’t really know how many of you do remember or even attempted to get themselves blast to the past but in this remakes, this one doesn't just make a pro-copy of itself but it captures the spirit of the original. Perhaps I'll leave the remembrance aside and take this in perspective of the new comers. Fright Night plays it light hearted and never has it taking itself seriously. Well it did become serious but somehow, Craig Gillespei, the director whose only helm of the big screen is a little indie film called Lars and the real girl (great film by the way) has managed to surprise me of his capability of such mix genre. Many typical cliche moments abound but somehow made fresh with given twist. 

The acting: The performances are equally inconsistent. Yelchin is like-able in the lead, and you find yourself rooting for him throughout, with his relationship with mother Toni Collette and girlfriend Imogen Poots is surprisingly believable. Christopher Mintz-Plasse fairs less well as Ed however, churning out the same performance that he's been delivering since his previous film even when his character taken an unexpected twist, nothing new came abound. David Tennant (Who? Heh.) as the illusionist Peter Vincent, who delivers a performance that's pretty familiar to a certain British comedian turn to Hollywood. But of cos I'll have to admit and come out to say, the film does truly belong to Colin Farrell, dominating as Jerry the Vampire. With the right combination of sexy cool and a touch of sinister, his presence just oozes with such life that its ironic that he plays a dead character. He plays the role quite well and with vigour but fun way, i wouldn’t mind letting him bite me at all.

The setting: Isolated suburban, the-might-a- well- be-a-cave-with-one-exit, engulfs us to such claustrophobia but yet living in an open world. A perfect setting for confusion among the cookie template of houses that's similar everywhere you turn. 

I think Fright Night can safely give a nod to itself for allowing to not take itself too seriously — it’s not looking for Oscars, the script is upbeat, much witty lines delivered and it has fun with itself, which is also a good deal for the audience. It might have worked better as a Halloween release, but as it stands, Fright Night is a fun way to spend an evening, and a great surprise all round. It wants to be an amusing comedy horror ride, something to fill you and your buddy on those balmy lazy Friday nights, and one those grounds it’s extremely successful. It’s almost exactly what I hoped i would be signing up for and though it’s not perfect, it’s definitely recommended. 

(PS: As most of the film takes place in the dark, you might wanna head towards the 2D version as the 3D nature would diminish the brightness of the film at various cinemas.)

Movie Rating:

(I’ll let this bite me anytime)

Review by Lokman B S

In French with English subtitles
Genre: Fantasy/Comedy
Director: Jean-Pierre Jeunet
Cast: Dany Boon, André Dussollier, Nicolas Marié, Jean-Pierre Marielle, Yolande Moreau, Julie Ferrier, Omar Sy, Dominique Pinon, Michel Cremandes, Marie-Julie Baup
RunTime: 1 hr 46 mins
Released By: Cathay-Keris Films
Rating: NC-16 (Sexual References and Some Violence)
Official Website: http://micmacs.substance001.com/

Opening Day: 12 May 2011

Synopsis: Jean-Pierre Jeunet's gorgeously romantic AMELIE is unquestionably one of the most beloved and popular films of the last decade. Jeunet's amazing visual vocabulary and hyperactive imagination provide the foundation for all his cinematic creations, and this ability to be both playful and serious is used to devastating effect in his latest piece of movie magic MICMACS. First it was a mine that exploded in the middle of the Moroccan desert. Years later, it was a stray bullet that lodged in his brain... Bazil doesn't have much luck with weapons. The first made him an orphan, the second holds him on the brink of sudden, instant death. Released from the hospital after his accident, Bazil is homeless. Luckily, our inspired and gentle-natured dreamer is quickly taken in by a motley crew of junkyard dealers living in a veritable Ali Baba's cave. The group's talents and aspirations are as surprising as they are diverse: Remington, Calculator, Buster, Slammer, Elastic Girl, Tiny Pete and Mama Chow. Then one day, walking by two huge buildings, Bazil recognizes the logos of the weapons manufacturers that caused all of his misfortune. He sets out to take revenge, with the help of his faithful gang of wacky friends. Underdogs battling heartless industrial giants, our gang relive the battle of David and Goliath, with all the imagination and fantasy of Buster Keaton...

Movie Review:

After a brief hiatus, director Jean-Pierre Jeunet returns with his sixth feature film, "Micmacs" or "shenanigans" in its rough translation. And shenanigans is what we get in this film where he creates a world not too different from his acclaimed "Amelie" and something resembling the core moralities of "Delicatessen". A deft balance of spectacle and storytelling, "Micmacs" works as a feel-good supplement taken with the rest of his oeuvre. If there is an aversion to Jeunet's strong and at times overbearing sense of trademark whimsy, then there might be sequences here at invoke said ire but all things considered, "Micmacs" comes across a little more reserved and nails it on its storytelling more often than not as it uses rightfully uses its terrifically drawn world as a backdrop for its characters and set-pieces.

When Bazil (Danny Boon), a video-store clerk with an understandable grudge towards arms dealers and weapons manufacturers when a terrific opening sequence of events (again, like something out of "Amelie") enacts the history of his father's death when stepping on a landmine and when Bazil himself gets a bullet lodged in his head when a gun goes off across the street when escaping criminals make their getaway. This accident leaves Bazil and his doctors with a quandary -- remove the bullet and give him a life albeit as a vegetable, or leave the bullet in and have Bazil lead a full life but one that could end unpredictable at any given moment due to the injury. Bazil then meets and falls in with a group of motley misfit geniuses who live in a scrapheap and share the same disinclination for the weapons manufacturers that got Bazil in this state and they begin a plan to play off two of the manufacturers against each other to teach them a lesson.

The cadre of characters that Bazil meets are interesting enough that each of them may be able to hold up an entire film on their own but within the film's well-paced running time, we get to see them as a crazy circuit of laughter, romance and wonderment. Each of these characters are represented by a trait -- a wily ex-convict named Placard (Jean-Pierre Marielle); a mathematician with an amazing ability of calling up pertinent numbers in a second (Marie-Julie Baup), Remington (Omar Sy) a strangely effective quote-machine, Buster (Dominique Pinon) once upon a time record-holder for being a human cannonball, Tiny Pete (Michel Cremades) who invents everything out of nothing and Mama Chow (Yolande Moreau) the matriach of the group. And what is a Jeunet film without romance? There is also the cute contortionist (Julie Ferrier), who falls for Bazil. This group, or family as they would call it as called the Mic-macs.

With more than a slight resemblance to "Mystery Men" in its tone and set-up of underdog characters against a bigger badder enemy, Jeunet crafts this film with a film-lover's perspective in mind. From Bazil's own obsession with movies, starting its overt references with "The Big Sleep", through "Once Upon a Time in America" and "Metropolis" to "Taxi Driver", the film then hits thematic and narrative touchstones like "Yojimbo" when the group begins to play delicate yet elaborate games against the arms dealers. It all coheres when it takes on the nature of a heist movie like "Mission: Impossible". Endlessly inventive, "Micmacs" is a charmer.

Movie Rating:



(A wonderful new entry by Jeunet with fun storytelling and rich visuals)

Review by Justin Deimen

Genre: Comedy
Director: Debs Gardner-Paterson
Cast: Eriya Ndayambaje, Roger Nsengiyumva, Sanyu Joanita Kintu
RunTime: 1 hr 26 mins
Released By:  Shaw
Rating: PG
Official Website: -

Screening Dates: 9 Jun 2011

Synopsis: AFRICA UNITED tells the extraordinary story of three Rwandan children and their bid to achieve their ultimate dream - to take part in the opening ceremony of the 2010 Football World Cup in Johannesburg.

On the way to the vital selection trial, disaster strikes when Fabrice, Dudu and Beatrice board the wrong bus and cross into the Congo. Without papers, money or a believable story, they are escorted to a children's refugee camp. But with considerable ingenuity and sass (and a World Cup wall chart for a map), our pint-sized heroes escape the camp and set off in pursuit of their dream, picking up along the way a “dream team” of displaced kids, who help them negotiate a series of thrilling and hilarious adventures.

During their 3000 mile journey, we encounter an Africa few people ever see; experience an epic adventure across seven countries; and feel the joy, laughter and hope that comes from making an incredible journey together.

AFRICA UNITED is a dramatic, heartfelt and enchanting story set to enthrall family audiences worldwide

Movie Review:

There’s more than a hint of “Slumdog Millionnaire” in “Africa United”, an underdog tale of three Rwandan children travelling almost 3,000 miles by themselves to South Africa. It’s the summer of 2010, and the whole Africa is in the throes of the World Cup fever. It isn’t just the journey that recalls the Danny Boyle film, but also the vivid manner in which this is shot, the brisk pace at which the plot unfolds, and the fearless attitude it has towards different social issues that makes the comparison inevitable.

Nonetheless, while director Debs Gardner-Paterson may certainly aspire to, her film never quite reaches the same dizzying heights as “Slumdog”. That’s not to say that it’s bad- certainly it isn’t- but Paterson’s tale lacks the emotional panache that made Boyle’s film such a resounding success. Yes, despite repeating Boyle’s formula of pitting pint-sized heroes against life’s adversities, it is nowhere as emotionally engaging as “Slumdog”- though not for a lack of trying.

Certainly, a film that begins with one of our heroes, Dudu (Eriya Ndayambaje), improvising a football out of a condom, some string and a yellow plastic bag is not without its charms. That’s apparently how the impoverished in the Rwanda have made done with their United Nations (UN) supplies. Dudu’s best friend is the budding football prodigy Fabrice (Roger Nsengiyumva), whose skills with the ball are noticed one day by a talent scout.

Thus begins their journey, together with Dudu’s sister Beatrice (Sanyu Joanita Kintu), to the tryouts in South Africa- though thanks to Dudu’s folly, the trio land up instead in a refugee camp in Congo. While held in the camp, they meet the taciturn teenager Foreman George (Yves Dusenge) who saves them from being recruited as child soldiers into the rebel army. Yes, it takes gumption to introduce the subject of civil war into what is essentially a family movie, but writer Rhidian Brook does just that, albeit with a fair amount of sugar-coating.

That’s not all- later on, the motley group will also meet Celeste (Sherrie Silver), a young teenage girl working as a waitress. Brook treads very carefully here, and while there are hints Celeste may have been exploited sexually, the script largely leaves it hanging. Paterson though does lead them to an AIDS clinic where Celeste is seen especially apprehensive about taking the test. The treatment of the social issues it raises may seem too simplistic, but like “Slumdog”, Paterson‘s approach is to show how normalised these have become in the lives of the Africans.

Lest you think the film gets too heavy-handed, rest assured that this is still largely a family-friendly affair. At its core are themes of friendship, loyalty and hope, the group of travellers calling themselves “Africa United” and encouraging each other along the way to persevere on their arduous journey across lakes and over mountains. Interspersed within various points of the film is also an animated story narrated by Dudu, using folk legends passed down from generation to generation in the continent.

If the film has an irrepressible exuberance, it has its cast to thank. Ndayambaje in particular, gives the film much of its infectious zest, his happy-go-lucky attitude and witty wise-cracks the source of most of the film’s humour. He also shares a nice rapport with Nsengiyumva, and you’ll find yourselves almost effortlessly rooting for the pair to reach their destination. Dusenge and Silver also pull in strong supporting perfs, though the film’s message of hope for their characters seems a little forced.

But despite its good intentions, “Africa United” doesn’t deliver the same thrilling emotional victory that “Slumdog” gave its viewers. There was probably never a doubt as to the film’s happy ending, and Paterson doesn’t let us feel as keenly how dearly the characters yearn to reach their World Cup goal. It’s a brisk and fun little story nonetheless, but given its inevitable comparisons to “Slumdog”, it’s a bit of a disappointment for those expecting as much. 

Movie Rating:  

(Even with a lively exuberance and an energetic young cast, this African underdog tale can’t quite live up to its expectations as the next ‘Slumdog Millionaire’)

Review by Gabriel Chong