Genre: Mystery
Director: Harada Masato
Cast: Takuya Kimura, Kazunari Ninomiya, Yuriko Yoshitaka, Yutaka Matsushige, Takehiro Hira, Koji Okura, Yoshi Sakou
RunTime: 2 hrs 3 mins
Rating: PG13 (Some Coarse Language)
Released By: Encore Films
Official Website:
Opening Day: 27 September 2018
Synopsis: A murder occurs in metropolitan Tokyo―the perpetrator unknown. Assigned to the case are Mogami (Takuya Kimura), the ace prosecutor at the Public Prosecutors Office, and Okino (Kazunari Ninomiya), a newcomer in the Criminal Investigation Department. Mogami sets his sights on one man among many suspects and pursues him tenaciously. The man Matsukura (Yoshi Sakou) is also the prime suspect of another unsolved murder for which the statute of limitations has expired. Okino, who considers Mogami his mentor, tries hard in interviews to get a confession out of the suspect, but the man continues to deny involvement and maintains his innocence. Eventually, Okino begins to doubt Mogami’s direction, and wonders if he is setting up Matsukura to be the perpetrator. The two prosecutors end up in confrontation, each fronting their own brand of justice. What outcome awaits their showdown?
Movie Review:
The law is a system that regulates and ensures that individuals or a community adhere to the rules of a state. Often, the enforcement of law also carries the notion of administering justice. But ‘justice’ has its root in philosophical theories, and differs in every culture, and debatably differs between individuals. This becomes an even more sticky situation when the people involved are prosecutors, who have the authority to have their influence in the law enforcement. That forms the premise of this movie.
Killing for the Prosecution is adapted from a novel written by Shusuke Shizukui. It is highly acclaimed by local Japanese publishers, ranking within Top 10 for the best selling mystery titles in 2013 and 2014. There was much research done while writing the novel, including having interviews and learning the perspectives from the prosecution side from ex-prosecutors. Currently, the movie is also well received in Japan, bagging a record of US$20.5 million at the Japanese box offices. To date, it is the 10th highest grossing Japanese film this year.
The story revolves around a young prosecutor, Okino (Ninomiya Kazunari) who clashes with a seasoned colleague, Mogami (played by Kimura Takuya) over a murder case where the suspect, Matsukura (played by Sakou Yoshi) insists on his innocence. In their investigations, Mogami realises that the suspect is also the same prime suspect in another unresolved murder, but the statute of limitations expired. Mogami then assigns Okino to interrogate Matsukuru to get to the truth, but Mogami’s own motives begin to get in the way. Despite having more evidence which will set the investigation in another direction, Mogami seems convinced that Matsukura is guilty.
One thing that stood out the most in the film would be the performance from both Kimura and Ninomiya. Ninomiya’s natural talent in acting is obvious. In one of the most intense scenes in the interrogation room with Matsukura and Tachibana (played by Yoshitaka Yuriko), almost half the lines from the character Okino was ad-libbed by Ninomiya. The best lines that were said in that scene was actually unscripted! On the other hand, Kimura value adds in a different way. In the opening scene, he discussed with the director to speak in a loud voice without telling the rest of the cast and the result was superb - the natural reactions from the actors were captured. His role as Mogami was also not an easy one as the character carries a lot of baggage from his past and struggles with his personal beliefs on justice, marriage, etc. Yet, Kimura was able to maneuver his way in the role, expressing and showing so much depth to his character.
Overall the story was quite interesting, and gave a lot of aspects from the prosecution side and its take on justice. Like any other human beings, the people working in the line of prosecution also have their own biases and view of justice. That in itself is a ridicule towards juridical systems and laws since the conception and establishment of it is by humans, for humans. So how could we then expect and ensure it to be completely rid of ‘humanness’, and to be objectively fair? While that remains unresolved, the acting, music editing and plotting is on point for this movie.
Movie Rating:
(The extravagant lineup of cast coupled with the interesting plot keeps you at the edge of your seat and leaves you wanting more!)
Review by Tho Shu Ling
Genre: Thriller
Director: Aneesh Chaganty
Cast: John Cho, Debra Messing, Joseph Lee, Michelle La
Runtime: 1 hr 43 mins
Rating: PG13 (Brief Coarse Language and Drug References)
Released By: Sony Pictures
Official Website:
Opening Day: 27 September 2018
Synopsis: After David Kim (John Cho)’s 16-year-old daughter goes missing, a local investigation is opened and a detective is assigned to the case. But 37 hours later and without a single lead, David decides to search the one place no one has looked yet, where all secrets are kept today: his daughter’s laptop. In a hyper-modern thriller told via the technology devices we use every day to communicate, David must trace his daughter’s digital footprints before she disappears forever.
Movie Review:
If Up’s emotional opening montage left you teary eyed, the first few minutes of this movie directed by Aneesh Chaganty rivals that. Through a series of computer screens, you see photos, videos, email messages and calendar appointments. The mouse is navigated by Dad as he recollects his daughter’s early milestones. It is clear that she grew up in a loving family.
Thanks to composer Torin Borrowdale’s emotionally charged music score, you feel the family’s joy as they celebrate little triumphs. Then you become a total wreck when Mom is smacked in the face with terminal illness.
Nope, you are not reading a review of a melodramatic tearjerker. As the movie title blatantly implies, this is a thriller where a father, well, searches for his lost daughter. What you just saw during the film’s impressive opening sequence is a precursor for the plot that follows. Now a teenager, the 16 year old goes missing and it is up to the widower to uncover the truth with the help of a police detective.
If you do not already know, this whodunit is presented from the point of view of smartphones and computer screens. While this approach is not new, it is noteworthy that producer Timur Bekmambetov was also involved in Unfriended (2014) and its 2018 sequel, two other titles that told their stories almost entirely through the screen cast of a laptop.
Before you judge that this is a gimmicky way to make a film, let us assure you that it is not the case here. The highly recommended movie stands out from the crowd with its powerful and relevant messages. The film has already been recognised with a few accolades, including the Alfred Sloan Prize and
When you put a father who is hell bent on searching for his lost daughter, you can bet that emotions will run high. What’s even more poignant here is that as the 103 minute movie progresses, you realise that we are so connected to technology, there are literally no secrets on the world wide web. Just ask yourself: how many social media and online platform accounts do you possess? Gmail, YouTube, Facebook and Instagram are just the tip of the iceberg. How about online transaction sites? In case you become paranoid, let’s not get started on how you are leaving your trails with every shopping website you visit.
Back to the movie – John Cho (Star Trek Beyond) and Debra Messing (Lucky You) headline the movie and deliver excellent performances. Cho, who has been in the media limelight for being an Asian American actor playing the lead role in the first ever mainstream Hollywood thriller, is wonderful here as a proud Dad who will stop at nothing to find the whereabouts of his daughter. Messing, who is better known for TV’s Will & Grace, injects the right amount of punch and edginess to play a police detective.
There are enough twists and turns in this well paced and brilliantly executed suspense thriller without making you scorn in disbelief. Above all, it is a timely story of how humans are inexplicably intertwined with technology, an inevitable way of life which is alluring and foreboding at the same time.
Movie Rating:
(A perfect score for a perfectly executed movie that is timely and emotionally compelling)
Review by John Li
Genre: Drama
Director: Richard Eyre
Cast: Emma Thompson, Stanley Tucci, Fionn Whitehead, Ben Chaplin, Rosie Cavaliero
Runtime: 1 hr 46 mins
Rating: PG13
Released By: Shaw Organisation
Official Website: https://www.thechildrenactfilm.com/home/
Opening Day: 20 September 2018
Synopsis: As her marriage to Jack (Academy Award nominee Stanley Tucci) flounders, eminent High Court judge Fiona Maye (Academy Award winner Emma Thompson) has a life-changing decision to make at work - should she force a teenage boy, Adam (Fionn Whitehead), to have the blood transfusion that will save his life? Her unorthodox visit to his hospital bedside has a profound impact on them both, stirring strong new emotions in the boy and long-buried feelings in her.
Movie Review:
Adapted by Ian McEwan from his own novel, ‘The Children Act’ is not an easy act to follow. McEwan’s moral drama tests the limits of the titular legislation by painting a case that a hospital has filed against the parents of a leukaemia-stricken 17-year-old teenager named Adam (Fionn Whitehead from Christopher Nolan’s ‘Dunkirk’), who are refusing the doctor’s advice that he be given blood transfusion even though it may very well cost him his life. Adam as well as his parents are Jehovah’s Witnesses, whose faith teaches them that God lives in the blood, so to accept the blood of another human being would be akin to tampering with God’s holy gift and therefore ethically wrong. But Adam is months away from his 18th birthday, and under British law has no legal control over the right to refuse life, as is prefaced by the words “the child’s welfare shall be the court’s paramount consideration”.
Rather than dispense a legalistic judgment, the presiding judge Fiona Maye (Emma Thompson) decides to break with protocol and visit Adam in the hospital herself. Within those brief moments, they bond meaningfully over Yates’ folk song “Down by the Salley Gardens”, and when she returns to the courtroom, Fiona rules that the transfusion be made. From preparing to die, Adam suddenly finds himself staring at an extension of life he wasn’t ready for; not just that, the very fact that someone else’s blood is now coursing through his veins also leads him to question his very religious beliefs – that and the fact that he’s come to the conclusion his parents were in fact crying tears of joy when he was pulled back from the brink of death, which leaves him to conclude that their faith was a fraud.
Not surprisingly, Fiona will be forced to confront the consequences of her judgment on Adam’s life. So moved by their hospital encounter, Adam becomes obsessed with Fiona – calling her number, leaving her messages, tailing her on her way to the Courts in the morning, and even following her all the way from London to Newcastle when she makes a working visit there. Adam craves so desperately for the intellectual and emotional connection he felt he had with Fiona when she had visited him, but Fiona is pretty much at a loss how to respond. It is no coincidence that her marriage with Jack (Stanley Tucci), a university professor, is simultaneously faltering, exacerbated by Jack’s decision to have an affair with a colleague after months of being neglected by his workaholic wife; although let us reassure you that this is not the sort of movie where the younger boy confronts the older man as you would expect in a soap opera.
In depicting the consequences of Fiona’s legal judgment, McEwan aims to bring to the fore the tension between what we would normally define as in the best interests of an individual in society and what he or she would believe is in his or her best interests. That tension is especially distinct in the 1989 piece of legislation that requires authorities in Britain to promote the welfare of minors first and foremost, which as we learn in the scenes preceding Adam’s case itself that Fiona has spent much of her time adjudicating. Those who have read McEwan’s novel will see how such similar tensions play out in another case involving a pair of conjoined twins and the decision to separate them only briefly mentioned here which also Fiona presides over – should the state demand an operation which would save one boy but end his brother’s life, or should that be left in the hands of their Catholic parents whose wish is to leave it in God’s hands?
As nuanced as McEwan’s writing may be, it is Richard Eyre’s crisp direction that makes the proceedings so compelling. Eyre isn’t so much caught up with the law and its arguments than he is with telling the story with profound empathy, emphasising both Fiona and Adam’s complex emotional struggles as they come to terms with the gravity of the life-changing decision that she had made on his behalf. Their song serves as a recurring motif here, and one of the most poignant scenes sees Fiona try her best to hold herself together through a Christmas musical performance before finally breaking down. Eyre also wrings an excellent performance from Thompson, who is utterly mesmerising as she brings her wit and humanity to portray a character forced to confront the imperfections beneath her veneer.
Like we said at the start, ‘The Children Act’ isn’t easy or straightforward entertainment; rather, it demands both intellect and attention from its viewer, who not only needs to ponder the issues underlying the actions of the characters but also be keenly attuned in order to fully appreciate the nuances. On his part, Eyre brings tremendous subtlety to the filmmaking, eschewing any sort of sensationalism or bias towards the conflicting perspectives at play here. But those willing to invest patience and mental capacity will find a richly rewarding study of the uneasy intersections between faith and law in the moral decisions we as individuals and as a larger society are confronted with, and certainly one of the finest British dramas we’ve seen in recent memory.
Movie Rating:
(Both intellectually thought-provoking and emotionally compelling, this moral drama about the limits of law and the consequences of losing faith boasts a virtuoso lead performance by Emma Thompson)
Review by Gabriel Chong
Genre: Comedy
Director: Fei Yan, Damo Peng
Cast: Sheng Teng, Vivan Sung, Zhang Chenguang, Zhang Yiming
RunTime: 1 hr 59 mins
Rating: PG13 (Some Coarse Language)
Released By: Clover Films
Official Website:
Opening Day: 27 September 2018
Synopsis: If you were told to spend 1 billion yuan in a month as a condition of inheriting another 30 billion yuan, how would you spend it?
Movie Review:
‘Hello Mr Billionaire’ marks the third box-office hit in a row for Beijing-based theatre company Mahua FunAge, and it is not difficult to see why. Like their 2015 time-travel lark ‘Goodbye Mr Loser’ and last year’s body-swap comedy ‘Never Say Die’, this movie uses a magical-realist premise of a middle-aged loser given a second shot at success in life to critique the state of modern-day Chinese society – more specifically, writer-directors Yan Fei and Peng Damo take aim here at the notions of wealth and privilege, which have been the source of much resentment and consternation among both the well-to-do and the less well-to-do, albeit for different reasons. But you don’t need to be one of its one billion people to enjoy this social satire, for thanks to character comedian Shen Teng as the titular rich man, this is equally entertaining and just as hilarious as broad comedic farce.
So ‘Billionaire’ begins with Teng as the lousy goalkeeper Wang Duoyu for Class C football team Daxiang, who is offered a RMB200,000 bribe to let in three goals from the opposing side. What does he have to lose, says the gangster-like figure (Zhang Jingguang) at the other end of the table; after all, it’s not like it would have made a difference to the eventual outcome of the match. Tuns out that the person offering the bribe is really the custodian of the enormous wealth of RMB30 billion left behind by a filthy rich Taiwanese tycoon, who happens to be Duoyu’s long-lost second grandfather (Lin Liqun), and the earlier bribe was just the first of a number of tests that Duoyu would need to pass in order to inherit the money. His next challenge is this: to prove he is worthy of being a billionaire, he would have to demonstrate that he is able to spend RMB$1 billion within a month legally and without donating to any charity.
Such is the stuff of dreams for many younger (hypocritical) Chinese, who long to be counted amongst one of the children of the nouveau riche (or 富二代as they are commonly known), and who also therefore express bitterness towards the extravagant habits of these privileged few. How does Duoyu behave? He rents the most expensive hotel in town and makes it his home; he gives each one of the staff at the hotel start-up capital to realise their wildest dreams, while investing in outrageous inventions such as a ‘land swimming’ device; he opens a new investment company and makes his ne’er-do-good buddy Zhuang Qing (Zhang Yiming) its CEO; he spends millions to fly the world’s top investment banker into town to have lunch with him; and last but not least, he organises an elaborate fireworks show for the whole town to see. It’s downright over-the-top all right, and absurd really, but the exaggeration is certainly meant to emphasise the sheer profligacy of these second-generation wealthy types.
At least for the first hour, Duoyu is indeed too easy to hate, especially as he also uses his wealth to impress his newfound love interest Xia Zhu (Vivian Sung), including buying up advertisements in every corner of the city and organising a private Wang Lee Hom concert. But you wouldn’t have much of a movie if Duoyu were just selfish and unlikeable, so the second half forces Duoyu to confront not just the folly of his ways but also the extent to which he is willing to let his wealth define what sort of person he is. An overlong football match he pays to organise between Daxiang and the national championship team Hengtai becomes a show of endurance and perseverance by the underdogs, while an unexpected kidnapping forces him to decide whether he is willing to lose his claim on the inheritance just so he can pay the ransom to save someone he cares for.
Hint: this is a movie that needed to demonstrate the right morals in order to pass the Chinese censors in the first place. Not surprisingly therefore, before the credits roll, there is a didactic message about how safeguarding one’s humanity is more important than preserving one’s wealth. Thanks to Teng, who is capably convincing as someone who loses his way because of money and then eventually rediscovers his conscience, the moral education lesson doesn’t ring false. Oh yes, Teng is the movie’s very tour-de-force, navigating the earlier slapstick gags with aplomb and injecting real gravitas when the time comes for his character to make the choice of doing right. Teng’s charisma also carries the film through its more uneven portions, especially in the second half where the narrative gets carried away with multiple players hatching multiple schemes intended to sabotage Duoyu.
Notwithstanding, both Fei and Damo deserve credit for staging a couple of truly rib-tickling set-pieces: among the standouts are one where a traffic racketeer attempts to blackmail Duoyu and Zhuang Qing by pretending to be knocked down by their vehicle; another where Duoyu offers Xia Zhu’s self-righteous educationist boyfriend a job as a gardener at the hotel he had booked with a handsome salary and inadvertently exposes him for the hypocrite he is; and last but not least a hilarious musical sequence set to the chorus of ‘calorie, calorie, calorie’ as the Xihong city becomes seized by a healthy-living craze in response to Duoyu’s insurance business that gives his customers RMB1000 for losing 1 kg of fat. Thanks to these and many other amusing gags, their movie’s comic appeal isn’t just confined to culturally specific satire.
Like we said at the start, it’s not hard to see why this film has struck a chord with Chinese audiences, and we’re not surprised that you’ll enjoy it just as much too. After all, the very premise of suddenly striking it rich should certainly resonate with anyone who’s ever hoped of winning that million-dollar lottery prize, and the issues of societal wealth and privilege portrayed here are also manifested within our own society. The movie also confirms Shen Teng as one of the foremost comedians of this generation, so much so that we dare say we won’t be surprised if we is mentioned along the likes of Stephen Chow, Huang Bo and Wang Baoqiang. It may sound like a cliché, but we’re not afraid to say that ‘Hello Mr Billionaire’ had us at hello.
Movie Rating:
(Whether as a satire on wealth and privilege in society, or as broad comedic farce, this third feature film from the Beijing-based theatre troupe Mahua FunAge is a crowd-pleasing hoot guaranteed to please)
Review by Gabriel Chong
Genre: Martial-Arts
Director: Yuen Woo-ping
Cast: Max Zhang, Michelle Yeoh, Dave Bautista, Liu Yan, Kevin Cheng, Chrissie Chau, Naason, Patrick Tam, Adam Pak, Philip Keung
RunTime: 1 hr 48 mins
Rating: PG13 (Some Violence)
Released By: Shaw Organisation
Official Website:
Opening Day: 20 December 2018
Synopsis: After giving up Wing Chun, Cheung Tin Chi (starring Max Zhang) ran into trouble with the local triad and had his home burnt to the ground. He took shelter on Bar Street and found solace from the neighbors. But when he discovered the triad was peddling drugs on Bar Street, Tin Chi took it upon himself to intervene. When the drug lord sought revenge and killed Tin Chi's friends, he decided to take on the drug lord in a final showdown.
Movie Review:
Before we see Master Ip Man flexing his Wing Chun moves in the highly anticipated fourth instalment next year, here’s Master Cheung Tin-chi to whet your appetite in the first spin-off aptly titled Master Z: The Ip Man Legacy.
Max Zhang (The Brink, SPL 2) reprises his role from Ip Man 3, the lone assassin for hire and expert Wing Chun practitioner who lost to Ip Man in the finale match. Instead of continuing to impart his martial-arts skills to others, Cheung chooses to give up on Wing Chun and settles on a quiet life as a small grocery store owner with his young son.
Of course, there wouldn’t be much of a story or wow factor if the entire movie solely circles around Cheung Tin-chi as an ordinary grocery store owner. Before long, Cheung gets himself into trouble with a local thug, Kit (Kevin Cheng), who has earlier harassed a cabaret singer Julia (Liu Yan) and her friend Nana (Chrissie Chau).
Unfortunately, Kit is no small-time hooligan, as he is the younger brother of Sister Kwan (Michelle Yeoh making a special guest appearance), the head of the triad gang Cheung Lok. Moreover, Kit is trying to prove his worth by dabbling in heroin trafficking with his childhood friend and gang member, Ma (a returning Patrick Tam). As Cheung struggles to fend off Kit and his henchmen and a far dangerous opponent hidden in the dark, will he embrace the true spirit of Wing Chun ever again?
Son of producer Raymond Wong, Edmond, and his collaborator Chen Tai-lee return to their screenwriting duties and there is an obvious familiarity to how things proceed. Rather than trying to delve deeper into the character of Cheung, Edmond and Chen are contend in letting the entire story be hinged onto several action sequences. Thus, while Ip Man has to deal with a foreign property developer (played by Mike Tyson), Cheung has to deal with another foreigner, Davidson, this time played by Guardians of the Galaxy’s Dave Bautista as a restaurant owner who has a penchant for grilling steaks and dealing in heroin.
Before Cheung comes face-to-face Davidson in the climactic fight, there are at least three subplots stuffed in between - first, the subtle romance between Cheung and Julia together with his friendship with Julia’s brother Kam Fu (Shi Yanneng); second, Sister Kwan and her wayward brother; and lastly, the drug trafficking plot mechanism which spurred the duels between Cheung and anyone who has a part in it.
Veteran action choreographer Yuen Woo-ping, who also did the stunt design for Ip Man 3, takes on directing duties for this spin-off. While Yuen might be a respected action choreographer, he seems to lack the skillset to set up a more fluid movie, so much so that some sequences seem rushed and jarring, with even the editing looking awkwardly amateur at some junction.
Since Yuen is stuck with directing duties, the action design is mostly handled by Yuen’s brother, Yuen Shun-yee, and essentially none of the fight sequences (at least five of them) are as memorable as compared to say with the ones in Once Upon A Time In China, Fist of Fury or even the last Ip Man. The much touted fight on top of Hong Kong’s vibrant billboards sees Cheung attempting some ridiculous Spider-man moves. It’s probably wire-fu at its worst as all the lightning moves and high jumps look incredibly out-of-place for a grounded martial-arts movie.
It only gets better and thrilling later on when we see Cheung sparring with Sister Kwan in a brief session which sees Michelle Yeoh returning to form after a long while. Dave Bautista on the other hand fares better than Mike Tyson, as the finale fight between Davidson and Cheung is tailored nicely to fit with Bautista’s size and fighting style. As for Tony Jaa, who is also credited as a guest appearance, plays a mysterious hitman that worked for a crime boss played by Yuen Wah. Obviously, his character is almost redundant and only serves to spar with Cheung for no reason other than to make your admission ticket worthwhile.
The good looking, TVB actor Kevin Cheng plays against type right here but still makes a convincing performance as the spoilt, woman-abusing thug. Longtime HK actress Chrissie Chau is relegated to yet another thankless role that requires her to strip to her undies and gets beaten up badly, while mainland actress Liu Yan gets the chance to showcase a few nasty moves.
Without the star power of Donnie Yen, Master Z: The Ip Man Legacy is still a serviceable martial-arts flick though hardcore action fans might be disappointed especially with the flashy, impressive moves choreographed by Sammo Hung in the first two Ip Man instalments. Likewise, the story is like a retelling of the last Ip Man, and Max Zhang’s one note portrayal of Cheung Tin-chi doesn’t help much to advance his on-screen character.
Movie Rating:
(Master Z: The Ip Man Legacy is not going to go down in cinematic history as a memorable martial-arts flick; however it has enough non-stop action to keep fans mostly happy)
Review by Linus Tee
Genre: Crime/Horror/Thriller
Director: Clive Tonge
Cast: Olga Kurylenko, Javier Botet, Mitch Eakins, Craig Conway
RunTime: 1 hr 39 mins
Rating: PG13
Released By: Shaw Organisation
Official Website:
Opening Day: 27 September 2018
Synopsis: Criminal psychologist Kate Fuller (Olga Kurylenko) is assigned to the murder of a man who has seemingly been strangled in his sleep by his wife and the only witness is their eight-year-old daughter, Sophie. As Kate digs into the mystery of an ancient demon which kills people in their sleep, she experiences the same petrifying symptoms as all previous victims and spirals through a chilling nightmare to save herself and Sophie before she dares fall asleep again.
Movie Review:
About 40% of the world’s population suffer from sleep paralysis; and two-thirds of that number describe being attacked by a demonic entity. So claims the latest horror to exploit that disorder, which as you’ve probably guessed, revolves around a titular demon who preys on these sufferers and leaves them dead in contorted agony.
Called in by the police to consult on one such incident is forensic psychologist Kate Fuller (Olga Kurylenko), who at first sees no reason why she should believe the distraught housewife Helena (Rosie Fellner) that a ‘sleep demon’ had murdered her husband in bed, not even when their young daughter Sophie (Mackenzie Imsand) whispers the name of the demon in response to Kate’s questioning.
Kate has Helena committed to a mental institution, whereby not long after the latter is found dead in her room under similar circumstances. Coincidentally, Kate starts experiencing early symptoms of the same condition, i.e. waking up in the middle of the night, conscious but paralysed, as a spindly shadow creeps towards her in her immediate surroundings.
So Kate starts digging deeper, discovering a support group for sleep paralysis sufferers that Helena’s husband had joined not long before his death. It is there she becomes acquainted with a severely disturbed ex-soldier Dougie (Craig Conway), who literally shrieks at her about Mara and how its victims will know if they are marked by checking if they have a blood blotch below their eyeball. Spoiler alert – Kate realises that she has also been marked.
Thus begins a race against time in the last act of the film as Kate tries desperately to save Dougie, Sophie and herself by finding out just what binds them to the demon’s deadly embrace. That link, when it is eventually revealed, isn’t quite that convincing, and bears some similarity to the sort of chain effect that bound Sadako’s victims in ‘The Ring’. Still, first-time feature director Clive Tonge and his co-writer Jonathan Frank concoct a clever enough finish to just about make you forget about the obvious logic gaps in their high-concept narrative.
Just as significantly, Tonge dials up the tempo towards the act, staging sequence after sequence of spine-chilling horror as Mara closes in on each one of those marked, including as we’ve mentioned Kate herself. Though he still relies heavily on jump-scares, Tonge does succeed in building a genuinely unsettling atmosphere of dread in each one of these sequences, especially in emphasising the moments where our victims are clearly aware but utterly helpless in repelling the spindly demon making its way slowly and surely towards them.
Certainly, ‘Mara’ would have benefited from a stronger build-up, which as it stands, doesn’t seem how best to string together its parts: a distraught Helena, an equally upset Rosie, the support group that seems to afflict more than assist its members, a mysterious Japanese person named Takanashi who could be the missing link to the entire puzzle, a hysterical Dougie and last but not least an increasingly paranoid Kate. To Tonge’s credit, his movie does eventually find its feet, not least in bringing its title character (played by Javier Botet) to vivid life when the time comes to finally reveal it in its full glory.
For fans of Ukrainian-born actress and model Kurylenko, ‘Mara’ is a change of pace from the usual femme fatale roles she’s often cast in (look no further than ‘Johnny English Strikes Again’), and she does a convincing enough job carrying the lead role of a sceptic who is confronted with the truth of what she did not previously believe in. Besides Kurylenko, the only other memorable supporting character is Conway’s full-tilt crazy act as Dougie, so it does say something about the strength of her performance seeing as how she carries most of the movie.
‘Mara’ is no classic that’s for sure, but those looking for a horror fix could probably do much worse than this generic horror with a couple of competent set-pieces to get your pulse racing. We’d admit that it’s a bit of a stretch to say that it will make you lose sleep, though having said that, it really is a lot better than some of the other reviews have made it out to be. Let’s just say that if you’ve ever experienced some form of sleep paralysis, you’ll probably find yourself sufficiently spooked.
Movie Rating:
(It's no horror classic, but 'Mara' packs enough genuinely unsettling atmosphere and a couple of spine-chilling set-pieces to satisfy those looking for a no-frills horror fix)
Review by Gabriel Chong
Genre: Sci-Fi
Director: Stanley Kubrick
Cast: William Sylvester, Keir Dullea, Gary Lockwood
RunTime: 2 hrs 44 mins
Rating: PG
Released By: Warner Bros
Official Website:
Opening Day: 27 September 2018 - 3 October 2018
Synopsis: 2001: A Space Odyssey is Stanley Kubrick’s dazzling Academy Award© winning compelling science fiction drama of man vs. machine. A stunning meld of music & motion based on Clarke’s short story The Sentinel. At the dawn of Mankind, a tribe of ape-like beings are visited on Earth by a large black monolith. Thousands of years later, in the year 2001, scientist Dr Heywood Floyd (William Sylvester) discovers a similar black monolith on the moon, which then emits a signal aimed at the planet Jupiter. A year later, astronauts David Bowman (Keir Dullea) and Frank Poole (Gary Lockwood) are en route to Jupiter to investigate the signal's destination and purpose. However, their mission comes under threat when the ship computer, HAL (voiced by Douglas Rain), seemingly develops a malfunction.
Movie Review:
Without this classic that was released 50 years ago, academics wouldn’t be going gaga over philosophical science fiction films like Christopher Nolan’s Interstellar (2014) and Denis Villeneuve’s Arrival (2016). Filmmakers also had the courage to venture into independent productions dealing with similar genres. Examples include Johnathan Glazer’s Under the Skin (2013) and Alex Garland’s Ex Machina (2015).
Also thanks to this landmark epic, the film industry had a market for commercial and big budget franchises like Star Wars, Star Trek and Alien. While bringing viewers into a wondrous (sometimes terrifying) universe beyond our imagination, studios pumped in big bucks which allowed for more sophisticated special effects and digital imageries. How else would you explain the decision to continue producing sequels (hello, Star Trek Beyond), prequels (ahem, Alien: Covenant) and spin offs (that’s you, Solo: A Star Wars Story)?
In conjunction with the 50th anniversary of Stanley Kubrick’s masterpiece’s release, the restored film is back in the theatres for one week – in
The film starts off in the wild where apes discover a foreign object in their midst, and soon learn how to use hand tools. The setting? Millions of years ago. Fast forward to present day, we see a group of scientists finding the object on lunar soil. It then leads to a manned mission to Jupiter. Together with three astronauts put in hibernation (wrong move, dudes), the two human protagonists travel with a ship computer. As events begin unfolding, they find themselves in a precarious situation.
Sounds like a space adventure that will interest sci fi geeks? Yes, that and much more. If you are familiar with film history, or have taken film studies back in school, you would know how the groundbreaking film influenced pop culture and had a big impact on how movies are made today. You may have seen (or tried seeing) the film a few times, but this is a perfect chance to see it on a huge, huge screen. The opening scenes set in the grand wilderness make you feel like you’re watching a documentary. The sequences in space feel graceful yet foreboding. The
Watch out for a sequence where a space pod travels through a cosmo tunnel draped with strange landscapes of unusual colours. Following that bizarre scene comes finale is one that you will never forget
This release also gives those who haven’t seen (or heard about) the film an opportunity to find out what the fuss is about. And you will realise it is indeed a classic worth embracing. How was it possible that Kubrick could have co-written, produced and directed this in the 1960s? It is a piece of work that is ahead of its time and it makes you wonder whether anything you see in the theatres today will be remembered this way.
The film may be almost three hours long, but this version comes with an intermission for viewers to stretch their legs or visit the washroom. You wouldn’t feel tired despite the long runtime. Instead, the familiar classical tunes of Richard Strauss’s “Also Sprach Zarathustra” and Johann Strauss II’s “The Blue Danube” will be ringing in your head. That, and the existential question of our true purpose in this universe.
So thank you, Mr Kubrick.
Movie Rating:
(Not only is Stanley Kubrick's film ahead of its time, it is a classic that is truly deserving of an IMAX release)
Review by John Li
SYNOPSIS: Tully tells the story of Marlo (Academy Award winner Charlize Theron, 2003, Best Actress, Monster), a mother of three who is gifted a night nanny by her brother (Mark Duplass). Hesitant to the extravagance at first, she forms a unique bond with the thoughtful, unpredictable, young nanny, Tully (Mackenzie Davis).
MOVIE REVIEW:
Being a mother means that first and foremost, you need to give up on your free time and likely sacrifice whatever it takes to raise your kid or kids. Tully is a movie made for mothers, hopefully appreciate and love by mothers.
Charlize Theron plays Marlo, an exhausted mother to son Jonah who has borderline autism, an older daughter and is currently heavily pregnant with her third child. While initially rejecting her wealthy brother’s offer to engage a night nanny, Marlo has no choice but to contact Tully (Mackenzie Davis) for help when she nearly suffered a nervous breakdown. Tully proves to be a great help to Marlo and their friendship blossomed over the days until one night, Tully suddenly tells Marlo that she is no longer able to work for her.
There’s not much of a story or happening in this movie scripted by Diablo Cody who is likely inspired by her own life as a mother to three. It’s a movie that purely explores life as an overworked mother. What holds Tully together is the superb performance of Theron who has no qualms putting on forty pounds to portray a character who is suffering a mid-life crisis.
Although touted as a comedy, there’s nothing funny about postpartum and mental health issues which are briefly touched on but never goes to full length to explore into. Cody’s writings are never predictable and Tully ends with a twist that will have you either calling it witty or pretentious.
Still, the third collaboration between Cody and director Jason Reitman is a sad reflection of reality. It marks the maturity of both filmmakers and while never surpassing Juno, it’s definitely a better effort than the misguided Young Adults. Again, Tully is not a movie made for the masses, it’s a thankless tribute to all mothers.
SPECIAL FEATURES:
The Relationships of Tully touches on the writing and performances in this 10 minutes feature.
AUDIO/VISUAL:
The visual of the DVD is generally fine without any significant flaws and the 5.1 audio track is serviceable in terms of dialogue although it can get slightly louder for example a scene that took place in a bar and a few bizarre dream sequences.
MOVIE RATING:
DVD RATING :
Review by Linus Tee
Genre: Drama
Director: David Gordon Green
Cast: Jamie Lee Curtis, Judy Greer, Andi Matichak, Will Patton, Virginia Gardner, Nick Castle
RunTime: 1 hr 46 mins
Rating: M18 (Violence)
Released By: UIP
Official Website:
Opening Day: 25 October 2018
Synopsis: Jamie Lee Curtis returns to her iconic role as Laurie Strode, who comes to her final confrontation with Michael Myers, the masked figure who has haunted her since she narrowly escaped his killing spree on Halloween night four decades ago.
Movie Review:
Who would have thought? The folks responsible for naming this movie got away with one simple word: Halloween. There is no need to lose sleep over coming up with sequel titles like “Season of the Witch”, “The Return of Michael Myers”, “The Revenge of Michael Myers”, “The Curse of Michael Myers” (we sense that someone is getting tired of creating new titles) and in a somewhat creative spin – “H20: 20 Years Later”.
The straightforward title in the latest entry of the American horror franchise reflects the nature of the 105 minute movie. Finally, gone are the gimmicks (cheers to not using ‘lost footage’ to make a film) and what’s in place are good, ol’ scares that fondly remind us why slasher flicks were the rage during the 1980s.
If you don’t already know, Michael Myers is a serial killer who was locked up in a sanitarium as a child after a committing a cold blooded murder which resulted in the death of his sister. He manages to escape and unleashes hell upon a fictional town in Illinois. People get killed in gruesome ways on the holiday of Halloween, and things don’t look pretty.
This is a direct sequel to the original 1978 movie directed by John Carpenter. Set 40 years after the first movie, fans of the series will be glad to know that Laurie Strode (wonderfully played by Jamie Lee Curtis, whom many regard as the best scream queen in cinema history) is back and she is ready for the final face off with the masked antagonist. Joining her are supporting actors like Judy Greer (Lauries’ daughter), Andi Matichak (Laurie’s granddaughter) and Will Patton (a righteous sheriff’s deputy who hasn’t seen the wrath of Michael Myers).
There is also the slew of innocent victims who will go under Michael Myers’ knife. And yup, there will be blood.
A huge reason why this movie works is because the filmmakers made the decision to disregard all continuity of previous sequels. Without the burden of the past (10 productions have been released from 1981 to 2009, proving the success of the franchise), this is a clean slate for a franchise which many thought have retired. Nine years after the last time Michael Myers appeared on the big screen, you can bet he will be back with a vengeance.
The story written by Green, Jeff Fradley and Danny McBride stays rooted in a good way. Fans of the genre will be gleefully anticipating the slashing scenes, while those who believe in proper screenwriting will be impressed by the clever and uncontrived plot development. In a market which often uses cheap scares to make viewers jump, this movie relies on the menace of the baddie (and his signature breathing sounds recorded by Nick Castle, who played the original Michael Myers) to make you squirm in your seat.
Curtis is on form as the female protagonist who uses her feminine power to come face to face for a final confrontation with Michael Myers. The 59 year old actress delivers a splendid performance, proving that old is gold and paying tribute to her film debut in the original Halloween movie.
There is much to like about this movie, whether or not you are a fan of the genre. It is a reminder that the franchise is far from dying. While we are pretty sure that Michael Myers will return, we can only hope that it will be a glorious comeback like this one.
Movie Rating:
(No gimmicks and cheap tricks here, just good ol’ scares that remind you why Michael Myers is one of the most feared serial killers of all time)
Review by John Li
Genre: Horror/Thriller
Director: Gregory Plotkin
Cast: Amy Forsyth, Reign Edwards, Bex Taylor-Klaus, Christian James, Tony Todd
RunTime: 1 hr 29 mins
Rating: NC16 (Some Violence and Coarse Language)
Released By: Golden Village Pictures
Official Website: https://www.hellfestmovie.com/#trailer
Opening Day: 27 September 2018
Synopsis: A masked serial killer turns a horror themed amusement park into his own personal playground, terrorizing a group of friends while the rest of the patrons believe that it is all part of the show.
Movie Review:
The film gets one thing right - the sets. Otherwise, Hell Fest is really Halloween(including a very Michael Myers killer) without the gumption, impact or style.
Horror films are not known for character development. But Hell Fest tests the boundaries of how much they can take with a crew of horror-film cliches. There’s the central nice couple Natalie (Amy Forsyth) and Gavin (Roby Attal), their supportive sidekicks Brooke (Reign Edwards) and Quinn (Christian James), and classic douchey pair Taylor (Bex Taylor-Klaus) and Asher (Matt Mercurio). If these guys are cardboard characters, they are on their way to the recycling centre.
While Natalie and Gavin’s aw-shucks romance is grating and unbelievable, it is really Taylor and Asher that takes the cheesy taunts and performance to this film’s flatline. Wiggly fingers and all. Are we watching Goosebumps here? And the corny lines are the real shocker here. “Are you ready to go to hell?” Really? I can imagine director Gregory Plotkin to possible dig himself a story that this is a tribute or nod to classics, but his lack of skills is showing up clearly here.
The premise itself is not the most original, but a slasher taking place in a Halloween horror carnival can still be a treat. In this case, a mysterious man who trudges about in heavy boots turns the fairground into hunting ground, and takes down teens amidst the fake bloody revelry going on. And of course, this year, he takes interest in our six.
But Plotkin is a one-trick pony, and his scares all come from the haunted attractions themselves, more so than the killer himself. Again, with a creepy mask, heavy trod and seemingly large frame, he recalls Myers as a distant inspiration with his sudden appearances and silent fixation. He is almost never intimidating, and his kills land sharply in the B-grade scale in terms of effect and erm, execution. Sorry.
And even past all of these boring folks running about the film, there’s still the problem of the scenarios themselves. As one of the most sought-after themed events, the characters tend to wander around in the attractions almost exclusively to themselves. This makes room for more scriptwriting flexibility, but at the price of believability. Yes, the characters now have more reason to interact with the sets and can’t ask for help readily, but the possible tension is lost when the world drops away once they step through the doors of a haunted house.
Not to mention, there’s a last bit which aims to weave a little extra confusion with other employees wearing similar masks and dressed in the same way (boots and all), but again, the convenience of this trope plus how the actors seemingly can identify the actual killer (without looking at his “telltale” difference) makes Hell Fest dead-on-arrival.
There seems to be a hint of a sequel from the ending, but I hope this lazy film never revives.
Movie Rating:
(A potentially fun slasher romp never musters enough scares, gore or tension to land an impact. Luckily we will always have Michael)
Review by Morgan Awyong
| « Prev | 361 | 362 | 363 | 364 | 365 | 366 | 367 | 368 | 369 | 370 | 371 | Next » |
Most Viewed
No content.