Genre: Crime/Drama
Director: David Lowery
Cast: Robert Redford, Casey Affleck, Danny Glover, Tika Sumpter, Tom Waits, Sissy Spacek
Runtime: 1 hr 34 mins
Rating: PG13 (Brief Coarse Language)
Released By: Shaw Organisation
Official Website: 

Opening Day: 17 January 2019

Synopsis: THE OLD MAN AND THE GUN is based on the true story of Forrest Tucker (Academy Award winner Robert Redford), from his audacious escape from San Quentin at the age of 70 to an unprecedented string of heists that confounded authorities and enchanted the public. Wrapped up in the pursuit are detective John Hunt (Academy Award winner Casey Affleck), who becomes captivated with Forrest’s commitment to his craft, and a woman (Academy Award winner Sissy Spacek), who loves him in spite of his chosen profession.

Movie Review:

It is interesting to see this biographical film written and directed by David Lowery alongside Clint Eastwood’s The Mule. The two films are released one week apart here in Singapore. Cinematic legend Eastwood, at a grand old age of 88, plays an elderly outlaw who transports cocaine for a drug cartel in his film. In Lowery’s latest work, the protagonist is a career criminal and prison escape artist. The role is portrayed by Robert Redford, another notable Hollywood marvel who is 82 years old.

These are two of cinema’s manliest figures, so all you young punks may want to stand aside while the granddaddies who us what they’ve got.

Based on David Grann's article of the same name in The New Yorker, this film shows us how Forrest Tucker, a man who manages to pull off a series of bank robberies. Instead of being a menace to the public, he becomes a charming figure instead, and almost enjoys the status of a celebrity. What’s more amusing about the criminal is how he has made one audacious escape after another from different prisons.

Oh wait, did we mention that he is someone old enough to be a great grandfather?

After commanding the screen in an almost solo act in All is Lost (2013), Redfordhas impressed us with his screen presence again. He plays the character effortlessly, pulling off a charm that reminds older viewers of earlier performances in movies like Butch Cassidy and the Sundance Kid (1969), Out of Africa (1985) and Up Close & Personal (1996). The charisma is undeniable, and you would be rooting for the criminal if he was as suave as the award winning actor, director and producer.

No wonder Tucker has become the source of fascination for a rookie detective (Manchester by the Seas’s Casey Affleck, who sports a moustache and tones down his dramatic flair to let Redford shine) and also an old lady (The Help’s Sissy Spacek, in a role that triumphs many other overrated performances in recent memory). These supporting actors complement Redford perfectly, and are deserving of praise as well. Other familiar faces in the movie include Danny Glover (Monster Trucks) and Tom Waits (Seven Psychopaths).

Lowery, who has worked with Redford in Pete’s Dragon (2016), has delivered a gentle and affecting film. From the lovely soundtrack score by David Hart to the playful title cards that appear throughout the movie, there is always something refreshing to look out for. Impatient viewers may complain about the slow pace, but this compact 93 minute film plays out like a glass of classy wine. Its unhurried pace is befitting to the gentle approach of the production, and the chemistry between the actors suggest that the cast and crew had an enjoyable time putting this together.

The film will also be known to feature Redford's final screen appearance as the actor announced his intent to retire from acting last year. In a day and age where elaborately choreographed action sequences, complex special effects and showy acting seem to be the norm, it is nice to take time to appreciate a deeply humane film like this.

Thank you, Mr Redford, for your contribution to showbiz.

Movie Rating:

(A gentle and humane film that reminds us why Robert Redford is a true movie star)

Review by John Li

Genre: Horror/Thriller
Director: Christopher Landon
Cast: Jessica Rothe, Israel Broussard, Ruby Modine, Suraj Sharma, Rachel Matthews, Steve Zissis, Charles Aitken
RunTime: 1 hr 40 mins
Rating: PG13 (Some Violence and Coarse Language)
Released By: UIP
Official Website: 

Opening Day: 21 February 2019

Synopsis: Jessica Rotheleads the returning cast of Happy Death Day 2U, the follow-up to Blumhouse’s (Split, Get Out, The Purgeseries) surprise 2017 smash hit of riveting, repeating twists and comic turns. This time, our hero Tree (Rothe) discovers that dying over and over was surprisingly easier than the dangers that lie ahead.

Movie Review:

‘Happy Death Day 2u’ was never going to be as fresh as its predecessor, but kudos to returning director Christopher Langdon for trying. After all, it would have been too convenient for Langdon – who takes over writing duties here – to simply find another protagonist to experience the time-loop which our original birthday-girl heroine Tree (Jessica Rothe) was forced to relive over and over again; that is, until she figured out who was behind her murder on that same day. So besides reintroducing the time-loop, Langdon also offers up an intriguing science-fiction twist in the form of multi-verses, i.e. alternate realities where the basic circumstances of each day are no longer the same, including in one dimension where Tree’s beloved mom is still alive.

At first, it may have seemed as if the sequel were content to pass the baton to Tree’s boyfriend’s tech-geek roommate Ryan (Phi Vu), given how it is Ryan who is now stuck in a loop of his own and repeatedly dying like Tree in the first film. Yet that quickly proves to be a red herring, and the (thankfully) brief shift in focus merely to explain how the time-loop was the result of Ryan’s student experiment in the quantum mechanics lab. That machine named ‘Sissy’ (for Sisyphus Quantum Cooling Reactor) proves not only capable of fracturing time but also space, and in attempting to stop his own death, Ryan unwittingly opens up a portal to another dimension where Tree undergoes the same time-loop under dramatically different conditions.

Frankly, you’ll need to be familiar with some of the details of the original to fully appreciate the significance of some of these changes. For one, Tree’s boyfriend Carter (Israel Broussard) is dating the sorority mean girl Danielle (Rachel Matthews). For another, Tree’s roommate Lori (Ruby Modine) is the one having the affair with the creepy-sexy Dr. Gregory Butler (Charles Aitken), instead of Tree herself. But perhaps most meaningfully, Tree’s mom (Missy Yager) is very much alive in this dimension, which as you can imagine, forces her at some point to make the emotionally nerve-wracking choice whether to return to the dimension where she came from or stay in the one that she wasn’t originally supposed to belong.

Potentially resonant as that may sound, Langdon’s writing itself however fails to fully deliver the emotional punch which that subplot could have packed. His narrative finds itself distracted along several multiple unfolding threads at the same time, including that where Tree has to uncover the new identity of her babyface masked killer, that where Tree has to stop the unfortunate murder of her roommate Lori, and that where Ryan and his two other lab geeks are desperately trying to get their time machine up and running to send Tree back to her original dimension while dodging the attempts of a disapproving dean (Steve Zissis) to stop them. It is pretty busy all right, and unfortunately when compared to the simplicity (and we dare say, rigour) of the previous film, this sequel simply pales in comparison.

As should be apparent, the plotting hardly matches the conceptual ingenuity of crossing the slasher variation of ‘Groundhog Day’ with some ‘Back to the Future 2’ convolutions (which at least the movie bothers to name-check). Both the tongue-in-cheek and thrilling pleasures that the original offered are buried amidst a whole lot of literally loopy complications, resulting not just in a film that is a whole lot messier but also unable to decide tonally just where it wants to land. Oh yes, it’s one thing to be genre-bending, and quite another to struggle to find the right balance between horror, mystery, thriller, drama, sci-fi and romance, but the latter territory is sadly where Langdon finds himself here.

What holds the film together is unsurprisingly the sheer magnetism of Rothe, who as the film’s centre, is ceaselessly appealing with a sharp mix of dry wit and screwball humour. Nowhere is Rothe’s perfect comic timing more evident than in a breathless montage which sees her creatively killing herself at the end of each day, whether is it drowning herself in industrial detergent or jumping off a skydiving trip in a bikini just to splatter her guts all over Danielle. There is some newfound humour to be had in Ryan’s science nerds, comprising the guilty porn downloader Shamar (Suraj Sharma) and the straight-talking Dre (Sarah Yarkin), but Rothe holds the whole movie together with her energy, verve and charisma.

So yes, it is certainly laudable that the sequel doesn’t simply try to repeat the same formula as its predecessor, but neither does its ambition disguise the fact that it is ultimately a far less enjoyable and entertaining film. In fact, we dare say it loses momentum halfway into the movie, and is almost running on fumes by the time the climax arrives, given how there is almost zero horror or suspense at that point. The laughs are also a whole lot less subversive, almost as if they were deliberately dumbed down in order to admit a PG13 crowd. When the inevitable sequel (as a post-credit sequence informs us) comes along, we hope Langdon simply sticks to the original’s promise of being a horror-comedy first and foremost, and lose all the unnecessary contortions that we’re quite happy to see dead and gone forever.

Movie Rating:

(Not nearly as inventive as its predecessor, this bigger-but-not-better sequel loses the clever horror-comedy pleasures of the original while spinning its own multiverse complexities)

Review by Gabriel Chong

Genre: Romance/Drama
Director: Russo-Young
Cast: Yara Shahidi, Charles Melton, Jake Choi, Gbenga Akinnagbe, Kay Day, Faith Logan
RunTime: 1 hr 34 mins
Rating: PG
Released By: Warner Bros
Official Website:

Opening Day: 16 May 2019

Synopsis: College-bound romantic Daniel Bae and Jamaica-born pragmatist Natasha Kingsley meet—and fall for each other—over one magical day amidst the fervor and flurry of New York City. Sparks immediately fly between these two strangers, who might never have met had fate not given them a little push. But will fate be enough to take these teens from star-crossed to lucky in love? With just hours left on the clock in what looks to be her last day in the U.S., Natasha is fighting against her family’s deportation as fiercely as she’s fighting her budding feelings for Daniel, who is working just as hard to convince her they are destined to be together.

Movie Review:

Among the many things that it tries to be, ‘The Sun Is Also A Star’ is probably to us a love letter to the city of New York most of all. Oh yes, there was a time when New York was the perfect setting for many a Hollywood romance, though that appeal has faded somewhat in recent years. Thanks to cinematographer Autumn Durald, the city looks just as charming and mesmerising as we like to imagine it to be. Both by day and by night, and through neighbourhoods such as Harlem, Chinatown and Greenwich Village, Durald’s bird’s-eye views of Manhattan convey the hugeness and intimacy of the city that no other film in recent memory has.

Yet we hardly think that was the primary intent of the big-screen adaptation of Nicola Yoon’s bestselling YA novel, which at its core, is a love story of two people who are destined to be with each other. On one hand, the 17-year-old Jamaican-born Natasha (Yara Shahidi of ‘Grown-ish’), who now lives with her undocumented immigrant family in Brooklyn, is fascinated with the stars because they are the basis of astronomer Carl Sagan’s scientific method; on the other, the first-generation Korean American Daniel Bae (Charles Melton of ‘Riverdale’) views that the stars hold the answers to our fate, and it is no surprise that his ambition is to be a poet. Over the course of a single day, these two characters will meet, banter, and fall in love with each other, with the only real question being whether they will stay together by the time the day is over.

It’s a premise some may say resembles that of Richard Linklater’s ‘Before Sunrise’ trilogy, and sure enough, there are unmistakable echoes of that here; yet both director Ry-Russo Young and screenwriter Tracy Oliver conjure up some meet-cute moments that will surely leave you smiling – including one where Daniel serenades Natasha in a karaoke room within Koreatown with a cover of ‘Crimson and Clover’, another where Daniel and Natasha explore the Hayden Planetarium at the Museum of Natural History, and yet another where they take the tram which crosses the East River between Manhattan and Roosevelt Island. Of course, Durald’s photography makes it all look oh-so-pretty, but there is an easy chemistry between Shahidi and Melton which is undeniably winsome.

On their own too, both stars have plenty of charisma to boot, which makes the contrivance go down much easier. Indeed, despite the sincerity with which the proceedings are staged, more cynical-minded viewers will no doubt roll their eyes at how Daniel first meets Natasha by pulling her out of the way of a speeding BMW in Chinatown, or how he is given to saying things like ‘don’t forget to open your heart to destiny’ with an absolutely straight face, or how he asks her to give him a day to prove that they are in love. Even though it is perfectly in the nature of his character, it’s hard to ignore the corny YA tropes, so it is all the more gratifying that they are delivered by two appealing stars with plenty of pizazz.

In fact, what turns out more interesting narrative-wise than how they fall in love is Natasha and Daniel’s respective tussles with their immediate families. Whereas Natasha is frustrated that her parents aren’t fighting harder to stop their imminent (read: tomorrow) deportation, Daniel has to decide on the eve of his college interview with a Dartmouth alum whether to honour his parents’ wishes for him to become a doctor or follow his own heart of pursuing his (literally) poetic ambitions. It isn’t by coincidence that both of them are the children of immigrants, and it is to the filmmakers’ credit that the political subtext is handled with nuance and sensitivity, such that our sympathy for their plight is earned and not forced.

Deserving of special mention are the occasional montages meant to highlight the cultural dynamics, such as one which explains how Korean immigrants came to develop a semi-monopoly on ‘black hair care’ in the Harlem neighbourhood, and another which tells of how Natasha’s parents met and got married in Jamaica before moving to New York to find a better life for their children. These are but a number of the visually arresting ‘chapter breaks’ interspersed over the course of the film that, while jarring, bring a welcome burst of verve and change of pace.

So, while this was intended first and foremost as a YA romance, ‘The Sun Is Also A Star’ manages to overcome the trappings of its genre by smart casting, sharp direction and most significantly, a great sense of place. Like we said at the start, we’ve not seen New York captured as lively, beautiful and fascinating as we have here in quite a while, and we suspect that is also because Russo-Young is herself a New York native. You don’t have to be a teenager or a romantic at heart to appreciate this YA adaptation; by being a both topical immigrant drama and a New York love letter in addition to a standard romance, you’ll likely fall for it one way or another.

Movie Rating:

(A beautiful love letter to New York City, this teenage romance boasts smart casting, sharp direction and a great sense of place to overcome its YA trappings)

Review by Gabriel Chong

Genre: Drama
Director: Mimi Leder
Cast: Felicity Jones, Armie Hammer, Justin Theroux, Kathy Bates, Sam Waterston, Stephen Root, Jack Reynor, Cailee Spaeny
Runtime: 2 hrs
Rating: PG13 (Brief Coarse Language)
Released By: Encore Films
Official Website: http://www.focusfeatures.com/on-the-basis-of-sex

Opening Day: 10 January 2019

Synopsis: On the Basis of Sex is inspired by the true story of a young Ruth Bader Ginsburg - then a struggling attorney and new mother - who faces adversity and numerous obstacles in her fight for equal rights throughout her career. When Ruth takes on a ground-breaking tax case with her husband, attorney Martin Ginsburg, she knows it could change the direction of her career and the way the courts view gender discrimination. The film also chronicles the storybook-like romance between Ruth and Marty, a partnership that succeeded both personally and professionally.

Movie Review:

You aren't the only one who first thought that this is a movie about, ahem, sex. Shame on this reviewer, who was initially looking forward to Felicity Jones and Armie Hammer jazzing things up with their on screen chemistry. Shame on this reviewer as well, for feeling a little disappointed when he found out that the movie is only rated PG13 for brief coarse language.

The more well read viewers would know that this biographical drama film is based on the life and early cases of Ruth Bader Ginsburg, an Associate Justice of the Supreme Court of the United States. Known affectionately as RBG, the 85 year old was adored by liberals during the 1980s because of her passion for standing up for disadvantaged groups.

This movie chronicles her early days and takes a look at how the righteous figure came to be. So nope, this isn't a movie about sex.

We see how Ginsburg enters the male dominated Harvard Law School and how she tries her best to find her place in an environment where women are deemed inferior. We also get a glimpse into her family life: she has to raise a young child and take care of a sick husband. Amidst all these, she is a champion for gender equality and believes that more can be done for both sexes to seize opportunities.

This 120 minute movie shows a surprisingly soft side of Ginsburg, considering how she has been portrayed in pop culture (go search for the countless memes online). Jones (who reminds us of her heroic role as Jyn Erso in Rogue One) does a fine job showcasing the different sides of the character she plays. One moment she is a frustrated law student having to face chauvinistic men, the other moment she is a loving wife to a ridiculously good looking husband (Hammer effortlessly channeling his coolness from past works like Call Me By Your Name and The Man From U.N.C.L.E.). Of course, there is also the eureka moment when Jones realises how she can intelligently tackle the system by bringing up a case where a man was unfairly discriminated against on the basis of sex. Jones, whose performance we loved in The Theory of Everything, shines in this inspiring role.

Elsewhere, Justin Theroux (The Spy Who Dumped Me) and Kathy Bates (Boychoir) play supporting characters. Their limited screen time does not stop the two talented actors to shine in their own right.

Director Mimi Leder brings viewers on an emotional journey and paints Ginsburg as a relatable human being instead of a vocal individual who wants the world to hear her voice. As such, the movie never dramatises anything more than it should, and impatient viewers may wish for a more hastened pacing. But if you are in the mood to appreciate a drama with good intentions, this is the movie to find out how the well known RBG came to be. If you are looking for something more vivacious, you may want to hunt down the documentary RBG (how aptly titled) directed by Betsy West and Julie Cohen. 

(Paved with good intentions, this drama showcases fine performances and relatable characters)

Review by John Li

SYNOPSIS: Johnny Knoxville (star of Jackass) is D.C., proud proprietor of Action Point, an out-of-control amusement park where the rides are designed with minimum safety for maximum fun. When a slimy developer schemes to shut down the park, D.C. and his crew of misfits must pull out all the stops to save Action Point. Packed with jaw-dropping gags and bone-crushing stunts, get ready to laugh ’til it hurts!

MOVIE REVIEW:

Action Point harks back to Johnny Knoxville’s glory days in MTV’s Jackass but with the passing of time, the novelty of watching Knoxville getting himself badly injured or nearly killed just isn’t that funny anymore.

Instead of being a reality comedy liked Bad Grandpa or Jackass the Movie, Action Point does contain a decent story far more than Knoxville can handle. Knoxville plays DC, the owner of a dilapidated amusement park called “Action Point”. Run by a group of inexperienced, runaway teenagers, “Action Point” is a place with shady, dangerous facilities. When a far superior competitor named 7 Parks begins to steal their customers away and the landlord pressuring DC to sell away the land, DC must find a way to keep business going or face foreclosure. 

At the same time, DC’s estranged teenage daughter, Boogie (Eleanor Worthington Cox) comes to visit from New York. But DC is too busy planning to keep his business going that he neglects the feelings and presence of Boogie. 

On the surface, Action Point sounds liked a good opportunity to showcase Knoxville’s crazy painful stunts liked jumping off a tree to avoid a bear, catapulting himself to a barn, crashing himself to the ground and hurting his eye socket and stuff. Yet beneath all the outrageous pranks, there is a meaningful story about the tender relationship between a father-and-daughter and fighting against an evil corporate giant. 

However, stunts and story don’t really seem to go hand in hand and the poorly received Action Point is a good example. It’s clearly designed to showcase Knoxville’s no rules, no brakes Jackass-style stunts but the half-baked plot seems to be more of a hurdle than anything else. Maybe it’s high time for Knoxville to do a final Jackass movie before he hits the big five-oh. Still if you missed Jackass, one of the original members of the series, Chris Pontius also has a role as DC’s wacky brother, Benny.  

SPECIAL FEATURES:

NIL

AUDIO/VISUAL:

A 4K or bluray release might be a bit overkill for a title such as Action Point, the DVD is generally serviceable enough to showcase the less than exceptional picture quality and the Dolby Digital 5.1 is adequate in terms of delivering the music tracks and dialogue. 

MOVIE RATING:

DVD RATING :

Review by Linus Tee

Genre: Animation
Director: Will Becher, Richard Phelan
Cast: Justin Fletcher, John Sparkes, Kate Harbour
Runtime: 1 hr 27 mins
Rating: PG
Released By: Shaw Organisation
Official Website: 

Opening Day: 5 December 2019

Synopsis:  From the multi-Academy Award-winning studio that brought you Chicken Run and Wallace & Gromit, comes SHAUN THE SHEEP MOVIE: FARMAGEDDON, a hilarious tale of friendship and mischief between the world’s favorite sheep and an adorable alien, as they embark with the whole flock as an epic and out of this world adventure to send her back home. When a mischievous alien crash-lands near Mossy Bottom Farm, Shaun sets off a thrilling rescue mission to help return her home, while a secret government UFO organization is hot on their trail… 

Movie Review:

Stop-motion animations are like fine wine, they never get old. Forgive this reviewer for comparing alcohol with an endearing animation format because the stuff that Aardman Animations put out gets better over the years or should we say, retain the high standards set by founders Peter Lord, David Sproxton and Aardman regular, Nick Park. 

Newcomers Will Becher and Richard Phelan helmed this Shaun the Sheep’s second big-screen outing, the mouthful, A Shaun the Sheep Movie: Farmageddon. And while the hyperactive Shaun took the day off in the first movie, he met a bluish, dog-looking alien Lu-La in this one. Apparently, Lu-La’s spaceship has crashed landed on Mossy Bottom Farm and to survive, she has been eating all of Shaun’s ordered pizza. 

In the meantime, Lu-La’s appearance has attracted the attention of M.A.D (which stands for Ministry of Alien Detection) who is out to capture her. And it’s up to Shaun and gang to help Lu-La escape from the government organisation and get her safely home to her parents.

The entire premise of Farmageddon is clearly inspired by Spielberg’s classic E.T. and it even has shades of DreamWorks’ Home and Disney’s Lilo and Stitch. But that doesn’t mean that Farmageddon is a bad movie. In fact, it has brought the all-too familiar plotting to a whole new level with Aardman’s trademark humour and gags simply because Shaun and La-Lu are two non-verbal characters with the exception of nonsensical, gibberish sound and noises, much of the story-telling has to rely on comic cues and exaggerated action. 

And talking about Aardman’s brand of humour, let’s not forget about the Farmer and his loyal sidekick, Bitzer. The Farmer on seeing the chaos Lu-La has generated decides to cash in and have the long-suffering Bitzer build a makeshift UFO theme park to finance his purchase of a combine harvester. Unfortunately, Bitzer ends up being captured by M.A.D instead which result in a hilarious rescue attempt by Shaun and Lu-La. 

Farmageddon while filled to the brim with epic activities never gets bloated with too many characters, unnecessary gags and expansion of product lines (we are looking at this year’s The Lego Movie 2). Aardman prefers to let their characters do their walking opting to go for consistently amusing, visual slapstick and cheeky pop culture references liked the theme music from X-Files and Close Encounter of the Third Kind. These might be a bit dated for the younger crowd but the adults greatly appreciate the humour. 

If there is one single nitpick, it’s the storytelling which is on the whole too predictable for some despite Aardman’s best attempt to keep things flowing at a fast speed. Compared to their America’s counterpart, Laika who has been experimenting with different dark genres over the years, Aardman has been playing it safe. Of course, there are fans who prefer the latter’s more traditional animation method rather than Laika’s bold usage of blending CGI and stop-motion. Still, for this reviewer, anything from both Aardman and Laika is always a treat in the theatres.

A Shaun the Sheep Movie: Farmageddon is yet another winner for long-time fans of Aardman. Shaun and his gang of sheep misfits are still adorably funny. The farmer and Bitzer is as charming as ever and Lu-La makes for a good cuddly merchandise. For a good chuckle, check out Shaun this weekend. 

MOVIE RATING:

(Silent star Shaun the Sheep is back for more wholesome family fun!)

Review by Linus Tee

Fourteen years. That’s how long we waited for the return of The Incredibles. In case you are too young (or have been living under a rock), Disney Pixar’s awesome family of superheroes is back in a sequel that puts Mum (Elastigirl) in the limelight. Dad (Mr Incredible) is a stay home father who has to take care of the teenage kids (Violet and Dash), as well as an infant baby (Jack Jack) who is waiting to show the world his superpowers.

Composer Michael Giacchino (Coco, Zootopia) is back to score the music, and it does not disappoint. Having garnered several prestigious recognitions (including an Academy Award, an Emmy Primetime Award and three Grammy Awards), you can bet this soundtrack will be a incredible ride.

Like the 2005 album (which was nominated for Best Score Soundtrack Album and Best Instrumental Composition at the Grammys), the music is brimming with jazz, energy and fun. There is a sense of nostalgia as you listen through the 75 minutes of music presented on the album. From the opening cue “Episode 2” to the playful tracks that follow (“This Ain’t My Super Suit?”, “World’s Worst Babysitters” and “Elastigirl’s Got A Plane To Catch” are particularly action packed and exhilarating), it is a audio adventure from beginning to end. “Incredits 2” is a perfect summary of the album’s themes.

Giacchino, who is known for his pun filled track titles (see Rogue One: A Star Wars Story), is again on form. We love the wittily named “Renouncing The Renunciation”, “A Bridge Too Parr” and “Out And A Bout”.  

There is also the inclusion of vocal tracks which remind you of old school spy movies: “Here Comes Elastigirl – Elastigirl’s Theme”, “Chill or Be Chilled – Frozone’s Theme” and “Pow! Pow! Pow! – Mr. Incredible’s Theme”.

With music this cool and suave, the world is indeed incredible again!

ALBUM RATING: 

Recommended Track: (26) Incredits 2

Review by John Li

SYNOPSIS: Wendy sees thing differently: she fiercely independent, with a brilliant mind and a mischievous sense of hilarity. Wendy also has autism. To her, people are in indecipherable code and the world’s a confusing place. Inspired by her no-nonsence caregiver, Wendy comes a of age and escapes from her care home on the road trip of a lifetime to deliver her 500-page script to a writing competition.

MOVIE REVIEW:

She might have acted opposite numerous Hollywood heavyweights liked Tom Cruise, Denzel Washington, Robert De Niro and Sean Penn in her younger days but in recent years, Dakota Fanning’s career seems to be stuck in a limbo as she blossomed into an adult despite her obvious acting talent.   

In this feel-good indie drama, Fanning stars as an autistic young woman, Wendy who works a day job at Cinnabon and stays in a care center under the supervision of Scottie (Toni Collette from Hereditary). When her elder sister, Audrey (Alice Eve) came to visit and tells her she is selling their childhood home, Wendy suffers a meltdown and embarks on a solo road trip the day after to Paramount Studio hoping to win a screenwriter’s contest so as to help Audrey buy back their house. 

Please Stand By is a movie that revolves around autism, a form of behaviour disorder that even with the advancement of today’s society has yet fully grasp on and fortunately screenwriter Michael Golamco never sugar-coat or fictionalised the material. Through the character of Wendy, we learnt that people suffering from autism is venerable to scammers, muggers, they have difficulty with directions, human contact and even the simplest of all daily activities. Yes, it’s uncomfortable but it is also genuine.

As Wendy embarks on her road trip to submit her 500 pages Star Trek script, we realised the outside world is far too dangerous even for a grown-up liked Wendy. There are cheater, mugger lurking at every corner but there’s also the nice African-American lady who steps in to help Wendy. It’s a trip that features zero outrageous gags and antics except a determined soul who strives to achieve independency and to get united with her sister so that she can leave the rigidity of the care center. 

The always reliable Toni Collette is excellent as Wendy’s protective caregiver and there’s a brief subplot about her and her neglected teenage son. Alice Eve who actually did appeared in Star Trek: Into Darkness is serviceable as the conflicted elder sister and comedian Patton Oswalt shines as a cop that is fluent in Klingon. Lastly, Tony Revolori from The Grand Budapest Hotel has a very small role as Wendy’s fellow colleague. 

Not a surprise, Fanning is perfectly cast as Wendy. There’s hardly a moment where I feel it’s a performance as her brilliant and nuanced portrayal makes it a worthwhile trip to hop along. Please Stand By might be a tad too formulaic in terms of story structure but you shouldn’t fault it for all the sincerity, emotion and a strong cast it brings. 

SPECIAL FEATURES:

NIL

AUDIO/VISUAL:

he Dolby Digital 5.1 soundtrack and DVD visual is effective on this small-scale title. 

MOVIE RATING:

TDVD RATING :

Review by Linus Tee

Genre: Crime/Drama
Director: Karyn Kusama
Cast: Nicole Kidman, Sebastian Stan, Toby Kebbell, Scoot McNairy, Tatiana Maslany
RunTime: 2 hrs
Rating: M18 (Sexual Scene and Coarse Language)
Released By: Shaw Organisation
Official Website: 

Opening Day: 14 February 2019

Synopsis: DESTROYER follows the moral and existential odyssey of LAPD detective Erin Bell (Academy Award winner Nicole Kidman), who, as a young cop, was placed undercover with a gang in the California desert with tragic results. When the leader of that gang re-emerges many years later, she must work her way back through the remaining members and into her own history with them to finally reckon with the demons that destroyed her past.

Movie Review:

We know that Nicole Kidman is a beautiful woman. The last time the Australian actress allowed makeup artists to put on a large prosthetic nose on her face to transform her into the character of Virginia Woolf, she won an Oscar and a Golden Globe. In The Hours (2002), Kidman played the gloomy novelist and had to undergo a three hour session each day that made her virtually unrecognisable.

More than a decade later, the 51 year old covers herself in prosthetics again (unfortunately, she was only recognised with a nomination for Best Actress at the 76^th Golden Globes) to play a mentally and physically tortured cop. In this drama, the protagonist is a raging crime fighter who doesn’t play nice. The film starts with her arriving at a crime scene where a man has been brutally shot. Through flashbacks, we see what made her a remorseless individual who is battered literally and figuratively.

The 120 minute movie is cheerless - everything is bleak and grim. The screenplay written by Phil Hay and Matt Manfredi shows how vicious life can be, and the film is almost depressing to watch. It is essentially a revenge flick, and through some plot twists, viewers are kept at the edge of the deliberately paced thriller to find out what the real deal is. This is as much as we can say without giving away too much about the film’s narrative structure.

Director Karyn Kusama past works suggest that she is keen in exploring themes related to women and their strength to fight back in times of adversity. While Girlfight (2000), Aeon Flux (2005) and Jennifer’s Body (2009) each garnered different critical responses, each of these titles features a strong female protagonist. In this latest work which has gotten her several award nominations (BFI London Official Competition, EDA Female Focus Award for Best Woman Director and Toronto Platform Prize), the result is an unrelenting but dismal look at how a woman taking charge of her past, regardless of the dire consequences that come along with it.

And the actress who is commanding the screen is none other than Kidman. The film features countless close up shots of her and they are not comfortable to look at. In short, dark and grey hair (you almost forget how gorgeous she looks as a redhead or blonde), Kidman’s character is scrawny and exhausted. With all the negative energy exuding from head to toe, this character is someone whom you don’t want to be near. Yet, you wish that she can take a break instead of being so vengeful about her cause. No one escapes unaffected by her angst - her teenage daughter, her colleagues, the people from her past and, most tragically of them all, herself.

Kidman’s haunting and memorable performance is supported by an ensemble cast which includes Sebastian Stan (I, Tonya), Toby Kebbell (The Hurricane Heist) and Scoot McNairy (War Machine). Like her, these actors are broody and rarely is there a smile or a joke. If you’re looking for a film to feel optimistic about life, this is definitely not your choice. If you’re ready to embrace a harsh story about a woman coming face to face with the consequences with her past actions, this will be a welcome affair. You will be rewarded with fine performances which are not easy to stomach, but should be much appreciated.

Movie Rating:

(Nicole Kidman delivers a haunting and memorable performance in this psychologically grim tale about a woman taking charge of her actions)

Review by John Li

Genre: Musical/Drama
Director: Kang Hyoung-chul
Cast: Doh Kyung-soo, Park Hye-su, Jared Grimes, Oh Jung-se, Kim Min-ho
Runtime: 2 hrs 13 mins
Rating: NC16 (Violence & Some Coarse Language)
Released By: Golden Village Pictures and Clover Films
Official Website: 

Opening Day: 17 January 2019

Synopsis: During the Korean War in 1951, the newly appointed chief to the largest POW camp in Koje plans to make a dance team of the prisoners to improve the camp’s public image. The ‘Swing Kids’ dance team consists of ‘ROH Ki-soo’ (DOH Kyung-soo), the POW camp’s biggest troublemaker, ‘YANG Pallae’ (PARK Hye-su), an unauthorized interpreter who speaks 4 languages, ‘KANG Byung-sam’ (OH Jung-se), a man who wants to become famous to find his wife, ‘Xiao Fang’ (KIM Min-ho), a malnourished Chinese dancer with surprising moves, and ‘Jackson’ (Jared Grimes), the leader who used to tap dance on Broadway. The dance team, which consists of people of different nationalities, languages, ideologies, backgrounds and skills, faces a dark, uncertain future as their debut stage approaches…

Movie Review:

Swing Kids is a South Korean musical drama movie set in the Korean War at Geoje Island of South Korea. It is based on the Korean musical, “Rho Ki-soo”. The story follows three Korean prisoners of war, a Chinese dancer, and the leader of the dance team - Jackson (played by Jared Grimes) - a US soldier who used to tap dance on Broadway. 

The film opens with the scenes at prison camp, establishing the pro-communist and the anti-communist camps within the facilities. Jackson was ordered by a senior officer to form a tap dancing team from the POW camp to showcase. He held an audition at the camp, inviting nothing but disaster. He eventually settled and recruited Xiaofang (played by Kim Min-ho), Kang Byung-sam (played by Oh Jung-se) and Yang Pan-Rae (played by Park Hye-su). Although North Korean soldier Rho Ki-Soo (played by Do Kyung-soo, better known as Do of EXO) was highly intrigued by the tap dancing, he struggled to bring himself to accept a dance that is seen to belong to the anti-communist camp. However, he accepted an order to assassinate at the Christmas event, and hence joined the dance team in putting together the performance.

The film is directed by award winning director Kang Hyeong-cheol, who is known for Korean box office hits Scandal Makers (2008) and Tazza: The Hidden Card (2014). The construct of the film could be seen as two parts, first and second half. The first half of the film was dedicated more to introduce the dance team, and focused more on the tap dancing. It also had more humour and laughter, especially during the auditions. The turning point of the movie came when Ki-soo’s brother returned to the camp. His brother is seen the communists’ hero, but there’s more than meets the eye. The second half of the movie had the tension between the two camps escalate, and focused more on unveiling the plots and schemes happening at the same time.

Overall, the narrative of the movie is quite entertaining. However, it felt that the movie was trying to achieve too much within its runtime to cover multiple subplots, weaving too many things into the storyline. Towards the end of the movie, it felt more rushed and brief. Nonetheless, the soundtrack and overall cinematic experience is a positive one. Some credits must be given to the cast as well, especially Do and Jared Grimes for putting up fantastic tap dancing performances.

Beyond the performance, the character development and narrative worked well together to bring out the emotions of the characters. When the movie’s curtain falls, it will make you think of prisoners of war and soldiers not just as matter-of-fact history on textbooks or faceless statistics, but unique individuals who truly lived with real aspirations and stories.

Movie Rating:

(While the runtime is a little long, it’s worth watching for its swag moves and story!)

Review by Tho Shu Ling