SYNOPSIS: Marlon Wayans stars in Sextuplets. From the people who brought you “Naked”, father-to-be Alan is shocked to learn that he was born a sextuplet. With his newfound brother Russell riding shotgun, the duo sets out on a hilarious journey to reunite with their remaining long-lost siblings (all played by Marlon Wayans).  

MOVIE REVIEW:

It’s official. Marlon Wayans has run out of fresh ideas that he has to resort to pulling off a “Nutty Professor” in his latest Netflix comedy, Sextuplets.

Not a surprise, Wayans plays all Sextuplets. There’s obese Russell, the only brother that was raised by their mother. Dawn the only girl among the six of them who is currently in jail for assault. Ethan, a con-man of sort, Jaspar, a mysterious man who is living off the radar and Baby Pete, a man the size of a baby who needs a kidney badly.  

And then there’s the normal bland one, Alan whose wife is about to give birth to their first baby. And Alan has the mission of reuniting all his family members and finding out why their mother has abandoned them in the first place. 

Comparing this to Wayans’ earlier works liked the Scary Movie series, White Chicks and Little Man, Sextuplets is a lot safer and tamer which of course explained the PG13 rating. There’s a whole lot of black stereotyping jokes and gags, mild sexual innuendos and zero nudity so you could say it’s actually fit for family viewing. 

And probably because of it, Wayans has a lot less imaginative material to work on. As a result, all his characters have to repeat a lot of cereal jokes and gags that are attributed to an old American TV show, The Rockford Files. There’s quite a funny scene which involved an angry, charging bull and that’s sadly, the only standout scene in the entire road trip.   

Technically speaking, Sextuplets deserved a solid A. The makeup and prosthetic effects are seamless and even the CGI which involved Wayans playing multiple characters in a single scene is flawless. To be fair, Marlon Wayans is quite a funny comedian. He has the physicality, timing and perfect funny faces, he just needs some solid writing for his next movie else he might end up as the next Adam Sandler. 

MOVIE RATING:

Review by Linus Tee

Genre: Drama
Director: John Crowley
Cast: Ansel Elgort, Sarah Paulson, Luke Wilson, Jeffrey Wright, Oakes Fegley, Aneurin Barnard, Finn Wolfhard, Nicole Kidman
Runtime: 2 hrs 30 mins
Rating: NC16 (Some Drug Use and Coarse Language)
Released By: Warner Bros
Official Website: TheGoldfinchMovie.net

Opening Day: 19 September 2019

Synopsis:  The last time 13-year-old Theo Decker saw his mother, she was gliding away from him into another gallery of the Metropolitan Museum of Art. Seconds later, a terrorist bomb exploded destroying priceless pieces of art…and shattering Theo’s life forever. The tragedy changes the course of his life, sending him on a stirring odyssey of grief and guilt, reinvention and redemption, friendship and even love. Throughout the turbulent years, as he grows into adulthood, Theo secretly clings to a single, precious object—his one tangible connection to the mother he lost on that terrible day—a priceless painting of a tiny bird chained to its perch. The Goldfinch. A beautifully wrought coming-of-age story, intimate in its emotion and sweeping in its design, “The Goldfinch” is the film adaptation of Donna Tartt’s globally acclaimed and beloved bestseller of the same name. The novel, which won the 2014 Pulitzer Prize for Fiction and the Andrew Carnegie Medal for Excellence in Fiction, spent more than 30 weeks on The New York Times Best Sellers list.

Movie Review:

If you’ve read Donna Tartt’s Pulitzer Prize winning bestseller, chances are that you would have some preconceived notion of how it should be adapted for the screen; still, we’d advise you to keep an open mind if you intend to catch this polished but not flawless exercise in literary filmmaking. After all, it would never have been possible to cram all 800 pages of the Dickensian novel into a two-hour movie (which actually is two-and-a-half hours), so you should expect not only that some characters will be eliminated but also that others may not be developed as fully. Yet despite the constraints of length, the central themes of loss, longing, heartache and betrayal remain largely intact, albeit amidst considerable restraint in the storytelling.

At its heart, ‘The Goldfinch’ is a coming-of-age tale which chronicles the vicissitudes of Theo Decker (Oakes Fegley), following the death of his mother in a bombing at the Metropolitan Museum of Art when he was 13. Struck by emotional loss and survivor’s guilt, Theo first moves in with the wealthy Upper East Side family of his school friend Andy Barbour, whose mother (Nicole Kidman) becomes like a foster parent to him. But just as he is about to be adopted by the Barbours, Theo’s absentee father (Luke Wilson) turns up with his sketchy companion Xandra (Sarah Paulson) to bring him to live with them in Nevada. Because family comes first in the eyes of the law, Theo follows them out to the desert; there, he meets the Ukrainian teen Boris (Finn Wolfhard) whom he will become close friends with, and from whom he will pick up the drug habit.

Whereas Tartt’s book follows how Theo’s life intersects with these characters over the course of a dozen years in linear chronology, the movie darts back and forth between his teenage and adult years, the latter set in present day. In fact, it opens with an adult Theo (Ansel Elgort) utterly distraught and about to take his life in a hotel room in Amsterdam, before retelling how the events of his life led him to that point. More recently before that, Theo had returned to New York and reacquainted with the antiques dealer Hobart (Jeffrey Wright), who is guardian to the red-headed little girl Pippa that Theo happened to be standing next to just before the bombing. Theo would also run into Pippa of course, as well as the Barbours, and perhaps most significantly Boris, given how his less-than-legal exploits would precipitate Theo’s meltdown.

Even if you haven’t read the book, it’s not hard to guess that Tartt would have given a lot more background and nuance to each of these characters, although that is clearly a luxury which screenwriter Peter Straughan did not have. Yet without being biased by the source material, Straughan does a suitably impressive job remaining faithful to Tartt’s creation and distilling just enough so the cinematic treatment would work. It’s understandable you would have say liked to know more about Theo’s relationship with Andy’s sister Kitsey (Willa Fitzgerald) before they get engaged, or for that matter Theo’s attraction towards Pippa (Ashleigh Cummings) in present day, but there is just enough depth to these characters, as well as them in relation to Theo, for you to see the larger picture.

And that larger picture is ultimately one which relates to the titular painting by Carel Fabritius, which was one of the few things to survive a gunpowder blast that killed the artist in 1654. Without spoiling the mystery for those not familiar with the story, the painting is a key part of Theo’s journey, for he happened to be just before that painting next to Pippa when the bomb went off. There is also special significance between the painting itself and Theo’s mother, and Theo’s attempt to keep a hold on the painting is clearly symbolic of the connection which he struggles to hold on to with his beloved mother. It is elegiac all right, but in the hands of ‘Brooklyn’ director John Crowley, handled with utmost, if a little too excessive, restraint, which in turn keeps it from being more deeply poignant.

Still, credit goes to Straughan for doing away with the linear chronology of the book and attempting to fuse past and present like the pieces of a complex puzzle – even though the middle section does slacken during the time spent detailing Theo’s friendship with Boris during their teenage years, it does pick up considerably when these connections become significant in Theo’s adult life. Just as you would need to reading the book, the movie demands your patience in allowing it to set out the various pieces, but both Crowley and Straughan do manage to tie together the various moving parts and flashbacks nicely enough. That Theo’s story is captured beautifully by ace cinematographer Roger Deakins is another reason to see this adaptation, elevating the visual storytelling to a whole different level.

The ensemble cast also deserve their dues for fine performances all around. In small but pivotal roles, Kidman and Wright steal the show – the former turning in a finely calibrated portrayal of a more and less emotionally frigid version of her character during her middle and older years respectively; and the latter in an equally fine subtle turn as a surrogate father figure to Theo. In even smaller roles, Wilson and Paulson chew into the flaws of their characters without turning them into caricatures. But the real stars here are the pairing of Fegley and Elgort as Theo, as well as Wolfhard and Aneurin Barnard as Boris, who match each other beautifully as younger and older selves, and know just how to complement each other’s performances to let the messy dynamic between Theo and Boris shine through.

How much you like this adaptation of ‘The Goldfinch’ ultimately rests on your own notion of how the book should be translated from page to screen. As much as there have been changes or omissions to Tartt’s narrative, we dare say that the movie has remained as faithful as it can possibly be within the confines of a feature-length movie; and while some may feel the material would have been better suited for a miniseries, the cinematic endeavour here is still a commendable one. You’d wish at times that the filmmakers had dared to let go of the restraints and let the emotions run more freely, but the lessons on the strange thing called life are still as emphatic and authentic to the spirit of the text. As long as you give it your time, you’ll find yourself rewarded with an emotionally cathartic story that will stay with you long after it is over.

Movie Rating:

(A coming-of-age tale told like a puzzle darting back and forth between past and present, this faithful yet un-slavish adaptation is an absorbing story of loss, longing, heartbreak and betrayal)

Review by Gabriel Chong 

Genre: Action/Comedy
Director: Lee Sang-geun
Cast: Cho Jung-seok, Lim Yoona, Goh Doo-shim, Park In-hwan, Kim Ji-young
Runtime: 1 hr 44 mins
Rating: PG (Some Intense Sequences)
Released By: Golden Village Pictures
Official Website: 

Opening Day: 12 September 2019

Synopsis:  Yong-nam (CHO Jung-seok) was one of the best rock climbers in college but hasn’t had much luck elsewhere after graduation. He has failed to get a job for many years and has to rely on his parents just to get by. For his mother’s 70th birthday, he insisted on having the party at Dream Garden because his old crush, Eui-ju (LIM Yoona) works there. When a disaster strikes, covering an entire district in Seoul with mysterious white gas, he has to use all of his rock climbing skills with the help of Eui-ju to get everyone to safety.

Movie Review:

EXIT is a Korean action comedy that revolves around an avid climber, Yong-nam, who graduated from university but fail to land himself a job. While he is developed and capable physically, he had never succeeded with the job interviews. For his mother’s 70th birthday, he insisted on the venue so he could bump into his college sweetheart, Eui-joo. Just when the party was about to end, a disaster broke out in the entire district in Seoul - the city was under a toxic gas attack. The only chance for them to escape the impending catastrophe was to go up.

Yong-nam is played by Jo Jung-suk, who made his film debut as a comedic supporting actor in the 2012 box office hit Architecture 101, which enabled his breakthrough in the acting scene. His comedic expressions and interactions with co-star Im Yoon-ah were a big part of the success of the film. Yoon-ah, from Girls’ Generation, didn’t lose out in her comedic expressions too. Especially in scenes where both of them broke up in ‘ugly crying’, it was impossible to hold your laughter. In terms of action, the both of them are equally agile and nimble, and held together the climbing scenes really well. It may surprise you that Jung-suk is 38 years old, but his athletic form definitely doesn’t lose to any fit young man!

While the narrative of the movie wasn’t spectacular, the pace and tempo of the movie was good. It was also easy to follow. The suspense in the story and the multiple happenings made the film more dynamic. What’s also commendable about the story was that it weaved in a lot of pop elements that the audience could relate to, and made smart use of them. Think live video, drone, social media and social justice. The way these elements were injected into the movie to up the comedy factor was interesting. 

Towards the end of the movie, some may feel that the film is draggy, or even a little lethargic, but it was all in all, a light hearted and enjoyable watch. Who would have thought that an unassuming skill in climbing would become the needed skill which enables the entire escape? Coupled with the exaggerated, humourous scenes, the movie was a nice and leisure watch to brighten an otherwise non-eventful week!

MOVIE RATING:

(A light hearted and comedic escape with an exciting sequence which keeps you at the edge of your seat!)

Review by Tho Shu Ling

Genre: CG Animation
Director: Jiaozi
Cast: Lü Yanting, Joseph, Cao Yalong, Wang Zheng, Chen Hao, Zeng Hongru, Yang Wei, Zhang Jiaming
Runtime: 1 hr 50 mins
Rating: PG (Some Violence)
Released By: Golden Village Pictures
Official Website: 

Opening Day: 5 September 2019

Synopsis: NE ZHA is a classic Chinese mythology character that is only second to Sun Wukong. The movie revolves around the birth of Ne Zha from a powerful pearl inserted with huge energy. Yuanshi Tianzun (the Primeval Lord of Heaven) concocts two pills out of the pearl – a spiritual pearl and a sorcery pearl. How will Ne Zha choose between the good and the bad? Will he choose to be demon or will it be otherwise?

Movie Review:

Asian kids surely have no problem identifying the story and characters from famous Chinese folklore liked Ne Zha, The Eight Immortals and Journey to the West as they have been adapted into countless comics, dramas and movies over the years. And just when you think there’s no more creative juice left to be milked, a virtually unknown Chinese animator Jiaozi managed to breathe new life into the origin story of the wilful, God-defying child deity, Ne Zha.  

To differentiate itself from the original story and partly to stir up the interest of the audiences again, co-writer and director Jiaozi painstakingly created a story that is filled to the brim with empowering messages, comedy and lots of heart. So instead of sticking to the plot that we are familiar with, Jiaozi basically takes the character that we all know and infused it with his own unique brand of storytelling.  

The Ne Zha in Jiaozi’s version is borne out of the demon pill which in turn is spilt from the Chaos pill by the great Immortal Lord of Heaven. Tasked by the great Immortal to become Ne Zha’s guardian is the fumbling Taiyi and his mortal parents, Commander Li Jing and his benevolent wife. Their duty it seems is to watch over Ne Zha as he is destined to be the demonic one who destroyed the world when he reaches the age of three. Despite being labelled a naughty brat by everyone in Chengtang Pass, Ne Zha only craved for true friends, his parent’s love and attention not to mention, a good companion for “jian zi”.

On the other hand, trouble is brewing in the form of Taiyi’s fellow alumni, Shen Gongbao who has stolen the spirit pill for the son of the Dragon King. In order to resurrect the glory days of the Dragon Dynasty, the Dragon King entrusted Shen to teach his son, Au Bing (who has been infused with powers from the spirit pill) on how to become an immortal in the heavenly realm. But first, Au Bing must prove his worth by defeating Ne Zha on the pretext of saving mankind in Chengtang Pass.

We must confess that not a single second of screentime is wasted at Jiaozi’s helm as he really knows how to keep the pacing fast and tight. In one of his interviews, Jiaozi readily admit most of the comedic elements are lifted straight out of Stephen Chow comedies be it the cheeky exaggerated expressions from Ne Zha, mo-lei-tau humour such as a recurring muscular character screaming in a high-pitch female voice in the background and laugh-out-loud dialogues (Because of the occasional accented Mandarin, English subtitles plays a big help). Even the usually much frowned upon bodily humour and fart gags are tolerable in this case.

For a family animation, Ne Zha has no lack of moral lessons and social messages. The mother who is always busy at work, fate lies in your own hands, the true love from parents etc. So no worries if you wish to impart some valuable lessons to your kids after the movie is over as there is simply no lack of it. And probably because it’s a family-friendly animation, the gruesome and complex plotting from the original tale is omitted (for the uninitiated, you need to google it) to make way for a finale that contains a heart warming arc about the true meaning of friendship.

The CG effects and animation are amazingly rendered on the big screen to the point that you can’t really tell the difference between this or Kungfu Panda 3. The closeup details of the Dragon King is astounding and the culmination of cloud, ice and fire effects in the finale alone is worth the ticket price. Still, Jiaozi’s overindulgence on visual effects and jarring action pieces could be improved on in future.

It’s not a surprise that Ne Zha has become one of the highest grossing movies in China given how entertaining the animated flick is. Perhaps it’s the true-life obstacles faced by Jiaozi (whose real name is Yang Yu) that helps in the rebirth of Ne Zha. On a side note, there are at least three post-credits scenes that hints of a sequel and a new mythology-based movie next year.     

MOVIE RATING:

(Possibly the best animated movie this year! Ne Zha wins hands down!)

Review by Linus Tee

Genre: Action
Director: Justin Lin
Cast: Vin Diesel, Michelle Rodriguez, Tyrese Gibson, Chris "Ludacris" Bridges, John Cena, Nathalie Emmanuel, Jordana Brewster, Sung Kang, with Helen Mirren, Kurt Russell, Charlize Theron 
Runtime: 2 hrs 23 mins
Rating: PG13 (Some Violence)
Released By: UIP
Official Website:

Opening Day: 24 June 2021

Synopsis: No matter how fast you are, no one outruns their past. FAST & FURIOUS 9 is the ninth chapter in the Fast & Furious Saga, which has endured for two decades and has earned more than $5 billion around the world. Vin Diesel's Dom Toretto is leading a quiet life off the grid with Letty and his son, little Brian, but they know that danger always lurks just over their peaceful horizon. This time, that threat will force Dom to confront the sins of his past if he's going to save those he loves most. His crew joins together to stop a world-shattering plot led by the most skilled assassin and high-performance driver they've ever encountered: a man who also happens to be Dom's forsaken brother, Jakob (John Cena, the upcoming The Suicide Squad). F9 sees the return of Justin Lin as director, who helmed the third, fourth, fifth and sixth chapters of the series when it transformed into a global blockbuster. The action hurtles around the globe-from London to Tokyo, from Central America to Edinburgh, and from a secret bunker in Azerbaijan to the teeming streets of Tbilisi. Along the way, old friends will be resurrected, old foes will return, history will be rewritten, and the true meaning of family will be tested like never before.

Movie Review:

Hard to believe it has been two decades since the first ‘Fast and Furious movie’, which has since gone on to clock eight other chapters and one ‘Hobbs and Shaw’ spinoff. Which other modern-day franchise can you name that has such longevity and worldwide appeal? It is therefore pointless at this juncture to begrudge the latest instalment for flouting the laws of physics; indeed, it is precisely by defying these laws that successive movies have delivered progressively outlandish action, though to be sure, it does so with sufficient finesse that it doesn’t yet become caricature.

Nor for that matter is it fruitful to begrudge ‘F9’ for playing fast and loose with on-screen deaths: after bringing back Dominic Toretto’s wife and partner-in-crime Letty (Michelle Rodriguez), it has now decided to resurrect fan favourite Han (Sung Kang), who was presumed killed in a car crash at the end of the third film, ‘The Fast and The Furious: Tokyo Drift’. Let’s just say if the waves of fan excitement are anything to go by, how he returns to the family is second-order; though to be fair to director Justin Lin and co-writer Daniel Casey, they do a respectable job reverse-shoehorning Han back into the evolving narrative, intertwining Han’s fate and that of his late (or is she?) girlfriend Gisele (Gal Gadot) with the machinations of the top-secret government agent Mr Nobody (Kurt Russell).

There is also no reason for this chapter to deviate from the core theme of family that its predecessors have reinforced, defined not so much by biological kinship as much as it is by the deep ride-or-die bonds of loyalty and solidarity. So following the template in the fifth and sixth movie, ‘F9’ introduces Dom’s brother Jakob (played as a young adult by Finn Cole, and later on by former WWE wrestler John Cena) whom Dom still blames for the death of their father on the racing track years ago, and who is now an embittered rogue agent working for a megalomaniacal rich plutocrat named Otto (Thue Ersted Rasmussen). In perfectly self-respecting fashion, the movie spends many flashbacks fleshing out the backstory behind Dom and Jakob’s estrangement, although most we suspect will just be anticipating the mano-a-mano between Vin Diesel and Cena (which is pretty satisfying, by the way).

There is no doubt Diesel is the bedrock of the franchise, playing the world-weary, Corona-drinking street racer turned freelance secret agent and globe-trotting supercop with perfect gravelly intonation. But this chapter also gives supporting players Tej (Chris ‘Ludacris’ Bridges) and Roman (Tyrese Gibson) greater prominence, such that both do more than just providing the usual comic relief with their friendly rivalry; in fact, they are given the honour of steering the franchise into its last frontier, space. Those who recall ‘Tokyo Drift’ will also cheer the return of Sean Boswell (Lucas Black), Twinkle (Bow Wow) and Earl Hu (Jason Tobin), which together with Han, completes the homecoming for the characters in the third film.

As sizeable as the ensemble is, Lin proves a seasoned hand juggling these characters in between the elaborate set-pieces. Letty gets to show off her motorcycle riding skills in the opening sequence set in Montecito, Central America, which at its most insane, features not just a chase through a literal minefield but a car sling-shooting itself across an open gorge. Mia (Jordana Brewster), Dom’s brother, gets to show off her fighting skills when she and Letty are attacked while searching for Han in Tokyo. Ramsey (Nathalie Emmanuel) gets to show off how quickly she learns to drive, steering a truck armed with a powerful electromagnet through the streets of Edinburgh. And last but not least, everyone gets their chance behind the wheel in the jaw-dropping finale that is worth the price of admission alone, which sees cars rigged with electromagnets trying to outpace and eventually attempt to flip over a three-section armoured truck in downtown Tbilisi; no prizes for guessing which side Jakob will stand by the time this sequence rolls around.

Compared to the last few instalments penned by Chris Morgan, this one penned by Lin and Casey lacks the same storytelling polish, and at close to two-and-a-half hours is just too long to sustain a fast and furious momentum throughout. Yet what it falls short in plotting, Lin makes up for in directorial clarity. More so than James Wan and F. Gary Gray of ‘F7’ and ‘F8’ respectively, Lin knows how to perfectly balance the action between the absurd and the awesome, so much so that even if he does defy the laws of gravity, you’d be willing to at least suspend your disbelief. He also injects just the right amount of unabashed sentimentality into the movie, achieving yet another balance between silly and sincere.

‘F9’ is ultimately what the ‘Fast and Furious’ movies have always been about, and as the franchise races towards what it would like to define as its logical conclusion (with ‘F10’ reportedly unfolding in two parts), Lin brings this chapter back to its roots. To be sure, it doesn’t quite top Lin’s own ‘Fast Five’, which remains in our opinion still the best in the series; but ‘F9’ positions it right back on track where Lin had left off in ‘Fast & Furious 6’. For many audiences around the world, ‘F9’ may be the first real blockbuster in cinemas following the COVID-19 pandemic, and with Diesel and gang pumping up the action and fun, it’s as great an excuse as any to check back into the big-screen experience.

Movie Rating:

(Perfectly balanced between the awesome and the absurd, 'F9' is as true to the identity of the franchise as it gets, even if the ride does go on for a little too long)

Review by Gabriel Chong

Genre: Drama
Director: James Mangold
Cast: Matt Damon, Christian Bale, Jon Bernthal, Caitriona Balfe, Tracy Letts, Josh Lucas, Noah Jupe, Remo Girone, Ray McKinnon
Runtime: 2 hrs 32 mins
Rating: PG13 (Some Coarse Language)
Released By: Walt Disney
Official Website: 

Opening Day: 14 November 2019

Synopsis:  Academy Award-winners Matt Damon and Christian Bale star in FORD v FERRARI, based on the true story of the visionary American car designer Carroll Shelby (Damon) and the fearless British-born driver Ken Miles (Bale), who together battled corporate interference, the laws of physics, and their own personal demons to build a revolutionary race car for Ford Motor Company and take on the dominating race cars of Enzo Ferrari at the 24 Hours of Le Mans in France in 1966.

Movie Review:

This reviewer is not a fan of race cars. He doesn’t know the difference between a Porsche and a Chevrolet, nor the reason why some people prefer an Audi to a Bugatti. So how is it that this sports drama directed by James Mangold, which runs for more than two and a half hours, managed to engage him from beginning to end?

Like all other great movies, this one hooks you with a fascinating human drama.

We are first introduced to Caroll Shelby (Matt Damon), a former racing driver who became a car designer who gets hired by Ford to put together a car and a team that would defeat Ferrari (it’s one of those Americans versus Europeans thing). Ford is a corporate mass production outfit that isn’t pleased to see their Italian counterparts, who consider themselves artistes, thinking that their style and finesse is superior to the Americans.

Along comes Ken Miles (Christian Bale), an impulsive and grumpy Brit that is hired by Shelbyas his star driver. Given his eccentricities, the man is brilliant behind the wheels. The corporate creeps at Ford are not impressed with Miles, but through a series of events, they work towards defeating the Ferrari racing team at the 1966 24 Hours of Le Mansrace in France.

Bale has the showy part in this movie (the type that will earn him multiple nominations during the awards season), and he aces it perfectly. The 45 year old actor, who is known to transform his body drastically for his roles (look no further than American Psycho, The Machinist and American Hustle for a variety of his body shapes), lost over 30 kg to portray Miles. Coupled with an impressive oddity that is a joy to watch on screen, Bale is one person to place your bets on to take home a couple of awards. His co star Damon steps aside to play the less showy character. However, the man holds his own ground as someone who has learnt to let go of his racing career and moved on with life in the industry.

Rather than saying that the film is about Ford versus Ferrari, the story is really about the dynamic friendship between the two men. A memorable scene involves the two adults engaging in a childish brawl, but that sequence aptly brings out the camaraderie between the two men. Without saying too much, how the movie ends will have you incredibly moved.

Other supporting characters are played by equally competent actors like Tracy Letts (a very gutsy Henry Ford Jr), Josh Lucas (Leo Beebe, his unethical assistant), and Jon Berthal (Lee Iacocca, the Ford executive who mooted the idea of car racing to his boss). Irish actress Caitriona Balfe does what she can to play Mrs Miles, a woman who tries her best to support her husband’s dangerous job.

Being a drama about car racing, the 152 minute production has more than enough thrilling sequences to keep you at the edge of your seat. Masterfully shot by Phedon Papamichael, with editing responsibilities taken up by Michael McCusker and Andrew Buckland, these scenes put you in the centre of the races and leave you spellbound. The need for speed is definitely in place, and driven by compelling performances and an engaging storyline, this film comes up tops. 

Movie Rating:

(Fasten your seatbelts and get ready to be engaged by an impressive human drama from beginning to end)

Review by John Li

Genre: Drama
Director: Law Wing Cheong
Cast: Simon Yam, Gigi Leung, Him Law, Charlie Yeung, Frankie Lam, Roger Kwok, Angela Yuen, Ranya Lee, Liu Chutian, Liu Yong
Runtime: 1 hr 48 mins
Rating: PG
Released By: mm2 Entertainment
Official Website: 

Opening Day: 19 September 2019

Synopsis:  Puppy Quill(nickname Little Q) is born with a birthmark in the house of Dr. Lo (Frankie Lam), it is being sent to the Chan’s family after two months. Mr. Chan (Roger Kwok Chun On), Mrs. Chan (Charlie Young) and their daughter Chi Kiu (Chu Tian Liu and Angela Yuen plays the childhood and teenage character of Chi Kiu respectively) take care of Little Q, they bond well with each other. As Little Q grows bigger, it is being trained by guide dog trainer Simon (Him Law) . Simon takes it to match with famous chef Lee Bo Ting (Simon Yam). He has become irritable and constantly losing his temper over his sister Bo Yi (Gigi Leung) who resigned her teaching job to help Bo Ting at his dessert house since he lost his eye sight. Bo Ting tries to drive Little Q away for several times, but as a well trained guide dog Little Q always stays by Bo Ting’s side and protects him under any circumstances. Eventually Little Q earns Bo Ting’s trust with its loyalty prompting him to take a new lease of life and quit blaming his blindness. He continues to delve into new dessert recipe and travels around with Little Q. However, as Little Q gets older and Bo Ting gets sick, the two of them has to face an unwilling separation......

Movie Review:

Little Q is a HK/China production based on a Japanese novel that talks about the life of a guide dog. In fact, there’s a Japanese movie adaptation of it which was released back in 2004 (coincidentally the same year our humble site was setup) entitled Quill. Almost 15 years have passed and movies about canine remains faithfully, ever ready to tug at audiences’ heartstrings.

For dog or animal lovers who hasn’t missed any of the past Japanese dog titles and Hollywood’s more recent A Dog’s Purpose series, Little Q still manages to be somehow mushy, cuddly and heart-warming.

In this Chinese version, the story revolves around Bo Ting (Simon Yam), a celebrated pâtissier who has lost his eyesight and desire to live. At the recommendation of his friend, a guide dog by the name of Little Q is brought in to assist in his daily life liked helping to walk him to his restaurant for example. But first, Bo Ting must overcome his stubbornness and fiery temper to accept Little Q as his friend and guide.

Little Q on the whole is calculated to ensure that audiences shed a few tears as and when, sweat a little for the master and his furry servant and laugh at all the silliness generated. From this perspective, without a doubt you are going to enjoy this flick that is directed by Law Wing Cheong whose last movie was the Donnie Yen’s flop, Iceman 3D. Law who started as an assistant director and editor at Milkyway seems to be more at ease helming this emotional canine-human drama than an action fantasy flick. With his firm direction and handsome looking cinematography from Chan Chi-ying, Little Q is definitely pleasing in terms of visual.

For sure, the narrative can be a tad too simple for some. There are a few scenes that depicts how guide dogs actually carry their job and responsibilities with unseen loyalty and dignity. However, such scenes are few and far. Aside from those moments, Little Q is contended in delivering a man who was once so broken and depressed but found new meanings when Little Q came to his life.

Simon Yam who suffered a few cuts from an attack recently delivers one of his career-best performances as Bo Ting. Yam effortlessly capture the anguish and sentiment of his character and the chemistry with his canine actor is undeniably one of the strongest aspects of this movie. Despite having Gigi Leung playing his supportive sister, Him (sometimes credited as Bruce) Law as the coach from the Guide Dogs Association, Charlie Yeung, Frankie Lam and Roger Kwok in smaller roles, Little Q belongs entirely to Yam and Little Q (credited to Pudding in the credits).  

Let’s face it. Many will call Little Q a small manipulative movie that is not worth your money or time. But for those who just wants a schmaltzy time (maybe an excuse to shed a few tears in the dark) with a four-legged pal (if you can’t afford one or not able to take care of one in real-life), then Little Q comes recommended.

Movie Rating:

(A gut-wrenching performance from Simon Yam and Little Q)

Review by Linus Tee

Genre: Drama/Crime
Director: Lorene Scafaria
Cast: Constance Wu, Jennifer Lopez, Lili Reinhart, Keke Palmer, Julia Stiles, Cardi B, Mercedes Ruehl, Lizzo
Runtime: 1 hr 47 mins
Rating: M18 (Nudity and Some Drug Content)
Released By: mm2 Entertainment
Official Website: 

Opening Day: 12 September 2019

Synopsis: Inspired by the thrilling and scandalous true story, HUSTLERS follows a crew of savvy former strip club employees who band together to turn the tables on their Wall Street clients. Featuring a stellar all-star female cast of Jennifer Lopez (Second Act), Constance Wu (Crazy Rich Asians ), Cardi B, Lili Reinhart (Riverdale), Keke (Palmer Scream Queens), Julia Stiles (Silver Linings Playbook), and Oscar winner Mercedes Ruehl (The Fisher King).

Movie Review:

As intriguing as they may be, few stripper movies have been ultimately able to overcome the unfortunate disdain associated with their subject. That writer-director Lorene Scafaria manages not only to do so but also craft a movie that is simultaneously rousing, sobering and poignant is testament to the extent of her accomplishment here, even as she had Jessica Pressler’s acclaimed long-read New York Magazine article to work off. Oh yes, the names and locations may have been changed, but the basic premise of a crew of high-end strippers in New York who went from pole dancing to glorified pickpocketing is as real as it gets.

Told through the eyes of the aptly named Destiny (Constance Wu), the story unfolds over the course of eight years, charting her (ahem) destiny with the enterprising Ramona (Jennifer Lopez) from when they first meet in 2007 till their scam was busted by the police in 2015. Before their acquaintance, Destiny is struggling to fit in as the new girl at a glitzy strip club in Manhattan – besides being not quite as sociable as her colleagues, she isn’t quite sure what she needs to do in order to impress the clientele. So when she first experiences how Ramona wows the crowd with a jaw-droppingly sexy pole dance, it is hardly surprising that Destiny dreams of being Ramona, and over a cigarette break on the roof, asks Ramona to show her the moves.

For reasons we will only find out much later, Ramona agrees to take Destiny under her wing, teaching her such pole dancing moves as the table-top, martini glass and Peter Pan spin, as well as how to work the champagne room (“train the clock, not the cock”). In fact, both ladies find unexpected success working together in the latter, and while Destiny finally makes enough to help pay her beloved grandmother’s bills, Ramona saves enough to buy a penthouse apartment. Their friendship plays out against the club’s heydays, and together with the other girls such as Mercedes (Keke Palmer), Tracey (Trace Lysette), Liz (Lizzo) and Diamond (Cardi B), every night was a riotous one, not least that which Usher makes a surprise appearance.

If it isn’t yet obvious, there is nothing demeaning about how these characters are portrayed here; indeed, these ladies are very much in control of the clients they pleasure, and that feeling of empowerment is truly refreshing to see in a genre piece as this. Just as invigorating is the sense of camaraderie among them, as they bond over conversations in the changing room about what it means to have a boyfriend in their profession and their respective sex lives. There is vicarious fun to be had with these women – and with Ramona and Destiny, an even deeper appreciation of their self-determination – so much so that you’ll already be won over by the first act.

To her credit, Scafaria isn’t out to sentimentalise what Ramona and Destiny will get up to; rather, the intent is to establish how both of them are not shy to take charge of their own circumstances. When therefore business at the club nosedives as a result of the global financial crisis, and they are forced to confront the question of how to support their daughters as single mothers, it isn’t difficult to understand how and why they would concoct an elaborate scheme to fish men from the bars around town into the club, get them high on a mixture of MDMA and ketamine, and coax them to part with thousands of dollars on their credit cards.

Like the ‘Ocean’s Eleven’ films, there is genuine thrill in watching Ramona and Destiny develop their criminal enterprise, including recruiting other players as Mercedes and Annabelle (Lili Reinhart), experimenting with different proportions of MDMA and ketamine, and sharpening the specific beats of their nightly routine. Tempting though it may be to get carried away, the film remains grounded on the friendship between Ramona and Destiny as its emotional centre, subtly and skilfully setting the stage for their eventual rift when the law catches up to them – and make no mistake, when that time comes, there is no attempt to sugar-coat the consequences of their actions, be it on the clients they had swindled or on the legal ramifications they face.

Especially towards the end, it becomes clear that Scafaria’s choice to have Destiny recount the story through her interviews with a fictional journalist (Julia Stiles) is a neat narrative twist. In addition to lending surprising depth to her character (as Destiny reflects on the influence of her Asian-American upbringing), the first-person perspective adds poignancy to the moral dilemmas that she and her fellow scammers will inevitably confront. Are they justified in taking from those whom had arguably stolen it in the first place? Does the legitimacy of their deeds, societally or otherwise, absolve them from turning a blind eye to those whose lives they had destroyed in the process? To be sure, there are no easy answers offered, and Scafaria is wise enough to leave her audience to draw their own conclusions.

What she does offer is an ensemble of gifted performers, including a thoroughly captivating Reinhart, an infectiously vivacious Palmer, and to smaller but no less memorable extent, Cardi B and Lizzo playing variations of the public personas. As she did in ‘Crazy Rich Asians’, Wu brings nuance and soulfulness to her role here, deftly drawing you into Dorothy’s emotional vulnerabilities. Still, there is no question the real star of the show is Lopez, who inhabits Ramona with utter intoxicating magnetism, right from when she struts on stage to Fiona Apple’s ‘Criminal’ till when her scheme goes off the rails – and in case you’re wondering, it isn’t just how sexy she looks, but also how she injects grit and charisma to deliver one of her most grounded and emphathetic roles in recent memory.

To label ‘Hustlers’ a stripper movie is ultimately unnecessarily reductionist, given how it is so much more – on one hand, a smart and bracing true-crime saga that portrays the criminal desperation of working-class individuals who cannot help but feel that the inequalities in society have let them down; on another, it is an electrifying, even exhilarating, peek into a world of control, manipulation and seduction that is hidden from plain sight for obvious reasons, as well as the people whose livelihoods rest on it. You’ll be awed, you’ll be moved and you’ll be captivated by this brassy tale of strippers turned grifters, so bring the dollar bills, because ‘Hustlers’ sure deserves them.

Movie Rating:

(Brassy and invigorating, this true-crime saga of strippers turned grifters is a vicarious thrill simultaneously rousing, sobering and poignant)

Review by Gabriel Chong

SYNOPSIS: Sometimes things are not always what they seem, especially in the small suburban town where the Carpenter family lives. Single suburban mother Susan Carpenter (Naomi Watts) works as a waitress at a diner, alongside feisty family friend Sheila (Sarah Silverman). Her younger son Peter (Jacob Tremblay) is a playful 8-year-old. Taking care of everyone and everything in his own unique way is Susan’s older son Henry (Jaeden Lieberher), age 11. Protector to his adoring younger brother and tireless supporter of his often self-doubting mother – and, through investments, of the family as a whole – Henry blazes through the days like a comet. Susan discovers that the family next door, which includes Henry’s kind classmate Christina (Maddie Ziegler), has a dangerous secret – and that Henry has devised a surprising plan to help. As his brainstormed rescue plan for Christina takes shape in thrilling ways, Susan finds herself at the center of it.  

MOVIE REVIEW:

Rumours has it that it’s the failure of The Book of Henry at the box-office that caused director Colin Trevorrow (Jurassic World) to lose his job at directing the last Star Wars instalment. Whether it’s true or not, you should at first ignored the bad buzz surrounding The Book of Henry.

The least you know about the movie, the more you are going to enjoy it. The Book of Henry is basically a compilation of family drama, tearjerker and suspense thriller. And the reason why critics hated it is likely because it’s a movie that goes against conventional tropes.  

Henry Carpenter (Jaden Martell from IT) is a precocious 11-year-old who helps to run the family finances and protecting his younger brother, Peter (currently Hollywood’s hottest young actor, Jacob Tremblay) from bullies during recess while their mother, Susan (Naomi Watts) works at the local diner and plays video games in her spare time. In short, Henry is the gifted, ideal son that every family hopes to have. 

If this is not enough, Henry who suspects his next door neighbour and classmate, Christina is being sexually abused by her stepfather starts to alert the authorities about the case. Unfortunately, his appeals are largely ignored as Christina’s stepfather is the local police commissioner and an upstanding member of the community.  

Now if we were to discuss theplotting further, it will definitely dampen your watching experience. You can’t deny though it defy traditional tones and plot development while at the same time, serves up a very interesting and dark journey the Carpenter family took to overcome grief and the message of making the world a better place which Henry emphasised. 

The Book of Henry is a well-acted character driven drama that looks like an adaptation from a YA novel but apparently originally written for the screen by Gregg Hurwitz. It’s no doubt a bold move from Trevorrow and Hurwitz so stop complaining about Hollywood’s constant reliance on tried and tested formulas and go watch The Book of Henry today.

MOVIE RATING:

Review by Linus Tee

Genre: Comedy
Director: Dominic Brigstocke
Cast: Sebastian Croft, Emilia Jones, Nick Frost, Craig Roberts, Kim Cattrall, Derek Jacobi, Kate Nash, Rupert Graves, Alex Macqueen
Runtime: 1 hr 33 mins
Rating: PG (Some Violence)
Released By: Shaw Organisation
Official Website: 

Opening Day: 12 September 2019

Synopsis:  The world’s best-selling children’s history brand is coming to cinemas this summer! Atti is a Roman teenager with brains but very little brawn. When one of his schemes falls foul of Emperor Nero, Atti is forced to join the army and sent to miserable, cold, wet Britain. Things go from bad to worse when Atti is captured by Orla, a feisty teenage Celt desperate to prove herself as a warrior. Meanwhile a furious Nero is determined to crush the British rebellion, led by Boudicca. As the Romans prepare for an historic showdown with the Celts at the Battle of Watling Street, the two new friends find themselves lined up on opposite sides of the battlefield.

Movie Review:

We asked ourselves: What is the point of this movie directed by Dominic Brigstocke? Is there a reason why we are watching this comedy on the big screen? And what exactly is “Horrible Histories”?

Turns out that we have been ignorant. The movie is based on a British TV series which uses comedy and musical sequences to tell stories on actual historic events. Rewind things a bit - the series is based on a series of children’s history books of the same name. The tone for these two mediums is similarly irreverent, and employs laughs to focu son the dark and gruesome aspects of history. Familiar topics would include the Stone Age to the post World War II era, where things got quite bloody.

Now it makes sense, because the protagonist of this film is a Roman teenager who isn’t a hunk as you’d expect. What he lacks in body mass is made up with brains. One of his clever ideas to get some quick bucks upsets the emperor, who sends him to Britain. There, he is captured by the Celts and eventually becomes involved in the Battle of Watling Street

Viewers who scored in world history would find this story engaging, and laugh at how it is played out on screen with comedy. Although the song and dance sequences aren’t grand, they are refreshing and will definitely milk a few chuckles. For the rest of us who have no clue about the important series of events that happened that era will have to settle with the gags that take place throughout the movie’s 93 minute runtime.

It is not difficult to understand what’s going on, and the funny way the story is told will keep you engaged. Adults will appreciate the humour (the lyrics of the catchy songs are particularly hilarious), while the young ones will laugh at the physical humour (someone falling into a mud pool can cheer you up on a moody day). You may even go home to find out more about what really happened in real life after watching the very accessible comedy.

While you may not know who Sebastian Croft and Emilia Jones are, Nick Frost and Kim Cattrall are familiar faces. Each cast member seemed to have a fun time on set, especially during the musical sequences where they can perform some cheesy dances like they did at prom. As long as you are not expecting an elaborate set with complicated choreography, these scenes are fun and enjoyable.

The same goes for the production values of this fairly straightforward movie. Do not go into the theatres expecting grandeur just because the story is about epic battles and large scale gladiator fights which happened during that time. The depictions are on a much, much smaller scale which does its job to make you laugh. This is an adequate comedy that doesn’t want too much from its viewers, just a few giggles which are enough to lift your mood for the day. Bring your kids to the cinemas to enjoy this lightweight production.  

Movie Rating:

(Just enough laughs to entertain and make you understand a bit about how bloody this part of history was)

Review by John Li