Genre: Comedy/Romance
Director: Zha Mu Chun
Cast: Zhu Ya Wen, Sandrine Pinna
Runtime: 1 hr 43 mins
Rating: PG13 (Some Violence)
Released By: Clover Films and Golden Village Pictures
Official Website: 

Opening Day: 26 September 2019

Synopsis: Meng Xiaoxian and Hebi were blissfully albeit secretly conducting a love affair while working as colleagues at the Yanhuang Bank when out of the blue, a newly issued workplace policy forbade co-workers from dating. If discovered, they both stand to lose their jobs, unless one of them bites the bullet and quits. With their relationship in jeopardy, the two must weigh their love against the stability of their high paying jobs. Meanwhile, an ATM located 300km away in Beartown suddenly breaks down; the lovers make a bet to see who deserves to keep the high paying job by saving more losses for the bank...

Movie Review:

Adapted from the 2012 Thai rom-com of the same name, ‘ATM’ finds two bank employees, who happen to be dating each other clandestinely, competing to recover the money that a malfunctioning ATM had paid out to whomever had used it one evening. Because the bank had a strict no-dating policy, whom the female member of the central couple happened to be tasked with enforcing no less, the agreement between them was that whomever lost the bet would quit the bank in order not to become a liability for the other and to preserve their relationship.

Taking over the roles once played by Chantavit Dhanasevi and Preechaya Pongthananikorn is Zhu Yawen and Sandrine Pinna respectively, and as the feuding couple Hebi and Meng Xiaoxian, have more than sufficient chemistry between them to make their bickering both amusing and endearing at the same time – particularly memorable is a sequence where each tries to seduce the other in a hotel room so as to feed him and her a sleeping drug meant for animals. Whereas Zhu tends to double down on the screwball lunacy, Pinna opts for sass and sexual appeal to carry her role, and both are committed enough to their own over-the-top performances to make each of their characters winning in their own ways.

But besides the couple themselves, the original ‘ATM’ also revelled in the quirkiness of the small-town denizens which they were eventually came to embrace. That same quality has also been carried over in this Mainland Chinese adaptation, which replaces Chonburi with the fictional town of Xiongren in Southern China. So named because its residents believe that the bear god watches over the town, Xiongren also therefore has a ritual in which the whole population parades around in bear suits. It was on one such evening that a previously nondescript ATM pays out twice the amount requested, sparking a desperate rush by the townspeople (who promptly undress from their costumes) to have some share of the unexpected windfall.  

Among the eccentric members of Xiongren which Hebi and Meng Xiaoxian will encounter are taxi driver Da Ta (Lu Ye), tattooist Hu Canlan (Wang Liang), game parlour owner Xiong Dazhuang (Wang Xufeng) and veteran gangster Old-Good-for-Nothing (Han Yanbo). Each of these encounters is milked for maximum screwball effect, and for good measure, there is even a romantic rival in local girl Xiong Mengyun (Xiao Fan) thrown in. Thanks to the solid ensemble, the madcap humour which unfolds at a breakneck pace hits the mark more often than not, especially since writer-director Zha Muchun often takes a go-for-broke approach to the movie.

Oh yes, more so than the Thai original, this version throws everything it can muster at its audience, including highly stylised title cards to mark each of the six chapters that the movie is divided into, sheer ‘mo-lei-tau’ jokes which probably Stephen Chow would have himself thought was too absurd, and even an overlong climax which features some real caged bears. None of it makes much sense at all, and you could say Zha is somewhat presumptuous in thinking that we could simply take this movie on his own terms, but there is an undeniably nutty charm to the proceedings if you’re simply willing to go along with its breakneck pace.

There is good reason why the earlier film went on to become one of Thailand’s top-grossing movies of all time, and we must say that not all that reason is retained in this made-for-China adaptation. Without that prior expectation from its predecessor though, ‘ATM’ still works as a sufficiently entertaining small-town comedy cum rom-com. Like we said, you’ll have to bear (pun intended) with its blatant disregard for realism and restraint, but as long as all you’re looking for is some undemanding slapstick humour, you won’t be disappointed by the reasonably diverting payout here.

Movie Rating:

(Not quite as charming as its Thai predecessor, this made-for-China adaptation that often goes-for-broke still has enough nutty humour to make for a reasonably diverting payout)

Review by Gabriel Chong 

Genre: Drama/Horror
Director: Ari Aster
Cast: Jack Reynor, Florence Pugh, Will Poulter, William Jackson Harper, Ellora Torchia, Archie Madekwe, Vilhem Blomgren
Runtime: 2 hrs 27 mins
Rating: R21 (Sexual Scenes and Violence)
Released By: mm2 Entertainment
Official Website: 

Opening Day: 19 September 2019

Synopsis:  Dani and Christian are a young American couple with a relationship on the brink of falling apart. But after a family tragedy befalls Dani, grief keeps them together, and Dani invites herself to join Christian and his friends on a trip to a once-in-a-lifetime midsummer festival in a remote Swedish village. What begins as a carefree summer adventure in a land of eternal sunlight takes a sinister turn when the insular villagers invite their guests to partake in festivities that render the pastoral paradise increasingly unnerving and viscerally disturbing. From the visionary mind of Ari Aster comes a dread-soaked cinematic fairy tale where a world of darkness unfolds in broad daylight.

Movie Review:

Whether you like it or not, there’s no denying that there is ambition in writer-director Ari Aster’s sophomore effort. Oh yes, like his debut ‘Hereditary’, Aster’s latest will definitely divide audiences into those who embrace his idea of “a break-up movie dressed in the clothes of a folk horror film” and those who loathe it for being an excuse to indulge in such horrific acts as suicide, mercy killings and religious hysteria. Yet as much as we found ourselves tending towards the former category, we weren’t so keen to lavish it with superlative praise – not only are there areas where it clearly owes its dues to such genre classics as ‘The Wicker Man’, we’ve also seen similar ground covered more recently in other pagan horrors like Netflix’s ‘Apostle’.

That the central relationship in ‘Midsommar’ is that of a teenage couple going through challenging times is no coincidence, given that Aster came up with the script while he was going through his own parting of the ways. Between them, Dani (Florence Pugh) is probably the more interesting one, having had her life turned upside down at the start of the movie by a tragic family event involving murder and suicide. Instead of being supportive, her boyfriend Christian (Jack Reynor) wishes only to break up with her, but cannot quite summon the courage to say the words. Likewise, Christian finds it hard to say no when Dani asks about the trip he and his fellow anthropology students intend to make to a rural community in Sweden, and eventually offers to take her along.

At close to two and a half hours, ‘Midsommar’ takes its time establishing the horrors of the nine-day solstice festival that happens only once every 90 years in the remote settlement of Halsingland. Besides Dani and Christian, the rest of the group comprising Mark (Will Poulter), Josh (William Jackson Harper) and Pelle (Vilhelm Blomgren) are welcomed warmly by the robe-wearing villagers who sing, dance, play the flute and wear flower crowns. It is tempting to think that the reception is due to Pelle’s familiarity with the commune, given that he had grown up with them, but suffice to say that there are much more sinister reasons why these outsiders are being so readily received, and for that matter, why Pelle had brought them here in the first place.

The first sign that something is not quite right is when two elderly villagers heave themselves off a cliff while the rest cheer them on, notwithstanding the conception of life which the community holds – i.e. 18 years of childhood, 18 years of pilgrimage, 18 years of work, and then 18 years as a village elder. To be sure, these teenagers are also guilty of missteps, such as Mark peeing on an ancestral tree, or Josh deciding to sneak in one night into the temple to take photographs of their ancient religious book, or Christian being unable to keep his eyes off one of the village girls; but each one of them is either individually or collectively given a variety of hallucinogens during their stay, in order to make their minds pliable to influence or their bodies yielding to control.

Like we said, the less you know about the movie, the better you’ll appreciate its twisted ways, including caged bears, pubic hairs in meat pies and even fertility rites. It is pretty extreme for the uninitiated, so consider that fair warning if you intend to sit through the slow-burn. But to Aster’s credit, it isn’t just gory and grisly for its own sake; rather, even as these scenes are clearly choreographed for cinematic horror, they are also calibrated to follow Dani’s evolution through the course of the movie. Though she is at first utterly disgusted by their beliefs and rituals, Dani grows to accept the community as family, in part too because Christian only goes more distant just when she needs him to help get through the toxic mix of trauma and disillusion.

In Pugh, Aster has found a sharp actress who portrays Dani’s emotional and psychological frailties with nuance and measure, especially as her character eventually finds reawakening and enlightenment within than outside the community. It is Dani’s journey which Aster roots his movie in, and Pugh lives up to the challenge of ensuring that the movie is a character-driven horror. What is more amazing than the teenage cast which Aster surrounds Pugh with is the 60 to 70 odd actors who make up the Hårga; not only do they look the part, they also manage in their own distinct ways to summon the right level of creepiness on cue to match the scene.

Still, there is no escaping the fact that ‘Midsommar’ will divide its audiences, so get ready at the very least to go into it with an open mind. Sure, it’s a bit of a stretch to believe that there could still be a community steeped in such archaic practices, but Aster grounds it in the possibility of how someone broken could find solace in such a community. It is also worthwhile to note that everything here takes place in broad daylight, without the reliance on darkness, shadows or jump-scares to elicit chills, and even if it won’t make you long for night to fall, it will creep you out nonetheless. As far as pagan horror is concerned, ‘Midsommar’ is as solid an entry as any, provided you have the guts for it.

Movie Rating:

(As accomplished a pagan horror as any, 'Midsommar' is also ultimately a slow-burn psychological drama that plays out in broad daylight)

Review by Gabriel Chong

Genre: Mystery/Crime
Director: Rian Johnson
Cast: Chris Evans, Daniel Craig, Ana de Armas, Jamie Lee Curtis, Don Johnson, Michael Shannon, Toni Collette, LaKeith Stanfield, Katherine Langford, Jaeden Martell
Runtime: 2 hrs 10 mins
Rating: NC16 (Some Drug Use and Coarse Language)
Released By: Encore Films and Golden Village Pictures
Official Website: 

Opening Day: 28 November 2019

Synopsis: Acclaimed writer and director Rian Johnson (Brick, Looper, The Last Jedi) pays tribute to mystery mastermind Agatha Christie in KNIVES OUT, a fun, modern-day murder mystery where everyone is a suspect. When renowned crime novelist Harlan Thrombey (Christopher Plummer) is found dead at his estate just after his 85th birthday, the inquisitive and debonair Detective Benoit Blanc (Daniel Craig) is mysteriously enlisted to investigate. From Harlan’s dysfunctional family to his devoted staff, Blanc sifts through a web of red herrings and self-serving lies to uncover the truth behind Harlan’s untimely death. With an all-star ensemble cast including Chris Evans, Ana De Armas, Jamie Lee Curtis, Don Johnson, Michael Shannon, Toni Collette, LaKeith Stanfield, Katherine Langford and Jaeden Martell, KNIVES OUT is a witty and stylish whodunit guaranteed to keep audiences guessing until the very end.

Movie Review:

There’s a certain appeal to whodunnit movies that always keeps the audiences coming. One would hazard it’s due to our inherent curious nature, as well as an intrinsic engagement of our own sleuthing skills that keeps us addicted. It is this successful formula that has birthed a few renowned genre writers - such as Sir Arthur Conan Doyle, and of course, Agatha Christie.

It is the second that director Rian Johnson has drawn his inspiration from for his latest project Knives Out. Shaped in the great tradition of a murder mystery filled with diabolical characters, the storyline is usually led by a talented detective, and is often one filled with surprising twists. In this case, Daniel Craig plays the charming role, dripping with a southern accent and yet with a name of French origin - already the tongue-in-cheek begins.

He is Benoit Blanc, a celebrity detective who has cracked some of the most high-profile cases no other has solved. His newest case - the debatable suicide of Harlan Thrombey (Christopher Plummer), who took knife to throat after his 85th birthday. But the bigger mystery might be the anonymous client who hired the detective in the first place, because Benoit has only received written instructions and an envelope of cash.

Past the heavy compensation, Benoit is more intrigued by his client’s veiled motives, and so he slips into the investigations with the local police.

For Harlan Thrombey, the cause of death is of interest as a large inheritance is at stake. A successful mystery writer himself, his incredible mansion and entire authorship legacy is now up for claims.

Will his youngest son Walter (Michael Shannon) be the natural choice to take over the business, given he runs his father’s publishing company? Or will the steely eldest Linda (Jamie Lee Curtis) be more worthy of taking charge? And let’s not forget the free-spirited daughter-in-law Joni (Toni Collete), along with grandchildren Jacob (Jaeden Martell), Meg (Katherine Langford) and Ransom (Chris Evans). If the list of actors doesn’t impress you in this grand cast, then the characters themselves certainly will.

Like the 1985 Clue, Johnson loads his characters with idiosyncratic quirks, and of course, each of their strengths hide a potentially deadly motive. Linda’s “self-made” business came with investments from her father, while Walter’s position in the company was already on the line during a discussion the night before the party. And Joni’s accounting “mistake” was certainly noticed by the patriach. And who better to reveal all of their true nature, than the longtime house nurse Marta (Ana de Armas)?

The kind-hearted girl is picked by Benoit as his sidekick, and because she literally throws up after she lies, is perfect as an organic litmus test and lie detector. But is she too good to be true?

Johnson, who also wrote the script, riddles it with gags. The optical ones are a hoot, such as the homage to Angela Lansbury and Game of Thrones - the latter a perfect emblem nod to the tussles within the family, while other signifiers challenge our perception, like the birthday party accounts that don’t match visually. It never gets heavy-handed and proves Johnson’s love for the genre as he crafts Knives Out as quality entertainment.

But Johnson also injects satire - full of Trump era digs naturally - such as the family’s inability to place Marta’s nationality and the police calling her “the help”. The petulant nature of the family underscores their blind eye to privilege, one which in the real-world, has had serious implications. Johnson deals all of this with enough levity to keep things enjoyable, but also some credible weight to denote the issues.

Sadly, some of the characters are not given as much opportunity to develop. Martell and Langford are severely underutilised as the grandchildren, given how distinctive their characterization as polar camps are. And the incredible LaKeith Stansfield disappears into the background as Detective Elliot, when he could have been an excellent counterweight to Craig.

But the fussing is really because Knives Out is already such a breath of fresh air in itself, that we wish for more to watch. The lack is understandable given the massive cast and doesn’t take away the flick in itself - Johnson’s film is still pointedly fun and a rambunctious adventure.

Movie Rating:

(A modern murder mystery with a stellar ensemble cast - the chips are all in for an entertaining watch, with all kinds of humour to appease its viewers)

Review by Morgan Awyong

SYNOPSIS: Armed with awkward questions and zero self-awareness, Zach Galifianakis hits the road to find famous interview subjects for his no-budget talk show. 

MOVIE REVIEW:

Between Two Ferns is a talkshow originated from the internet that features celebrities (liked Ben Stiller, Brad Pitt and even Obama) being grilled by host Zack Galifianakis. It’s often funny, edgy and awkward and it’s made up of jokes that are consider not safe for television. Don’t just take my word for it, just go to YouTube, do a search and you can basically binge-watched all the episodes. 

In the movie version, Zack Galifianakis and his four misfits crew namely his assistant Carol (Lauren Lapkus), his cameraman Cam (Ryan Gaul) and boom operator Boom (Jiavani Linayao) are taking the Between Two Ferns show on the road after Zack "temporarily killed" Matthew McConaughey in his dilapidated studio. Tasked by Will Ferrell who promised a network talkshow for him, Zack must deliver ten sessions of celebrities interviews to him at his Funny Or Die office before the stipulated time. Without a concrete plan and with funds running out, will Zack and his crew succeed in their mission?  

Unlike other expanded or reimagined “movie version”, Between Two Ferns: The Movie works perfectly fine on Netflix. In fact, it’s the best platform out there for comedy writers and filmmakers to put up their stuff without breaking the bank. The movie version continues to grill celebrities with cringe-worthy and embarrassing questions liked asking when did Brie Larson had her first period to why Paul Rudd has to hide his Jewishness to insinuating Benedict Cumberbatch is a bad actor if not for his English accent. 

The jokes are offensive but if you are a fan of the original web series, you will love every minute of it. Inbetween the interviews, the road trip is padded with mostly the mistrust issue the crew had with Zack. There is a bit of story and message hidden within the laughs but they are too brief to make much of an impact and honestly, fans are here for the interviews if you get what I mean. All in all, the flick is wonderfully directed and written by Scott Aukerman, the same guy who did the web series. Between Two Ferns: The Movie guarantees an 82 minutes of pure silliness and outrageous one-liners that you should check it out like right now.  

MOVIE RATING:

Review by Linus Tee

Genre: Comedy/Drama
Director: Tian Yusheng
Cast: Peng Yuchang, Wang Talu, Wei Daxun, Zeng Mengxue
Runtime: 1 hr 47 mins
Rating: PG
Released By: mm2 Entertainment
Official Website: 

Opening Day: 26 September 2019

Synopsis: Gao Yuan (Peng Yuchang), a high school student, diagnoses with muscular dystrophy and learns that his life is running out of days. He decides to achieve his only wish of being a true man before he dies. Knowing that, his best friends, Xu Hao (Wang Talu) and Zhang Zhengyang (Wei Daxun), struggle to make Gao Yuan’s last wish come true.

Movie Review:

This is an odd movie about friendship. We are introduced to three dudes who became best friends because of their love for basketball. One of them becomes unwell and is bed bound. It turns out that he is suffering from muscular dystrophy and, well, won’t have much time to live. Sounds like a melodrama? Wait till you hear what happens along the way.

There is this scene with him lying on the hospital bed while the camera moves from his head down. We were expecting to see him waking up from a wet dream. Luckily for us, he only wetted the bed, signifying that this movie won’t go into anything too raunchy. We still weren’t quite sure what direction this is going to head.

Enter the sick guy’s parents, who, of course, want the nothing but the best for their son. The father sees a documentary on TV and comes up with a wild idea of strapping his son to his back while running marathon. As you’d expect, things don’t end in a happy state and there is this sequence when the boy is stuck in a drain. This becomes a piece of sensational news. Yet, we don’t feel anything tearjerking about this. It feels strangely like a comedy, considering how the film is progressing.

Need more examples of why this Mainland Chinese production feels weird? The two healthy friends want to fulfil a promise of going to the beach with their sick buddy. After some heartwarming moments with a traffic police who helped pave the way, the three guys find themselves in the waters and alas, the unwell one drifts away. The scene plays out like a gag, which feels a little inappropriate.

If you are wondering, it doesn’t stop there. The 107 minute movie goes on with a series of plot developments which turn out like a series of oddball gags. It involves the two friends trying to get a girlfriend for their buddy who wants to experience falling in love. This forms the basis of the movie, and while the extent they go to get a girl is impressive, the situations are goofy more than anything.

When the movie finally gets serious, it works. There is a extended scene where you hear the dying character’s voiceover and you may shed a few tears reflecting on how the loved ones in your life are perhaps the very reason you stay alive. The closing sequence of real life friends also brings the movie to an apt conclusion.

This might have been a more engaging viewing experience if the jokes didn’t feel out of the place. And if the main cast of Peng Yuchang (he is endearing enough to carry off the main role though), Wang Talu (he tries to emote in some scenes, but they don’t work very well) and Wei Daxun (his curly hairdo and slapstick acting is a tad distracting) didn’t seem like they were having too much fun on set.

Movie Rating:

(If you aren’t distracted by the bag of oddball gags, this is actually a heartwarming tale about the things you’d do for friends)

Review by John Li

Genre: Horror/Mystery
Director: Stanley Kubrick
Cast: Jack Nicholson, Shelley Duvall, Scatman Crothers, Danny Lloyd, Barry Nelson, Philip Stone, Joe Turkel, Anne Jackson, Tony Burton
Runtime: 2 hrs 26 mins
Rating: M18 (Nudity)
Released By: Warner Bros
Official Website: 

Opening Day: 31 October 2019 

Synopsis: Academy Award winner Jack Nicholson and Shelley Duvall star in director Stanley Kubrick's disturbing adaptation of Stephen King's blockbuster horror novel. When writer Jack Torrance (Nicholson)--who has a history of alcoholism and child abuse--takes a job as winter caretaker for a hotel high in the Rocky Mountains, he, his wife (Duvall) and their psychic young son will be isolated until spring. But once the first blizzard closes the road out, the accumulated power of evil deeds committed at the hotel begins to drive Jack mad. Now there may be no escape for his wife and son in this haunting madness, memory and family violence.

Movie Review:

This 1980 psychological film helmed by Stanley Kubrick is an often recorded title in many ‘Best Horror Movies’ list, and rightly so. It is one of those films which allow you to fully immerse in the mood – simply because most movies made before the age of CGIcame along have the power to make viewers appreciate every visual and sound seen and heard on screen.

Based on Stephen King’s 1977 novel, the protagonist is a father who is an aspiring writer and also unfortunately, a recovering alcoholic. He takes on a job as the off season caretaker of the isolated hotel. He moves in with his wife and young son when everyone moves out during the winter season, and if you don’t already know, strange things start happening.

The title refers to a psychic ability to see happenings from the past. In this case, the kid is the character who possesses this power, and he comes face to face with the hotel’s horrible past. Things start getting crazy with his father becomes supernaturally affected, and becomes more insane by the day. It becomes a game of survival as mother and son try to escape the mad man’s dangerous behaviour.

Watching this film almost 40 years after its original release, you realise what really constitutes good acting. The leading cast members deliver performances that will put some of today’s ‘actors’ to shame. The ever perfect Jack Nicholson tackles a role that seems to be tailor made for him, while Shelley Duvall is a scream queen that makes you feel the increasing danger she is facing. Danny Lloyd, the young actor who epitomises what fear looks like, exudes screen presence that not many kid actors have today.

It is a smart move by the movie distributor to re release this film (Singaporeis the only country in Asia to re release the classic) in time for its sequel directed by Mike Flanagan and starring Ewan McGregor. In the sequel, we see how the young boy has grown up and to face psychological demons from the past.

Even if you have seen this movie, it is likely that it was viewed on a small screen. Hence, this is a good opportunity to catch it on the big screen and experience the film that has spawned countless parodies and homages in popular culture. You should have seen images in movies and ads referencing signature shots from Kubrick’s film: twin girls standing creepily in a hallway, blood spilling out of elevator doors, a scary man sticking his head through a hold in the door, and the back view of a boy riding a tricycle. You can now see what inspired those shots on the big screen.

It is also a chance for you to remember how a good horror movie was made in the past. Today’s horror flicks stuff audiences with big shock moments, elaborate back stories and explanations, and inconsequential monsters and spirits which are unstoppable. Back in the good old days, filmmakers took their time to develop a good story, and in this case, Kubrick and his team took 146 minutes to fully flesh out the screenplay. Yet, you won’t feel the length. What you’d walk away instead is a gleeful dread and anticipation of its sequel, which is adapted from King’s 2013 novel.

Movie Rating:

(Even if you have watched this classic countless times, it is a good chance to catch it on the big screen to remember how a good horror flick should be made)

Review by John Li

Genre: Adventure/Drama
Director: Daniel Lee
Cast: Jing Wu, Ziyi Zhang, Yi Zhang, Boran Jing, Ge Hu, Jingchun Wang, Lin He, Long Chen, Xiaofeng Liu, Quni Ciren, Lavant Rob, DopGyal, Jackie Chan
Runtime: 2 hrs 5 mins
Rating: PG (Some Intense Sequences)
Released By: Golden Village Pictures
Official Website: 

Opening Day: 10 October 2019

Synopsis: In 1960, the Chinese National Mountaineering Team launched an expedition to Mount Everest. and reached the summit from its north side for the first time in human history but failed to leave concrete evidence. Fifteen years later, former mountaineers FANG Wuzhou (WU Jing) and QU Songlin (ZHANG Yi) were reassembled with a new generation of mountaineers including LI Guoliang (JING Boran) and YANG Guang (HU Ge) to measure the world’s highest with the help of meteorologist, XU Ying (ZHANG Ziyi) -- Fang’s beloved woman. It is a life and death mission for everyone and the extreme climate favors none.

Movie Review:

Think you have seen enough mountaineering movies? Older viewers would remember Cliffhanger (1993) and Vertical Limit (2000), while recent notable titles include 127 Hours (2010) and Everest (2015). This Chinese production takes things to a whole new level by coinciding its theatrical release with China’s 70^th National Day celebrations.

And how apt it is to adapt this real life event where a trio of Chinese mountaineers reached the summit of Mount Everestin 1960, but things did not turn out all joyous because they did not provide photographic evidence to make it an official achievement. Oh, the shame! Living in regret, the team continued looking for a chance to redeem themselves. In 1975, a younger team was formed to climb the treacherous mountain and the older men get to play mentors.

Patriotism is on full mode in this 125 minute movie directed by Daniel Lee (Dragon Blade) and produced by Tsui Hark (Detective Dee: The Four Heavenly Kings). The characters unanimously have one goal in mind, and that is to bring glory to the country and mark its place on Earth’s highest peak above sea level.

As China’s 70^th birthday present, the filmmakers got the biggest names in Chinese showbiz to headline the action blockbuster. Wu Jing (The Wandering Earth) is the man of the hour, allowing the superstar to exude his signature manliness (this is for fans of Wolf Warrior 2). Zhang Yi (Operation Red Sea) is the man who has been living in shame for a mistake he unintentionally made, while Zhang Ziyi (Godzilla: King of Monsters) plays a meteorology researcher who has a back story with Wu. Younger actors include Jing Boran (Monster Hunt 2) who plays an earnest photographer and Hu Ge (1911) is an enthusiastic member who wants to climb the mountain despite his genetic disorder. Jackie Chan (The Knight of Shadows: Between Yin and Yang) cameos as an older version of one of the characters.

The action sequences are exhilarating choreographed, and you will be hanging on to your seats hoping that the characters will survive the ordeals. It also makes you wish you will never have to go through such difficult situations where your fitness and persistence are put to the test. The physical and mental hardship definitely isn’t something us mere mortals can endure. The cast have given their all to be part of this movie, and you can tell that the shoots were probably not the most comfortable and relaxed sessions.

However, the movie also tries a little too hard to make you feel for the characters with its melodrama. Inserted between the engaging action scenes, these side stories do not work well as they spoil the momentum of the movie. Furthermore, the result isn’t optimal as we did not walk out of the theatre feeling that the romance between Zhang and Wu worked.

What is spot on though, is the nationalistic spirit that the movie has conveyed. You can only imagine how the Mainland Chinese would feel about the epic achievements of their countrymen.

Movie Rating:

(The exhilarating action sequences are the highlight of this patriotic movie, not the unecessary melodrama)

Review by John Li

SYNOPSIS: In 1988, Philadelphia police officer Thomas Lockhart (Boyd Holbrook), hungry to become a detective, begins tracking a serial killer who mysteriously resurfaces every nine years. But when the killer's crimes begin to defy all scientific explanation, Lock's obsession with finding the truth threatens to destroy his career, his family, and possibly his sanity. Directed by Jim Mickle and also starring Michael C. Hall and Cleopatra Coleman, IN THE SHADOW OF THE MOON is a genre-blending psychological thriller that examines the power of time, and how its passing can either bring us together or tear us apart.

MOVIE REVIEW:

Consider this fair warning for those who don’t like time-travel movies – this latest Netflix thriller rests on that very science-fiction concept, and for better and for worse, avoids trying to explain too much of how exactly it works; instead, as its title suggests, the whole phenomenon of travelling back and forth in time is apparently enabled by some lunar event which takes place every nine years, which is also why the movie is set in 1988, then 1995, then 2006 and finally 2015.

Though we are only told in the last act just what the enigmatic female serial killer whom police officer Thomas Lockhart (Boyd Holbrook) is pursuing is after, the attentive viewer will probably already figure that out much earlier on. After all, it should come as no coincidence that the movie opens in 2024 with the horrific aftermath of what looks to be a terrorist attack, before rewinding to 1988 when Thomas was a young and ambitious Philadelphia beat cop who is called into action one night when a series of murders happen where its victims have all spontaneously bled out.

Then eager to make detective, Thomas urges his partner Maddox (Bokeem Woodbine) to pursue a shaven-headed African-American woman in a blue hoodie who is responsible for the tell-tale puncture wounds on the neck of those who had died. When he eventually confronts the suspect, Thomas is surprised that she knows more about him than would have been possible, including the fact that he was expecting a daughter. But before he can find out more, Rya (Cleopatra Coleman) leaps off a subway platform onto the path of an oncoming train, and is presumed dead when her dismembered body is found under its tracks.

Fast forward to 1995, and Thomas has now made detective while raising his precocious daughter Amy (Quincy Kirkwood) on his own. On that very day he had thought he had ended Rya’s string of murders, yet another series of killings take place, each one of which is committed in exactly the same manner. It should not come as any surprise that it is not in fact a copycat killer on the loose, but that Rya has somehow returned from the dead; it is also during this time that Thomas discovers Rya is able to travel through time, and that the physicist Rao (Rudi Dharmalingam) who had been spouting some wild theory about lunar positioning is not so crazy after all.

Rather than fill in the blanks, co-writers Gregory Weidman and Geoffrey Tock bring us forward another nine years to 2006, where Thomas is now even more obsessed with apprehending Rya, so much so that he has lost his job and is estranged from Amy (now played by Sarah Dugdale). Just so you know how long you’ll have to wait for the movie to reveal its setup, it is during this third go-around with Rya that it is clearer what Rya is up to, and also how Rya has been going back and forth through time. Without giving anything away, let’s just say that Rao has a bigger part to play in all of this than it may initially seem.

There is no big-bang climax so to speak in 2015, even as there is a kidnapping and high-speed chase during this last substantive chapter; in fact, director Jim Mickle chooses to play up the poignancy of these moments, delivering an unexpectedly heartfelt message about letting go of one’s obsessions in order to fully live in the present. Rya’s agenda is also played for social commentary, in how the seeds of discord and discrimination can germinate and fester into full-blown catastrophe many decades down the road. Especially in the context of recent homegrown terrorist acts in the United States, there is certainly topical relevance to its narrative.  

Like we said, time travel has never been an easy and straightforward concept, and rather than try too hard to disentangle some of the logical conundrums, this film chooses to give just enough so you can appreciate its narrative construct. As a streaming title, we must say we were fairly entertained by the puzzle which Mickle has set out for his audience to unravel, and it doesn’t hurt that Holbrook and Michael C. Hall (from TV’s ‘Dexter’) are with us on this time-travelling adventure. If you’re in the mood for some genre-bending stuff, what with the mix of serial killer thriller and sci-fi, then you’ll find yourself reasonably entertained by this high-concept experiment..  

MOVIE RATING:

Review by Gabriel Chong

SYNOPSIS: Told from a wildly original, fresh and modern perspective, Booksmart is an unfiltered comedy about high school best friends and the bonds we create that last a lifetime. Capturing the spirit of our times, the film is a coming of age story for a new generation. 

MOVIE REVIEW:

Actress turned director Olivia Wilde’s (Tron: Legacy, Cowboys & Aliens) directorial debut is a spin on the raunchy coming-of-age story which Hollywood is fond of doing. Instead of boys or man-boys, Booksmart tells the story of BFFs, Molly (Beanie Feldstein) and Amy (Kaitlyn Dever) and their last night before graduation. 

Molly and Amy are two best friends who has been so focused on their studies that they forgot how to party and have fun. So, in a blatant attempt to prove their peers wrong, the two friends decide to attend a graduation party held by their schoolmate Nick. Expectedly, things went south and our two friends discover that there is more at stake than just sexuality and dreams.   

Consider the original screenplay was written and revised by different writers over a decade, in the hands of Wilde, Booksmart turned out to be a laugh-out-loud, often insane look at female friendship. From the perspective of Molly and Amy alone, there’re so much themes being discussed here though it’s often peppered with crude humor and vulgarities courtesy of Molly. First there’s Amy’s crush on a fellow cool classmate, Ryan. Amy by the way has come out since the tenth grade but though proud of her own sexuality, she has a problem with romance.     

Molly on the other hand is the typical overachiever and overconfident young lass who thought Harvard and Yale is everything but apparently not realizing her fellow peers whom she thought has wasted their lives away are also going places liked Google and Columbia. Then there is a time-bomb hidden inbetween their friendship, Amy is secretly finding Molly too controlling and manipulative that she is going away to Africa to do charitable works for a year.       

While many compared this to Greg Mottola’s Superbad (coincidentally starring Feldstein’s real-life brother, Jonah Hill), Booksmart relies less on silly gags and gross-out humor. Most of the laughs are derived from the rapid-fire conversations between Molly and Amy. The writing is witty and spot-on and the chemistry between Feldstein and Dever is contagious. The rest of the supporting cast are fantastic as well while the adults cast including Wilde’s partner, Jason Sudeikis, Lisa Kudrow and Will Forte have very limited screentime.  

For a flick about teens, Booksmart for sure is not anything groundbreaking. Yet it’s smart and genuine enough to bring in the laughs, a strong feminist message and do all nerds proud. There’s even a hilarious stop-motion segment that features Barbie dolls on drugs. We definitely have no issue recommending Wilde’s debut but for those who find LGBT theme a bit offensive, then you need to approach Booksmart with caution.   

SPECIAL FEATURES:

Director Olivia Wilde provides an insightful Audio Commentary on the story, cast performances and many more. 

Three brief Deleted Scenes are included. 

Booksmart: The Next 'Best High School Comedy is a 17 minutes making of.

Pliés and Jazz Hands: The Dance Fantasy takes a behind-the-scene look at one of the movie’s key sequence.

Dressing Booksmart talks about the movie’s wardrobe in addition to a Photo Gallery and Booksmart Theatrical Trailer.

AUDIO/VISUAL:

Booksmart bluray features a solid visual presentation where every detail, intended color and skin tones are projected richly on screen. The DTS-HD Master Audio 5.1 offers impressive music tracks and solid balanced dialogue.  

MOVIE RATING:

DVD RATING :

Review by Linus Tee

SYNOPSIS: TOLKIEN explores the formative years of the renowned author’s life as he finds friendship, courage and inspiration among a fellow group of writers and artists at school. Their brotherhood strengthens as they grow up and weather love and loss together, including Tolkien’s tumultuous courtship of his beloved Edith Bratt, until the outbreak of the First World War which threatens to tear their fellowship apart. All of these experiences would later inspire Tolkien to write his famous Middle-earth novels. 

MOVIE REVIEW:

For a biopic about the esteemed English writer, John Ronald Reuel Tolkien, Tolkien unfortunately runs at a staggering 112 minutes yet fails to present a thoughtful picture of how J.R.R. Tolkien ends up being the father of modern-day fantasy literature.   

To its credit, the biopic takes its time to put together the struggles of Tolkien starting from his orphaned life as a student at King’s Edward School to meeting the woman of his life- Edith (Lily Collins). And most important of all, his friendship with his three buddies, Rob, Geoffrey and Christopher which in turn helped to shape his life and future literary works.  

Strangely the story credited to David Gleeson and Stephen Beresford didn’t really delve into how Tolkien develop his creative writing. It seems to imply he got the inspiration for Lord of the Rings and The Hobbit from the dreadful battlefields he was thrown into as a young Lieutenant during WWI or the plentiful discussions with his fellow intellectual friends or simply he was a gifted man blessed with knowledge of ancient languages.  

In fact, the entire biopic reveals virtually nothing sensational, exciting or Wikipedia has left out. Tolkien’s troubling relationship with his guardian, Father Francis Morgan (Colm Meaney) is largely ignored in the end and the same goes to one of his benefactors, Professor Joseph Wright (Derek Jacobi). Ultimately, Tolkien prides in crafting a believable love story between Tolkien and Edith as much of the runtime is devoted to that. Certainly it helps that Nicolas Hoult and Lily Collins are both solid as the two leads. 

It’s definitely a missed opportunity with the storytelling very much a letdown not because the Tolkien estate never endorsed it but the filmmakers never take much risk on the subject matter. All his religious beliefs and his friendship and rivalry with writer C.S. Lewis are conveniently left out as the movie ends abruptly with Tolkien writing The Hobbit. In the end, Finnish director Dome Karukoski’s Hollywood debut is a drama filled with rich production values, endearing cast performances but lack the spark to make the biopic glows. 

SPECIAL FEATURES:

If you love the movie and desire knowledge of the making of then you shouldn’t miss the Audio Commentary with director Dome Karukoski. Just beware Karukoski takes his time to digest his thoughts. First Look is a standard 12 minutes behind-the-scenes feature that has the cast and crew discussing the movie. The disc also comes with 7 Deleted Scenes and a Gallery. 

AUDIO/VISUAL:

Colours are rich, contrast is good and generally the earthy-looking tones suit the movie well. As this is one flick that features lots of dialogues, we can only conclude it’s clear and concise on the whole. What really stands out in the DTS-HD audio track are the handful of battle scenes which feature deafening explosions and surround sound effects.  

MOVIE RATING:

DVD RATING :

Review by Linus Tee