REAL LIFE TO REEL LIFE - INTERVIEW WITH FREDERIC CHAU FROM MADE IN CHINA Posted on 17 Nov 2019 Made in China tells the story about François, a young French-Chinese photographer who hasn’t set foot in Paris’ Chinatown or even talked to his father Meng since their violent dispute 10 years ago. He avoids all questions about his origins and even pretends he was adopted. Things change the day he learns he is going to be a father. Conceived by and starring Fr&eacut ... more

Genre: Thriller
Director: Leigh Whannell
Cast: Elisabeth Moss, Aldis Hodge, Storm Reid, Harriet Dyer, Oliver Jackson-Cohen 
Runtime: 2 hr 5 mins
Rating: M18 (Violence and Some Coarse Language)
Released By: UIP
Official Website: 

Opening Day: 27 February 2020

Synopsis: Trapped in a violent, controlling relationship with a wealthy and brilliant scientist, Cecilia Kass (Moss) escapes in the dead of night and disappears into hiding, aided by her sister (Harriet Dyer, NBC's The InBetween), their childhood friend (Aldis Hodge, Straight Outta Compton) and his teenage daughter (Storm Reid, HBO's Euphoria). But when Cecilia's abusive ex (Oliver Jackson-Cohen, Netflix's The Haunting of Hill House) commits suicide and leaves her a generous portion of his vast fortune, Cecilia suspects his death was a hoax. As a series of eerie coincidences turns lethal, threatening the lives of those she loves, Cecilia's sanity begins to unravel as she desperately tries to prove that she is being hunted by someone nobody can see.

Movie Review:

We are glad The Dark Universe isn’t materialising. Remember when Universal had plans to launch a cinematic universe of its beloved monsters like Dracula, Frankenstein, The Mummy and The Invisible Man? The studio attempted to psych us up with Dracula: Untold (2014) and The Mummy (2017), but both movies were so dull and dreary, let’s just pretend those two productions never happened.

This science fiction horror flick, which is branded as a contemporary adaptation of HG Wells’ novel, was supposed to be part of the film franchise, with Johnny Depp playing the titular character. Luckily for us and the studio, this slickly made film is anything but a by the books exercise in movie making. In fact, the end product is an intense and scary experience that will keep you engaged for its entire 125 minutes.

Cleverly incorporating elements which are relevant in the #MeToo era, the female protagonist is Cecilia (a wonderful performance delivered by Elisabeth Moss), who is unfortunately a victim of domestic abuse. The violent dude is a successful tech wizard (Oliver Jackson-Cohen who gives his best given the limited screen time), and the opening sequence sees Cecilia escaping their beautiful home located on a picturesque coastal area by the sea. After the guy reportedly commits suicide, strange things start happening and Cecilia has every reason to believe that instead of staying dead, he has instead become invisible to stalk her in the scariest ways possible.

Helmed by Leigh Whannell, who is known for writing James Wan’s films like Saw (2004), Insidious (2010), and Insidious: Chapter 2 (2013), the Australian filmmaker approaches this delicate topic with maturity and sensibility. Never once does the movie belittle the trauma that female victims go through when people don’t believe them when they talk about their abuse. Instead, he channels this toxic energy into rage and determination as seen from Cecilia’s perspective. And Moss does a perfect job of relaying the emotions.

The 37 year old actress is no stranger to playing characters similar to Cecilia. The strength and no nonsense attitudes were already evident in her performances from critically acclaimed TV series Mad Men and The Handmaid’s Tale. Watching her performance on the big screen in this film just testifies that hell has no fury like a woman scorned. You don’t want to mess around with Cecilia. As the film progresses to its very satisfying ending, you’ll want to celebrate the woman who fought against all odds to emerge triumphant.

The supporting actors also deliver credible and gripping performances. Aldis Hodge plays Cecilia’s childhood friend who provides her shelter from the bad guy, while Storm Reid portrays his daughter who also gets subjected to quite a bit of terror in the house. Harriet Dyer plays Cecilia’s sister who is on the brink of not believing her, while Michael Dorman is a sleazy lawyer who also happens to be the abuser’s brother.

This movie is a refreshing and thoughtful production that doesn’t resort to blood and gore to scar you. Clever camera angles and red herrings are aplenty, and they will keep your eyes glued on the screen. You’ll never know when The Invisible Man will appear to do some really nasty stuff.

Movie Rating:

(A clever and relevant take on #MeToo elevates this horror movie featuring a bravura performance from the fearless Elisabeth Moss)

Review by John Li

Genre: Comedy
Director: Julien Abraham
Cast: Frédéric Chau, Medi Sadoun, Julie De Bona, Steve Tran
Runtime: 1 hrs 28 mins
Rating: PG
Released By: Shaw Organisation
Official Website: 

Opening Day: 21 November 2019

Synopsis: Francois, a young French-Chinese photographer, hasn’t set foot in Paris’ Chinatown or even talked to his father Meng since their violent dispute 10 years ago. He’s turned the page. He avoids all questions about his origins, and even pretends he was adopted... until the day he learns he is going to be a father! He realizes he has to get back in touch with his roots and come to terms with his past. Pushed by his wife Sophie, he finally decides to go see his dad and tell him the good news. It’s time to go back to Chinatown! His quest to reconnect with his roots is going to be tougher than he thought!

Movie Review:

Asians (in particular, the Chinese) have been getting quite a bit of spotlight in mainstream cinema recently, thanks to hits like Crazy Rich Asians (2018) and The Farewell (2019). Are our lifestyles as flamboyant as Henry Golding’s Nick Young, or as theatrical as Awkwafina’s Billi Wang? For most of us, it is a low key affair, with mini episodes of drama enough to last a lifetime.

In this comedy drama directed by Julien Abraham, what strikes us is how relatable the protagonist is. What he experiences throughout the 88 minute movie are life events that most of us have gone (or are going) through. They are not exactly spectacular events, but they are enough to last us a lifetime. The only difference is how the story takes place in France, a country which some of us may deem foreign.

The central character is François (played by a very likeable Frédéric Chau), a France-born Chinese man who has a soured relationship with his immigrant father. François is about to become a father, and he decides to come to terms with his heritage. What better way to do this than to visit his father at his home in Paris’s biggest Chinatown. What follows is a series of awkward events which may be funny to watch, but you will not want to go through.

The jokes which take a dig at stereotypes (Chinese speak strangely accented French and enjoy eating dog meat) are chuckle worthy, and remind us that we still live in a world where caricatures exist. Whether they cause divides or bond people is worth discussing, but seeing the characters in the film embrace differences is heartening. While we may not be familiar with the culture setting in France, it brings about questions of how Chinese live in harmony with the French, and how immigrants and their off springs are part of the ecosystem.

When viewed as a piece of entertainment, this film provides just the right amount of laughs. François’s friend Bruno (Medi Sadoun) is the main source of comic relief. Other supporting characters played by Asians are welcoming as well – scenes featuring familiar Chinese tunes and sights like a dragon dance parade will make you smile. The non Asian characters are less developed, but that’s alright because the focus is, after all, the Chinese.

Chau, who was involved in the conceptualisation of the story, lends authenticity to a believable character. If you are a thirty something male who is forming a family and is concurrently trying to connect with the rest of your extended family, this is a story that will speak to you. When the film ends on a happy note (the scene at the photo studio is especially endearing), you know that there will be challenges in the years ahead. Yet, with the right attitude and your loved ones’ support, you know things will be alright. And we think that’s what François is feeling before the credits start rolling.

Movie Rating:

(This relatable story that takes place in a foreign hits the right comedic notes)

Review by John Li

Read our interview with Frédéric Chau

Genre: Drama
Director: Lai Meng-Chieh
Cast: Mason Lee, Shao Yu-Wei, Tsai Jui-Hsueh
Runtime: 1 hr 42 mins
Rating: PG13 (Some Nudity)
Released By: mm2 Entertainment
Official Website: 

Opening Day: 14 November 2019

Synopsis: Have you ever experienced a teenage romance that hurts? Jiu Bing (Mason Lee) has been in the friend zone of Bo He (Shao Yu-Wei) since he was twelve. Even though he tried everything in order to win her heart, he is being friend zoned by her. When working as a part-time pace runner, Jiu Bing met Xia Tian (Tsai Jui-Hsueh). By chance, they later became internet celebrities. After placing Bo He as his priority for a long time, Jiu Bing gradually realised the role he plays in Bo He’s life, and has finally found where his heart belongs to. 

Movie Review:

It all started with You Are The Apple Of My Eye (2011). From then, audiences have been gotten used to Taiwanese romantic comedies with extremely good looking people falling head over heels with each other, indulging themselves with exaggerated notions of love and realising that life isn’t a bed of roses. Few have stood out from the crowd, and fortunately, this one does a decent job – thanks to its endearing lead actors.

Adapted from Song Xiaojun’s novel “Pace Runner”, the concept is interesting. Our protagonist is Jiu Bing, a university student and part time pace runner (played charmingly by American born Taiwanese actor Mason Lee, who is better known as critically acclaimed director Ang Lee’s son) who has sworn to protect his childhood friend Bo He (a very likeable Shao Yu Wei) forever.

When he is forced to live off campus, their friendship takes a toll when she begins falling for the school jock. Enter the landlord’s eccentric daughter Xia Tian (a cute but not irritating Tsai Jui Hsueh), who is trying very hard to hide her own feelings for the clueless dude while helping him win Bo He’s affection.

As a mainstream piece of entertainment, this movie helmed by first time director Lai Meng Chieh is easy to like. There are funny moments (courtesy of Jiu Bing’s sidekicks), saccharine sweet scenes (Shao and Tsai get their fair share of screen time with Lee), as well as inspirational moments (in a memorable sequence, Jiu Bing enthuses his male schoolmates to strip naked to intimidate the playboy who hurt Bo He). With these elements in place, the 102 minute doesn’t feel dreary.

It sure helps that the lead cast is a pleasant bunch. After playing a slew of supporting roles in movies like The Hangover Part II (2011), Billy Lynn’s Long Halftime Walk (2016) and Who Killed Cock Robin (2017), Lee is the main man here. While he doesn’t have your typical good looks, the 29 actor is a guy you’d want to bring home. One scene sees him laughing uncontrollably at his roommates bad pick up lines – find a nice dude like him and stick with him forever, we say. Shao’s charismatic screen presence will bring her places if filmmakers cast her in more movies, while Tsai takes on the responsibility of playing a supporting character that silently holds up the man of her dreams from behind. She does a fine job, and one sequence of her professing her love at a graduation ceremony is especially moving.

The story momentarily makes you think about how romantic relationships play out in real life, and how we experience phases which may have deemed serious at one stage, and extremely trivial when you recall them years later. This film manages to evoke that sentiment, and you may remember a stage of your life when someone really mattered. Such is life, and it will continue to be a theme effectively explored by this genre of Taiwanfilms. The studios just have to make sure that the characters are good looking enough to inspire viewers.

Movie Rating:

(A likeable romantic comedy that reminds you about the purity of young love)

Review by John Li

Genre: Drama/Comedy
Director: Yong Soo
Cast: Sul Kyung-gu, Cho Jin-woong, Heo Joon-ho, Jin Seon-kyu, Kim Sa-rang, Ji Seung-hyun
Runtime: 1 hr 57 mins
Rating: NC16 (Some Coarse Language and Violence)
Released By: Shaw Organisation
Official Website: 

Opening Day: 7 November 2019

Synopsis: Once an infamous lawyer for taking up any case for money, Jang-su (SUL Kyung-gu) is now a terminally ill patient. His dreary time left is shaken up by the new volunteer Young-ki (CHO Jin-woong), a low-life gangster assigned to complete a court-ordered community service. Finding Young-ki’s unrefined manner refreshing and authentic, Jang-su asks Young-ki to help him complete his bucket list in return of a large sum of his life insurance money. In desperate need of fast cash, Young-ki accepts the offer, but the job leads them to an unexpected ending.

Movie Review:

Comparisons with the 2011 hit French film ‘The Intouchables’ are inevitable, but familiarity aside, ‘Man of Men’ still is amusing, engaging and surprisingly poignant.

Much of its charm is credit to the chemistry between Sol Kyung-gu and Cho Jin-woong, the former as the terminally ill patient Jang-su and the latter as the brash but kind-hearted gangster Young-ki. Once an infamous lawyer for rich defendants hoping to get away scot-free for their crimes, Jang-su now lives in a palliative care facility waiting for death to finally come for him. It is at this facility where Young-ki is assigned to serve out his court-ordered community service, after beating up a bunch of goons at a nightclub.

As you may expect, Jang-su and Young-ki do not immediately get along with each other, not least because the former regards the latter as no different from them low-lifes he used to work for in the past. That changes when Jang-su decides to engage Young-ki to help complete his bucket list; in return, Jang-su promises Young-ki a large sum of his life insurance money, which would be more than enough to cover what Young-ki had secretly taken from his boss Bum-do (Heo Jun-ho) that is now lost in a investment gone bad.

Over a baseball game, driving around in a luxury sports car and supper next to the beautiful Busan Harbour Bridge, the pair forge an unlikely friendship that would be tested in the second half of the film. Oh yes, without giving too much away, one of the last things on Jang-su’s list involves confronting the person who had caused him to end up in this state, and Young-ki baulks at being the accomplice in what he fears is Jang-su’s burning desire to get even.

It is this turn of events which proves surprisingly moving, as both Jang-su and Young-ki are forced to re-examine their previous choices in life which have led to their current state. On one hand, Jang-su’s disregard for the victims of the defendants he had helped acquit has irreversible impact on the former’s lives; on the other, Young-ki’s greed had led him to disregard the inevitable consequences on him and his buddy Dae-guk (Jin Seon-kyu) when Bum-do eventually finds out what Young-ki had been doing behind his back. Their personal reckonings is told with much sensitivity, and right up to the bittersweet ending, you’ll be rooting for both of them to finally make peace with their demons.

Like we said, Sol and Cho are the two key reasons the familiar yet effective film works. Cho gives a performance perfectly balanced between impudence and thoughtfulness, showing both his character’s bold, sometimes bellicose, nature and his better conscience within. Especially in the later half, Cho truly impresses with his heartfelt portrayal of Young-ki’s deeper insecurities, grappling with trying to extricate himself as well as those around him from the folly of his own ways. Next to Cho, Sol underplays his role with stoicism, but conveys Jang-su’s emotional struggles with clarity and depth.

So though it draws from an established template, ‘Man of Men’ is undeniably a buddy film which is both entertaining and affecting. Though it suffers from some pacing issues, Yong-soo’s debut feature film is still a solid debut that effectively mixes both drama and comedy winningly. Those who are familiar with Busan where the film is set will also identify with the various locations where it is filmed, and certainly recognise fondly how Jang-su’s nature is that of an archetypal Busan male. Neither male here is perfect, much as the Chinese/ Korean title suggests, but by virtue of their infectious chemistry, we guarantee that you’ll enjoy being in their presence anyways.

Movie Rating:

(As familiar as it may be, this Korean buddy flick is amusing, engaging and surprising poignant tale of two men coming to terms with their respective life choices)

Review by Gabriel Chong

Genre: Fantasy/Adventure
Director: Jeff Fowler
Cast: James Marsden, Ben Schwartz, Tika Sumpter and Jim Carrey  
Runtime: 1hr 39 mins
Rating: PG
Released By: UIP
Official Website: 

Opening Day: 20 February 2020

Synopsis: Based on the global blockbuster videogame franchise from Sega, SONIC THE HEDGEHOG tells the story of the world's speediest hedgehog as he embraces his new home on Earth. In this live-action adventure comedy, Sonic and his new best friend Tom (James Marsden) team up to defend the planet from the evil genius Dr. Robotnik (Jim Carrey) and his plans for world domination. The family-friendly film also stars Tika Sumpter and Ben Schwartz as the voice of Sonic. 

Movie Review:

We don’t blame you for being sceptical of this live-action adaptation of Sega’s video-game of an infamously brash, bright and blue hedgehog; after all, there was every reason to be dissatisfied over how Sonic looked in that first trailer which came out in the spring of 2019.

Yet the additional time and effort to retool the look of the titular character has undeniably paid off, with the formerly grittier-looking Sonic given an adorable ‘oh-so-cute’ makeover that you would melt your heart in an instant.

Whether the rest of the movie underwent any rework at the same time is anybody’s guess, but you’ll be glad to know that it is – like Sonic was meant to be – fast, fun and fascinating.

The opening shot of Sonic dashing through the streets of San Francisco with a wild-eyed and mustachioed Dr. Robotnik (Jim Carrey) in hot pursuit sets a suitably playful tone right from the start, as Sonic rewinds the clock to fill us in on how he had gotten to that point.

What follows is an extended prologue describing how he had landed on our universe after a tragic mishap involving a giant talking owl named Longclaw, an introduction into his current state of living in the sleepy town of Green Hills in Montana, and last but not least, an odd-couple road-trip with the local sheriff Tom Wachowski (James Marsden) to San Francisco in order to retrieve a bag of magical rings.

If that reads like Hollywood formula to you, it is, but it is also undeniably effective, thanks to an abundance of wisecracking (which is as much credit to writers Patrick Casey and Josh Miller as it is to much on-set improvisation), some zippy direction by VFX veteran Jeff Fowler, and Carrey’s unbridled embrace of his ‘90s rubberface days.

The scripting is for the most part inspired, especially with regard to a handful of wry and wacky sequences – the former including a hilarious montage showing just how bored Tom is with his life as a cop in Green Hills (e.g. pointing a speed camera at a tortoise crossing the road) as well as Sonic pretending to be a family with Tom and his veterinarian wife Maddie (Tika Sumpter); and the latter including a a good old-fashioned saloon fight after Sonic is mistaken for a hipster at a country bar.

Though assuming the director’s seat for the first time, Fowler deserves credit for keeping the proceedings zipping along at a lively pace. Besides the aforementioned equivalent of the X-Men movies’ Quicksilver slo-mo spectacle, there is also a thrilling highway chase where Sonic and Tom have to fend off an army of drones of increasingly diminutive size commanded by Dr. Robotnik. The finale, loud, noisy and busy as it is, proves an exhilarating finish, making good use of Sonic’s magic rings for some globe-trotting action.

But if there is one reason and one reason alone to catch ‘Sonic The Hedgehog’, that excuse belongs not to the blue-furred speed demon but to Carrey. It has been a long while since Carrey has let loose like how he used to in ‘Ace Ventura’, ‘The Mask’, ‘Batman Forever’ and ‘The Grinch’, and here, his villainous act is so brilliantly over-the top you’ll lap up every single ridiculous moment. Not only does he make every single zinger pop (who else can you think of who can pull off a line like ‘I’m the top banana … in a world full of hungry monkeys’), Carrey’s hyperactive performance is just as, if not more, animated than Sonic himself.

That said, much credit too goes to Ben Schwartz, the actor behind Sonic’s voice which lends his comic talents to a whole bunch of witty asides throughout the movie. Schwartz also delivers real emotion in his scenes with Marsden, the latter of whom plays the straight but compassionate adult assuredly. There is affable chemistry between the pair, which pays off with unexpected poignancy in a deliberate but nonetheless effective scene towards the end when Sonic crosses off “make a real friend” off his bucket list.  

Given the bad press which preceded its release, it is indeed pleasantly surprising that ‘Sonic the Hedgehog’ is this entertaining. Not only have the filmmakers rectified the questionable look of their CG creation, they have also delivered a movie as funny as it is fast. Like we said, it also boasts of a singular reason to catch this live-action family-friendly adventure – namely, the return of Jim Carrey to his signature brand of tomfoolery. Only Carrey can match the sheer vigour of the titular protagonist, and we dare say his villainous turn is as delightful as the entire movie itself.

Movie Rating:

(Fast, fun and fascinating, this live-action adaptation of Sega's video game franchise is super-charged entertainment for the whole family) 

Review by Gabriel Chong

Genre: Animation
Director: Masaaki Yuasa
Cast: Ryota Katayose, Rina Kawaei, Honoka Matsumoto, Kentaro Ito
Runtime: 1 hr 36 mins
Rating: PG (Brief Nudity)
Released By: mm2 Entertainment
Official Website: 

Opening Day: 5 December 2019

Synopsis:  Hinako (Rina Kawaei) is a surf-loving college student who has just moved to a small seaside town. When a sudden fire breaks out at her apartment building, she is rescued by Minato (Ryota Katayose), a handsome firefighter, and the two soon fall in love. Just as they become inseparable, Minato loses his life in an accident at sea. Hinako is so distraught that she can no longer even look at the ocean, but one day she sings a song that reminds her of their time together, and Minato appears in the water. From then on, she can summon him in any watery surface as soon as she sings their song, but can the two really remain together forever? What is the real reason for Minato’s sudden reappearance?

Movie Review:

Unless you are a hardcore anime fan, you probably will find the name Masaaki Yuasa unfamiliar. Quoting Japantimes, the 53-year-old is one of the most exciting directors working in Japanese animation today. With two of his earlier feature films, Night is Short, Walk On Girl and Lu Over The Wall gathering accolades and the release of Ride Your Wave, Yuasa seems destined to be on the path of commercial success. 

Although trying to find her direction in life, Hinako is a fun, surf-loving college girl who lives on her own in a fire-hazard apartment near the seaside. Minato on the other hand is a fireman at the local fire station who secretly admires her from afar. The two young individuals are destined to meet and fall in love after Minato rescued her from her burning apartment one night. Hinako taught Minato how to surf while he in turn taught her the art of brewing coffee and making delicious omurice. But happiness is short-lived when Minato is killed trying to save a jet-ski rider. 

As ridiculous as it sounds, Minato returned as sort of an apparition to encourage the distraught Hinako to move on. The only catch is he can only appear upon hearing Hinako singing their favourite song out loud near a water source. Since his death, Hinako has lost her love for surfing thus will Hinako ever find a way to overcome her sadness and ride the wave?   

Ride Your Wave is a mix of Ghost meets The Shape of Water. Likely inspired by them, there are lots of similarities littered throughout. Hinako coming back as an apparition to protect Minato from harm and both of them dancing romantically reminds us of Elisa and the amphibian man. It’s a bittersweet romance story that many will find appealing despite a rather prolonged romance montage in the beginning that some impatient viewers will find irksome. 

However, the script by Reiko Yoshida (A Silent Voice) starts to turn interesting after the untimely demise of Minato. In order to continue her love with Minato and bringing him along for dates, Hinako has to trap him in a water bottle and subsequently, a blown-up porpoise to a toilet bowl. The result does make for some comic relief and genuinely unique enough to bring out the imaginative aspects of the movie. 

With the appearance of Minato taking a back seat, his straight talker sister, Yoko and his fireman colleague, Wasabi began to care for Hinako’s well-being. The latter carrying a torch for Hinako and the former who dislikes Hinako in the beginning starts to form a friendship with her. And because there is no memorable villain or anything to create a wham-bang finale, a group of troublemakers who are out to set off fireworks illegally in an abandoned building ignite an ending that brings the movie to a satisfactory conclusion.   

Ryota Katayose who voices Minato in real-life is the vocalist of the mouthful GENERATIONS from Exile Tribe so it’s no surprise his group is the one responsible for the movie’s catchy “Brand New Story” theme song. The rest of the serviceable voice cast includes Rina Kawaei (Hinato), Honoka Matsumoto (Yoko) and Kentaro Ito (Wasabi). 

Essentially, Ride Your Wave is a fantasy romance anime which boast spectacular artwork, a wondrous palette and an inspiring message. If you are a fan of Mamoru Hosoda and Makoto Shinkai then you should go all out to support Masaaki Yuasa as well.

MOVIE RATING:

(A departure from Yuasa’s darker works, Ride Your Wave is a welcoming modern fable in anime form)

Review by Linus Tee

Genre: CG Animation
Director: Aaron Woodley
Cast: Jeremy Renner, James Franco, Heidi Klum, Anjelica Huston, Alec Baldwin, Omar Sy
Runtime: 1 hr 33 mins
Rating: PG
Released By: Shaw Organisation
Official Website: 

Opening Day: 28 November 2019

Synopsis: In the beautiful, remote Arctic village of TAIGASVILLE, a tiny fox named SWIFTY has big dreams of becoming a “top dog” : celebrity husky courier dogs—and town heroes—that deliver life-saving goods in the harsh and frigid tundras. Swifty and his ragtag group of friends must band together to fight an epic battle. It’s only when Swifty embraces his natural abilities that he is able to save Taigasville—and the Arctic—from utter destruction.

Movie Review:

There is an unmistakeable pro-environmental message in ‘Arctic Justice’, which sees a ragtag band of heroes from the isolated Arctic town of Taigasville aim to foil the nefarious plans of an evil walrus. The said walrus Otto Von Walrus (John Cleese) is building a powerful mechanical drill to penetrate the ice in order to unleash some Biolipadium Aradithic Dipsodium (aka B.A.D.) gas from below the surface that will cause the polar caps to melt (read: global warming), so before the Taigasvillians end up practising their dog paddle for good, it is up to Swifty (Jeremy Renner) and his friends to stop Otto.

Swifty’s heroism is part of his coming-of-age story that is told from his perspective. An anthropomorphic fox who wants to be noticed (as opposed to disappearing almost entirely into the snow, thanks to his white coat of fur), Swifty dreams of being one of the town’s postal agency’s elite couriers, also known as ‘Top Dogs’. Because of the geography of the town, its people rely on these couriers to obtain supplies and trade goods, and have therefore come to idolise the three huskies who provide the service like celebrities. Unfortunately for Swifty, he has yet to reach the weight requirement to be ‘Top Dog’ – that, and the fact that his caribou boss Magda (Angelica Huston) is biased against a fox taking up that role.

Undeterred, Swifty decides to personally deliver a package for Jade (Heidi Klum), a female orange fox whom he has had a serious crush on since he was little. After training in some of the top engineering schools in the world, Jade has returned to Taigasville, and is now unknowingly doing Otto’s bidding by building the very parts for his drill of destruction. It is through delivering one of these parts that Swifty stumbles upon Otto’s lair, and meets his army of puffins who are just as klutzy as the Minions in ‘Despicable Me’ but not quite as cute. And in case you’re wondering, much of what happens next unfolds as predictably as you would expect it to.

It is somewhat unrealistic to demand that ‘Arctic Justice’ display the same sort of wit or sophistication as them Pixar or Dreamworks’ films; after all, it hails from a group of relatively little-known production companies with much, much less experience than their Hollywood veterans. At the helm is Canadian director Aaron Woodley, who has only one other animated film under his belt (anyone heard of 2016’s ‘Spark: A Space Tail’?) and let’s just say the experience, or lack thereof, shows. Not only are the visuals not quite as vivid as you’d be used to, the scenes lack spark and often come across curiously uninvolving.

Thankfully, there is some fun to be had with the wry jokes courtesy of writers Bob Barlen and Cal Brunker, both of whom have honed their sense of humour through other independent animations as ‘The Nut Job 2’ and ‘Son of Bigfoot’. They and Cleese are clearly enjoying themselves with turning Otto into a hammy supervillain, and the movie is most enjoyable when Otto gets diabolical. Oh yes, Cleese and Otto easily steal the show from the rest of his other cast and character members, including James Franco and his dopey bird Lemmy, Alec Baldwin and his helpful polar bear P.B., and Omar Sy and Klum and their pair of conspiracy-minded otters.

If you need a harmless diversion for the kids this school holidays, and have already watched ‘Frozen II’, you can probably do worse than ‘Arctic Justice’.  It is certainly better than your run-of-the-mill Saturday cartoon, and it also packs a positive message about paying attention to the environment, as well as another empowering one about believing in yourself. As long as you tell yourself that you should not expect something with the same polish as those big-budget Hollywood types, you’ll find this a reasonable way to keep the kids entertained for one-and-a-half hours.

Movie Rating:

(Not quite Disney/Pixar or Dreamworks quality, this otherwise reasonably diverting animation, with a deliciously diabolical voice performance by John Cleese, is good enough to keep the kids entertained)

Review by Gabriel Chong

Genre: Horror/Thriller
Director: John Hsu
Cast: Gingle Wang, Peter Tseng, Fu Meng-Po, Cecilia Choi
Runtime: 1 hr 42 mins
Rating: NC16 (Violence and Some Coarse Language)
Released By: Encore Films
Official Website: 

Opening Day: 5 December 2019

Synopsis:  In 1962, a sense of desolation and tension permeate the society. Fang, a twelfth grader at Tsuihua Senior High School, falls in love with Zhang, a counselling teacher. Troubled by the problems at school and home, Fang feels that Zhang is the only person who understands her. Longing for freedom, Zhang forms a study group with his colleagues and students, including Yin and Wei. Reading the banned books allows them to be liberated for a brief moment but at the same time, they put their lives in great danger. One day, Zhang vanishes into thin air, and only Fang and Wei, an eleventh grader, remember him. Together, Fang and Wei start looking for the disappeared teacher but find the school gradually slipping out of the world they are familiar with. Then in a realm dominated by ghosts and spirits, the pair are forced to face the terrifying truth… 

Movie Review:

Wrapping a terrifying story around a true period of human horror, Detention is a layered tale that’s heavy on scares but also ripe with messaging.

Touching on the political scene in Taiwan in the 1960s, the White Terror period was an era of martial law in the country that lasted over 38 years, from 1949 to 1987. Of the many restrictions, reading banned books (most of which were just expressing free thought) was one of them, and becomes the main premise of Detention’s story, as it follows a group of students in Tsuihua Senior High School who try to form a book club for exploring prohibited literature.

Led by teachers Zhang Ming Hui (Fu Meng Po) and Yin Tsui Han (Cecilia Choi), the group bonds over their shared love for exploration of worldly works, and protects each other from the officials, including the unbending Inspector Bai who oversees the school. But after Fang Ray Shin (Gingle Wang) discovers the group, she finds herself unwillingly entangled in the situations that follow.

While all this might sound more social-political drama, Detention is a horror title because of it’s encasing premise. Based on the survival horror video game of the same name from Red Candle Games, the film focuses on Ray Shin after she wakes up and finds everyone missing. Other than glimpses of her teacher Ming Hui, the only person that goes through the school with her is Wei Zhong Ting (Tseng Jing Hua), who nurses a crush on her. The duo quickly realises this may not exactly be the school that they know, and struggle to find their way out of this with their teacher.

Director John Hsu, along with his crew, has definitely invested all of their vision in recreating the imagery from the original game. And it’s terrifying. With stained walls and paper signs plastered everywhere, and the naturally militant air, the school feels like an ominous being in itself. And rendering the iconic image of Ray Shin exploring the compound with just a crimson candle into the film with striking similarities in framing, set and palette to the game, both the eerie and forlorn vibes continue to haunt the title.

Hsu’s dedication to such homage is partly because of how effective the game was in conveying a new kind of horror imagery, as a homegrown Taiwanese effort, but also because he was gripped by the purgatory story embedded within it. Wanting to expose the younger generation who might not have experienced the game, his film rendition pays due respect to the game, yet manages to inject enough meat to call the product his own.

Detention is disturbing as hell. There are so many levels of horror within that it’s sure to pull at least one of your nerves. From a stalking monster to torture methods, the scope is comprehensive without becoming confused. And when it comes to its main theme of right values twisted by human failings, the terrifying circumstances goes full hilt into themes of betrayel, suicide, abuse, and mental illnesses - all awash in some truly unforgettable scenes.

Having been nominated for 12 Golden Horse Awards and winning five, including Best New Director, Best Adapted Screenplay, Best Visual Effects, Best Art Direction and Original Film Song, “The Day after the Rain”, Detention has impressive polish and depth on its side, along with a surprisingly mature treatment. No doubt this is because of its bigger intentions out of the film.

“Have you forgotten, or are you too afraid to remember?”

The film’s tagline is a reflection of the lead’s self-discovery and of the nature of sin, but take a step back and you’ll realise, it’s also a political statement. Compelling stuff from the director Hsu.

Movie Rating:

(Creepy visuals and amazing recreation of the game gives fans and newbies alike a taste of the heritage Detention embodies. The film is plump with things both tragic and terrifying to watch)

Review by Morgan Awyong

Genre: Action
Director: Adrian Teh
Cast: Hairul Azreen, Fify Azmi, Hilal Azman, Ismi Melinda, Henley Hii, Dain Iskandar Said, Josiah Hogan, Yayan Ruhian
Runtime: 1 hr 49 mins
Rating: PG13 (Violence and Some Drug References)
Released By: Clover Films
Official Website: 

Opening Day: 21 November 2019

Synopsis: Hassan (Hairul Azreen) left his family since he was younger. He became military man to overcome his demon and to get away from the injustice towards his family and community committed by Raja (Dain Iskandar). After his stint in the army Hassan returns to help his family with a debt owed by his sister Zain (Fify Azmi) by fighting in a MMA match. Hassan and Zain had to go against Vee (Ismi Melinda) and Rayyan (Josiah Hogan) who are Raja’s children. Can they go against all odds to win the fight and would Hassan be able to save his family and community?

Movie Review:

If you’ve seen last year’s ‘Paskal: The Movie’, you’ll know why we were trembling with anticipation for ‘Wira’. Not only was the former a surprisingly solid action film from our neighbour up North, this follow-up boasts the choreography of Indonesian martial artist Yayan Ruhian, whom self-proclaimed genre aficionados should recognise from such classics as ‘The Raid’ and ‘John Wick 3’. In spite of these expectations, ‘Wira’ still manages to surprise in unexpected ways, which is credit to its director Adrian Teh and its leading duo Hairul Azreen and Fify Azmi.

The story is simple – after a long stint away in the army, Hassan (Azreen) returns to his hometown to find that its people, including his father Munas (Dato Hilal Azman) and sister Zain (Azmi) are living under the thumb of local kingpin Raja (Dain Said). After having bought over the land from the people to build a factory, Raja lords over their livelihoods by employing them at his factory, as well as offering them shelter at a block of flats he calls Rajamerah. While many of his fellow villagers have resigned to being under Raja’s rule, Munas and Zain continue to resist it in their own small ways, leading to infractions with Raja’s goons that Hassan is keen to put to rest.

Alas Hassan’s good intentions precipitate a rapidly spiralling series of consequences – beginning with the brother-and-sister duo’s humiliating defeat of Raja’s son Rayyan (Josiah Hogan) and love-child Vee (Ismi Melinda) in the MMA ring, the latter pair’s consequent plan to get even that goes awry, Raja’s subsequent avengement that claims yet another unnecessary life, and the inevitable showdown between Raja and our leading couple. Each of these events is specifically designed for a bruising action sequence in itself, and we’re glad to say that both Ruhian’s choreography and the preparation which Azreen and Azmi had gone through for their roles pays off tremendously.

Indeed, there is no lack of ambition here, what with Teh opening the movie with an intense MMA fight between Zain and Vee which sees the girls pummel each other with the ferocity of real-life competitors. It will be close to an hour before we get to the next big sequence though, but you can be reassured that your patience will be beautifully rewarded. There is a close-quarter fight on board a moving bus which will set your heart racing, another more long-drawn but well-paced fight from the top of Flat Rajamerah to its bottom, and last but not least a heart-stoppingly exhilarating mano-a-mano between Hassan and Raja’s chief-of-security Brother Ifrit (Ruhian). Each of these sequences is worth the price of admission alone, and it is testament to Teh’s commitment how every one strives to up the ante from the last.

Much rests on the shoulders of Azreen and Azmi, but like we said, both actors deliver splendidly. You can tell how much hard work both have clearly given to prepare for the movie, and that is even more impressive for Azmi, who had stepped into the character when the previous lead actress dropped out and considering how she never had such training before. Besides prepping both well, Ruhian’s accomplishment is also in the hard-hitting action which, while not as bloody as some of the Indonesian action films he’s been involved in, is no less ferocious. On his part, Teh ensures that his audience can see every single move, eschewing the sort of frenetic close-ups which mar more than amplify the viewing experience. 

While the emphasis is definitely on the action, Teh also takes care to ensure that the rest of the movie isn’t just an excuse to string a bunch of jaw-dropping sequences together. Together with his co-writer Anwari Ashraf, Teh crafts a poignant family drama that sees Hassan try to reconcile with his father and sister after having walked away from them many years ago. Much of that unfolds in the first hour, but that time spent allows us to relate to the characters more intimately, and makes the finale even more rousing – in particular, there is a touching brother-and-sister moment between Hassan and Zain walking along the roadside after they had won the fight as a tag-team against Rayyan and Vee.

As unlikely as it may have seemed before, Teh has established himself as a specialist in the action genre with ‘Paskal: The Movie’ and ‘Wira’. In fact, we dare say ‘Wira’ surpasses its predecessor in terms of storytelling, character work and most importantly, action choreography. The last is of course credit to Ruhian, whose work here in designing the action as well as training Azreen and Azmi truly pays off in terms of gritty realism. Both actors are also charismatic performers in their own right, and besides exceling at the hand-to-hand combat, bring out the interpersonal conflict between them and with their father skilfully. Indeed, ‘Wira’ sets a new bar for Malaysian action films, one that ‘Paskal: The Movie’ had set just a year ago and which we are looking for Teh’s next action project to surpass.

Movie Rating:

(As gritty, if not more so, than 'The Raid' and 'Paskal: The Movie', 'Wira' impresses as one of the best action movies of the year)

Review by Gabriel Chong