Genre: Drama
Director: Gavin Hood
Cast:  Keira Knightley, Matt Smith, Matthew Goode, Ralph Fiennes
Runtime: 1 hr 52 mins
Rating: NC16 (Some Coarse Language)
Released By: Shaw Organisation
Official Website: 

Opening Day: 26 December 2019

Synopsis:  From the Oscar winning director of EYE IN THE SKY comes the untold true story of one woman’s fight for truth. 2003. As politicians in Britain and the US angle to invade Iraq, GCHQ translator Katharine Gun (Keira Knightley) leaks a classified e-mail that urges spying on members of the UN Security Council to force through the resolution to go to war. Charged with breaking the Official Secrets Act, and facing imprisonment, Katharine and her lawyers set out to defend her actions. With her life, liberty and marriage threatened, she must stand up for what she believes in…

Movie Review:

By now, it should be clear that former United States President George W. Bush’s war on Iraq on the premise that its dictator Saddam Hussein had weapons of mass destruction was no more than a farce. But back in 2003, both Bush and former British Prime Minister Tony Blair had led a full-fledged PR offensive to make the world believe that Saddam was an imminent threat, in order to gain legitimacy for declaring war. In fact, the US went as far as to ask for incriminating personal details in the lives of UN representatives from small countries to blackmail them into voting for a UN resolution on Iraq, and had sought the same from its UK counterparts.

Co-written and directed by Gavin Hood, ‘Official Secrets’ is based on the true case of Katharine Gun, a translator working for the British security services at the GCHQ surveillance unit in Cheltenham, who received a memo asking for her to surface such details. Horrified at the unethical nature of the act she was asked to be complicit in, Katharine printed out the email, passed it onto a friend on the anti-war movement, and the correspondence eventually found its way to a reporter for the London Observer, forming the basis of a sensational front-page scoop which roiled the nation and caused Blair his re-election the following year.

The title is reference to the Official Secrets Act, under which Katharine was prosecuted. How that trial proceeded is public knowledge, but knowing the outcome of Katharine’s ordeal in no way diminishes the power of this earnest but powerful retelling. While not a character study per se, Hood maintains an intimate focus on the psychological ordeal which Katharine endured – not just in her agonising over if to keep quiet, but also in the days after the news broke when she had to decide whether to confess that she was the one who leaked the memo, as well as the aftermath of her eventual decision to step forward and own up.

It isn’t just her own professional life that was upended, but also her personal life, especially her marriage with her Kurdish-Turk husband Yasar (Adam Bakri). On one hand, the authorities threaten Yasar with deportation; and on the other, Yasar cannot quite understand why she would threaten both their freedoms, not least because of the acts of genocide which Saddam had committed against his own people back home. Amidst these repercussions, Knightley channels her innate steeliness and presence to give a riveting portrait of a courageous ordinary citizen whose actions were driven by her strong conviction of right versus wrong.

The movie doesn’t belong to her and her character alone though; indeed, Hood also brings into focus the workings behind the Observer, especially how the dogged reporter Martin Bright (Matt Smith) pursued the story despite the pro-war position which the newspaper had taken. Watching the arguments Bright and his newsroom colleagues had with one another (including an unrecognisable Matthew Goode and a screamingly over-the-top Rhys Ifans) is fascinating in itself, not least because it demonstrates the motivations of journalists, which are sometimes pure and sometime not quite so much.

The last act also introduces the human rights lawyer Ben Emmerson (Ralph Fiennes), whose law firm Katharine had approached to defend her as suggested by her police-appointed solicitor. Fiennes is always a delight to watch, and his scenes here with Knightley are a highlight, especially as he strategises putting the very Iraq War on trial to get the British Government to come clean about its own position on the legality of the War and whether it was working in collusion with the Bush administration to mislead public opinion. Unlike say the hysterics at the newsroom, their scenes have a casual but immense power about them, thanks too to the chemistry of both actors.

Like his previous ‘Eye in the Sky’, Hood knows his way around a political thriller with ethical dimensions, and ‘Official Secrets’ commands your attention even though it moves at the pace of a slow-burner at the start. Still, we’d recommend you not to Google about Katharine before you watch the movie if you don’t already know her, and let the movie tell her story. As far as we can tell, it’s been told with the utmost respect for authenticity, and it is to Hood’s credit that he doesn’t oversell Katharine’s courage. It is many things at once – a spy drama, a newspaper saga, and most significantly, a modern-day whistleblowing story – but a shrewd and timely reminder whichever way of moral heroism.

Movie Rating:

(Understated yet riveting at the same time, this slow-burn drama of a British whistleblower has Keira Knightley in one of her strongest performances)

Review by Gabriel Chong

Genre: Crime/Drama
Director: Clint Eastwood
Cast: Paul Walter Hauser, Kathy Bates, Olivia Wilde, Sam Rockwell, Jon Hamm, Mike Phiewski
Runtime: 2 hrs 11 mins
Rating: NC16 (Some Coarse Language)
Released By: Warner Bros
Official Website: 

Opening Day: 9 January 2020

Synopsis: American security guard, Richard Jewell (Paul Walter Hauser), heroically saves thousands of lives from an exploding bomb at the 1996 Olympics, but is unjustly vilified by journalists and the press who falsely report that he was a terrorist.

Movie Review:

Just like the additional “L” at the end of his surname, Richard Jewell is similarly excessive in so many ways. The man-boy exhibits a strong desire in policing, has an unwavering (if naive) unimpeachable image of law enforcement, and fiercely protects the innocent. The zealousness in which he shows this, sadly becomes the reason for a bitter twist of fate.

Richard Jewell is based on the true story of a brave, if simple, man, who in his desire to save the lives of others at a bomb site, is made scapegoat by the media and very law enforcers he worships. This hero-to-zero case study highlights how different agendas can warp the truth, and have a disastrous impact on lives.

In 1996, at the Summer Olympics in Atlanta, Georgia, Richard (Paul Walter Hauser), who was performing security guard duties, discovered a suspicious backpack under a bench in Centennial Park. With a full concert in swing and the festivities, Richard pushed past the complacency of his colleagues, and got the package verified by a bomb squad as a legit pipe bomb. Even though it still went off and claimed casualties, Richard’s alertness saved many others.

Celebrating his heroic act, the media went to town, and offers came fast and furious. That is, until a previous employer alerted the investigating officers from the FBI, agents Shaw (Jon Hamm) and Walker (Mike Phiewski) about some of Richard’s past transgressions, including harassing students and pretending to be a traffic officer to pull over vehicles on the highway.

Suddenly, he becomes a prime suspect, spun to be the fame-hungry terrorist who pretends to be the hero. And did the media lap it up. What they say about the rise and fall couldn’t have been truer for Richard, and in a last attempt to save the situation, he calls upon an old lawyer friend to help him.

Sam Rockwell plays Watson Bryant, a roguish attorney with a heart of gold - the only one who didn’t treat Richard with condescension. The feisty guy is no-nonsense but effective, and Rockwell demonstrates all his charm as this incredible character.

Clint Eastwood is an old hand at directing such riveting human drama, and Richard Jewell is no different as a project full of heart. That said, there are characters within the story that take things to extremes, and just might rub people off the wrong way.

Hamm and Phiewski are flat out unlikable, and odd in their steadfast persecution. There’s not much reason behind this past the fact that Eastwood wants to really drive the message of relooking at authority into his audience. This is made worse by Kathy Scruggs (Olivia Wilde), the hungry journalist who stops at nothing to get her breakthrough story - including sleeping with agent Shaw for the tip-off. If this old-school cliche doesn’t get you up in arms, the feminists will certainly cry for blood.

Fortunately, Hauser and Rockwell gives us stunning performances as the maligned and his defender. Hauser’s commitment to the title character is extremely watchable, and especially satisfying when he arrives at personal awakenings. Rockwell’s performance is rich and compelling, and any scene with him in it is always a standout. Kathy Bates supports this duo with her role as Jewell’s mother, helping to soften the proceedings with some needed vulnerability.

Richard Jewell’s story is an incredible tale to follow, and led by mostly stellar performances, keeps Eastwood in good stead as an adept storyteller of those disfranchised by society.

Movie Rating:

(Compelling performances by Hauser as the lead and Rockwell as his attorney bonds this film and gives it great depth. The striking storyline is a bonus)

Review by Morgan Awyong

Genre: Comics/Action
Director: Cathy Yan
Cast: Margot Robbie, Mary Elizabeth Winstead, Jurnee Smollett-Bell, Rosie Perez, Chris Messina, Ella Jay Basco, Ewan McGregor, Ali Wong
Runtime: 1 hr 49 mins
Rating: NC16 (Violence and Coarse Language)
Released By: Warner Bros
Official Website: https://www.birdsofpreymovie.com/

Opening Day: 6 February 2020

Synopsis: You ever hear the one about the cop, the songbird, the psycho and the mafia princess? "Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)" is a twisted tale told by Harley herself, as only Harley can tell it. When Gotham's most nefariously narcissistic villain, Roman Sionis, and his zealous right-hand, Zsasz, put a target on a young girl named Cass, the city is turned upside down looking for her. Harley, Huntress, Black Canary and Renee Montoya's paths collide, and the unlikely foursome have no choice but to team up to take Roman down.

Movie Review:

What does one do after a major breakup?  Well, one has many possibilities.  And Harley Quinn just have to make a dramatic blast out of things.

Harley Quinn’s life without the Joker is quite an adventure for her, where she runs around from place to place and gets away from all sorts of trouble and trying to save a little girl from having to sacrifice her life for the evil antagonist with the help of other superheroes whom she meets along the way.

At first glance, you might have thought that you have subscribed yourself to some comic-based chick flick. But ‘chick flick’ is definitely the last thing on my mind from the first scene to the very end of the film.  And ‘chick flick’ is something that you would and should erase off your mind when watching this film.

Birds of Prey starts off with a simplified and palatable introduction to the life of Harley Quinn and then moves on to her life after the break-up with the Joker and how she copes with it and the adventures that entails with it, including getting into multiple outrageous incidents and a major showdown with the other superheroes against the evil.

The great thing about Birds of Prey is that fans and non-fans of the comic can both enjoy this DC offering, as it feels like a totally fresh story, yet those following the series would feel some affiliation with the film.

What is also great about the film is that the film engages all your senses through its intelligent and multi-faceted plot and colourful power-packed action, leaving one with so much to absorb and indulge in.  If that is not enough, the sound effects and visuals make the film even more impactful.

And the stellar cast, spearheaded by Margot Robbie and Ewan McGregor, gave stunning and emotionally charged performances, makes one feel so much for the character, whether or not they are lovable.

Of course, not all films are smooth flowing and perfect.  And this film is a perfect example of a very messy storytelling that might irritate some viewers who prefer to have a proper linear storytelling method, or at least one that does not seem to be slightly ‘choppy’.  However, it might be possible that the erraticism and eccentricity of Harley Quinn has influence the direction of the flow of the story and how it is being presented.

Also, Margot Robbie’s stole most of the limelight with her portrayal of Harley Quinn, so much so that it feels like the other superheroes like Black Canary, Huntress and Renee Montoya are overshadowed by her and they do not have that as much attention as Harley Quinn and only appear to be more prominent towards the end of the film.

Despite all of that, the storyline still fell quite perfectly into place and Cathy Yan did an amazing job moving the film towards a great direction and helping to elevate the statuses of female superheroes in general.

Birds of Prey is not just any comic film.  It is kicking with might and power and has enough action, humour and fun to make the film pleasurable and satisfying.  DC Comics is definitely off to a good start this year with this playful and thrill-seeking action comic film that is definitely a crowd pleaser.  

Who would have thought being bad can be so good?

Movie Rating:

(Colourful and delightful till the very end. A twisted comic adventure that is sure to entertain and excite even the most jaded audience. Also, #GirlPower)

Review by Ron Tan

SYNOPSIS: What’s the best part of being dead? It isn’t escaping your boss, your ex, or even erasing your criminal record. The best part about being dead…is the freedom. The freedom to fight the injustice and evil that lurk in our world without anyone or anything to slow you down or tell you “no.” 6 Underground introduces a new kind of action hero. Six individuals from all around the globe, each the very best at what they do, have been chosen not only for their skill, but for a unique desire to delete their pasts to change the future. The team is brought together by an enigmatic leader (Ryan Reynolds), whose sole mission in life is to ensure that, while he and his fellow operatives will never be remembered, their actions damn sure will.

MOVIE REVIEW:

Just 20 minutes into Michael Bay’s first Netflix production, 6 Underground, you can basically spot all of Bay’s usual trademarks. Fast cars, frenetic editing, unnecessary slow-mo shots, excessive explosions, actors shouting their lines at the top of their voice and much more. Bay is back yet again after the dismal Transformers: The Last Knight and he is not getting any better in his craft. 

Currently, one of the hottest and funniest actor to roam the earth, Ryan Reynolds stars as One, a mysterious billionaire who fake his own death to form his team of vigilantes to take down a notorious dictator, Rovach Alimov of Turgistan. Whatever political statements Bay wants to send to his audiences, it’s all drowned in pointless lame jokes and a loud soundtrack because Bay continues to make the same kind of movies even if 6 Underground has no talking robots or a pair of African-American quarrelsome cops. 

Besides Reynolds, there’s French actress Melaine Laurent starring as an ex-CIA agent who is now known as Two. Although not portrayed as a sex object (ahem Megan Fox for example), she’s largely remembered for a sexy scene with fellow teammate, Three (played by Mexican actor Manuel Garcia-Rulfo who doubles as the movie’s comic relief). Then there is Four, a parkour expert played by English actor Ben Hardy and most noticeably Dave Franco who cameos as Six. And lastly, Corey Hawkins from Straight Outta Compton portrayed a military sniper expert, the second biggest role after Reynolds.     

Honestly, none of the cast members are crucial in a Michael Bay’s movie. Even Deadpool fails to garner much screen presence after over two hours of runtime. Heck, you can even switch his role to Mark Wahlberg halfway and no one will bat an eyelid. Bay continues to churn out one major action sequence after another to distract you from the dumb plot. There’s one prolonged sequence set in a penthouse of a skyscraper and the last in a flashy gigantic yacht. This is one of Bay’s more violent movies after Bad Boys II with heads frequently being blown off at close range and lifeless bodies being flung from one point to another so you need to proceed with caution if you assumed this is Transformers friendly.   

And if you also think this reviewer is one of Bay’s haters, I’m not. Cinematically speaking, his movies liked The Rock, The Island, the Bad Boys series and even the first Transformers were likeable entertaining stuff. Then his subsequent movies start to look and sound the same despite being different genres and handled by different writers. Again, the supposedly $150 million 6 Underground suffers from the same fate. Fancy locations, top stars, big budget yet you can’t really tell the difference. While the action genre has evolved to the John Wick era and the Mission Impossible series has turned into the decade most precious action franchise, Michael Bay remains rooted in the early 2000’s, unable to shake off his usual trademarks and pathetically no longer a relevant name on the big screen. 

MOVIE RATING:

Review by Linus Tee

Genre: Drama
Director: Kim Seung-woo
Cast: Lee Yeong-ae, Yoo Jae-Myung, Park Hae-joon, Lee Won-geun, Heo Dong-won, Baek Joo-hee
Runtime: 1 hr 48 mins
Rating: NC16 (Some Coarse Language and Violence)
Released By: mm2 Entertainment
Official Website: 

Opening Day: 12 December 2019

Synopsis:  Six years after her son went missing, dedicated mother Jung-Yeon still hasn't lost hope - even after her husband's shocking accident while rushing to follow up on a potential sighting. Although she's in mourning, drowned in despair for her losses, she doesn't give up. Just when everything feels like it's in vain, she hears about a young boy living in a fishing community outside the city who seems to resemble her lost son. Facing strange surroundings and corrupt cops covering up child abuse, Jung-yeon may not be able to handle all the obstacles in her way, let alone fend for herself.

Movie Review:

There are practically less than fifteen movies and dramas listed on Lee Young-ae’s filmography but her iconic performances in movies liked Park Chan-wook’s Sympathy from Lady Vengeance, Joint Security Area and the long-running drama Dae Jang Geum practically made her an overnight superstar. After a long absence, Lee Young-ae returned to the silver screen as a determined mother who is hell-bent on searching for her missing son in Bring Me Home.

Directed and written by newcomer Kim Seung-woo, Bring Me Home is part social drama part thriller. Instead of churning out a straight-out action piece (for instance Liam Neeson’s Taken trilogy), Kim peppered the flick with jabs at the current Korean justice system. As a result, the movie takes a while to get things moving as we are introduced to Jung-yeon (Lee Young-ae), a nurse who spent her free time looking for her son who disappeared from a playground six years ago while her husband drives around the countryside searching for leads. Shortly after, a prank led to her husband’s tragic death and Jung-yeon is left alone to fend herself from her greedy brother-in-law who is eyeing her insurance money. 

A subsequent tip from a guilt-ridden cop then leads Jung-yeon to a remote fishing village. A boy resembling her lost son is spotted there. And then you thought there’s going to be a nice closure lingering round the corner. Nope. Apparently, there’s more in store from Kim. Not the nicest ones in fact. A creepy corrupt cop, Hong (Yoo Jae-myung from Golden Slumber) turned up to stop Jung-yeon from poking her nose further. Predictably, Jung-yeong is not going to let him hinder her investigation and rest assured, things are not going to look rosy from that point on. 

Kim is not one filmmaker to shy away from showcasing some surprisingly violence and gore scenes although most of them are brief and contained except a hunting scene which might be graphically hard to digest. There are even hints of sexual abuse from the perpetrator but fortunately, the audiences are spared the discomfort of watching the act. Kim takes his time to develop his tale and crafting the various villainous characters making sure that each one of them has a distinct, memorable characteristic liked the mentally challenged Halibut, In-sook the loud wife of Hong and Choi, the seemingly quiet but deadly worker. 

But without Lee Young-ae’s performance, the movie might not work as perfectly. Fret not, Lee is still a stunning beauty despite convincingly portraying a despair, dishevelled mother. A mother that has no qualms risking her life to penetrate a household on a stormy night to uncover the truth and Lee nailed it right from the opening shot. Jung-yeon is not a talky character to begin with and Lee plays it with so much tender emotion that you probably share her anguish along the way. Veteran actor Yoo Jae-myung is equally a gem in the acting category, portraying a disgusting criminal all the while hiding behind his uniform and handcuffs.     

Liked Dark Figure of Crime, Kim’s directorial debut touches yet again on relevant local social issues. The corrupted cops, the selfishness of society and the helpless judicial system. All these are likely root causes of this sort of forgotten crimes being committed. It’s unimaginable yet a reality that such cases still exist in a developed country liked Korea. Bring Me Home boasts excellent acting by Lee and Yoo respectively although some might have issues with the pacing and disturbing scenes. The cinematography by Lee Mo-gae is often atmospheric and a beauty to look at. Remember evil begets evil and the laws of karma applies to everyone of us. Kim’s movie perhaps is a testament to it.  

MOVIE RATING:

(Lee Young-ae’s performance is the only bright spot in this well-written bleak, dark crime thriller)

Review by Linus Tee

Genre: Action
Director: Lee Hae Jun, Kim Byung Seo
Cast:  Lee Byung-hun, Ha Jung-woo, Ma Dong-seok a.k.a Don Lee, Jeon Hye-jin, Bae Su-zy
Runtime: 2 hrs 8 mins
Rating: PG13 (Some Violence and Coarse Language)
Released By: Encore Films
Official Website: 

Opening Day: 2 January 2020

Synopsis:  An unexpected eruption of Korea’s tallest volcano sitting on the Chine-North Korea border leaves the peninsula in shambles. When seismologist Bong-rae suggests a theory that could possibly stop the explosion, In-chang, a bomb squad agent, is given his last mission before returning home to his wife, Ji-young. In-chang must now seek and join hands with rogue North Korean elite officer Jun-pyeong to stop the imminent devastation.

Movie Review:

If there is one genre which South Korean cinema has not been able to conquer, it is the disaster film. While crowds flocked to ‘Haeundae’, which was billed as the first for the industry, it was ultimately dismissed as cliched and hackneyed; the same criticism was levelled at ‘The Tower’, which ended up grossing less than half of its genre predecessor. Yet, if its pedigree is anything to go by, ‘Ashfall’ has good chance of breaking out of that mould, seeing as how it is produced by the people behind the ‘Along with the Gods’ franchise.

There is no lack of ambition here, which opens with the eruption of Mount Paekdu and the consequent destruction of the Korean peninsula; in particular, you’ll be left in awe at the magnitude of the damage to North Korea and downtown Seoul, which is just about as spectacular as anything Hollywood has ever wrought. But as we soon learn, that is only the beginning: according to renowned Korean-American seismologist Bong-rae (Ma Dong-seok), three more eruptions are due, with the last super-eruption most certainly to annihilate both Koreas.

The plan, as conceived by Bong-rae and with the support of the South Korean military, is to ignite a nuclear explosion right in the depths of Mount Paekdu, by stealing six nuclear warheads belonging to the North Koreans. That high-stakes mission falls to In-chang (Ha Jung-woo), who is serving out his last days of Explosive Ordinance Disposal Unit of the South Korean army, and would require that In-chang and his fellow reservist members work with the duplicitous North Korean spy Jun-pyong (Lee Byung-hun) to infiltrate a North Korean missile base and deposit the payload at a specific location within the labyrinth of underground mines under the mountain.

Mixing the elements of a disaster film with the narrative of an espionage thriller proves especially inspired, seeing how it avoids the sort of melodrama that the former ends up being; in fact, the latter offers plenty of tense moments throughout the film, what with In-chang having to second-guess at every turn if Jun-pyong is plotting something behind his back. Oh yes, it should come as no surprise that Jun-pyong has an agenda of his own, so much so that In-chang’s challenge lies not just in the mission itself, but also to ensure that Jun-pyong doesn’t derail it.

Whilst In-chang gets the standard character definition as a faithful husband whose wife (Bae Suzy) and unborn child is waiting for him to return home safe, it is his relationship with Jun-pyong which ultimately anchors the movie. Both start off distrusting each other for good reason, which in turn sets up several amusing encounters as they try to outsmart each other, but that slowly gives way to a moving sense of camaraderie between them that makes the finale even more poignant. That is also credit to the unlikely chemistry between Lee and Ha, which lends both depth and authenticity to how their relationship evolves over the course of the film.

To the credit of writing-directing duo Lee Hae-jun and Kim Byung-seo, there are plenty of harrowing and thrilling moments throughout the film’s two hours – besides the confrontation between In-chang and Jun-pyong, there is also the interesting complication of the political dynamics between the two Koreas, as well as between America and South Korea. Without giving too much away, let’s just say it is a reflection of current political realities that the allies are no longer as chummy as you would expect them to be, and that there is no vilification of the North in the portrayal of its nuclear-ready neighbour.

It isn’t just brinksmanship on display of course; there are shoot-outs and vehicular chases with both the North Koreans and US forces to keep your adrenaline pumping. One particularly memorable set-piece has In-chang’s team infiltrating an underground North Korean nuclear weapons factory to get the six warheads, just as the next eruption triggers a massive earthquake; and another has In-chang and Jun-pyong struggling to hold onto the nuclear device from the back of a bus while evading a US tank next to them and fleeing a collapsing suspension bridge. If it isn’t yet apparent, there is no lack of scale in the action, and we’re not just talking about the natural disaster itself.

Indeed, it is no overstatement that ‘Ashfall’ is the best South Korean disaster film yet – the eruptions themselves are vivid and humbling, especially given how scientists have in real life warned of such a massive event; the plotting is surprisingly engaging, full of the sort of inter-Korea personal and political dynamics which South Korean cinema has developed an art for; and last but not least, the star power brought on by Lee and Ha is terrific. We’d even go as far to say that it is probably one of the best disaster films of recent time, certainly able to stand up to anything Hollywood specialist Roland Emmerich has done. Go and see it on the biggest screen possible; you’ll enjoy the spectacle, the emotion and the non-stop action even more.

Movie Rating:

(Not only the best South Korean disaster film but also one of the best disaster movies of recent time, 'Ashfall' mixes the definitive elements of the genre with the narrative of an espionage thriller for a gripping, poignant and awe-inspiring spectacle)

Review by Gabriel Chong

Genre: Drama
Director: Todd Haynes
Cast:  Mark Ruffalo, Anne Hathaway, Tim Robbins, Bill Camp, Victor Garber, Mare Winningham, William Jackson Harper, Bill Pullman
Runtime: 2 hrs 7 mins
Rating: PG13 (Some Coarse Language)
Released By: Shaw Organisation
Official Website: 

Opening Day: 2 January 2020

Synopsis:  From Participant (Spotlight, Green Book), critically acclaimed DARK WATERS tells the shocking and heroic story of an attorney (Academy Award(r)-nominee Mark Ruffalo) who risks his career and family to uncover a dark secret hidden by one of the world's largest corporations and to bring justice to a community dangerously exposed for decades to deadly chemicals. Corporate environmental defense attorney Rob Bilott (Ruffalo) has just made partner at his prestigious Cincinnati law firm in large part due to his work defending Big Chem companies. He finds himself conflicted after he's contacted by two West Virginia farmers who believe that the local DuPont plant is dumping toxic waste in the area landfill that is destroying their fields and killing their cattle. Hoping to learn the truth about just what is happening, Bilott, with help from his supervising partner in the firm, Tom Terp (Academy Award(r)-winner Tim Robbins), files a complaint that marks the beginning of an epic 15-year fight-one that will not only test his relationship with his wife, Sarah (Academy Award(r)-winner Anne Hathaway) but also his reputation, his health and his livelihood.

Movie Review:

If you’re still using Teflon, you might want to watch this.

Based on the New York Times article “The Lawyer Who Became DuPont's Worst Nightmare”, Dark Waters is a true (and ongoing) story of man versus corporate giant, as he exposes the toxic lies of one of United States’ biggest public company. And it ain’t pretty.

Todd Haynes has created a project without much of its usual dramatics. Gone are the theatrical story obstacles blown up for the sake of tension, and in its stead, is a piece that adopts a pace more suited for a documentary. Dark Waters conducts itself with a dreariness that emphasises the arduous process the lawyer Robert Billot (Mark Ruffalo) and his client Wilbur Tennant (Bill Camp) had to endure, and while this might add to the tragic realism of the events, it does bear heavily upon the audience’s patience as well.

But in short, Dark Waters is a film about how Robert came to turn against the very companies he once defended, after a farmer from his hometown asked him to investigate suspected contamination by DuPont on his lands. The problem was not only real, but revealed a nation-wide conspiracy that had the chemical giant knowingly poisoning citizens over many decades.

Teflon was one of DuPont’s products, manufactured in Parkersburg, West Virginia. All the while until 2013, one of the chemicals used was Perfluorooctanoic acid, or PFOA or C-8. It was an unregulated chemical, but since then, many tests have conclusively linked it to many diseases, including multiple forms of cancer and birth deformities. This was all unveiled only after Wilbur persisted with the help of Robert to fight the company, and had a ripple effect that continues to this day.

Although everyone loves a conspiracy theory, it’s hard to swallow too when it turns out to be fact. The film documents how the corporation uses legal loopholes to deflect - and mostly delay - proceedings, knowing that time and money is on their side. Even if Robert and Wilbur want to fight the good fight, DuPont’s strength in a capitalistic society has even the government bending knees.

Ruffalo executes an unlikely hero. His shrugs and muted reactions puzzle in the face of what’s happening, rarely hitting a peak, and yet it also provides an air of unflappability to this stubborn hound. In contrast, Anne Hathaway as his wife feels stagey and unbelievable, and the whole family arc contrived.

This however, is saved by memorable performances - most of them from the town locals. Camp as the victim grows on you, and manages to switch on one’s empathy even at his worst. Harry Deitzler, portrayed by Bill Pullman, is the local attorney who puts his face to the victims, all the while charming the crowd with his unsupressable candour.

As much as we love our happy endings, the film leaves us little. As mounting cases and settlements grow, DuPont has settled over 3,550 PFOA lawsuits to a tune of $671 million, while denying any wrongdoing. That was as recent as 2017. If this doesn’t make you want to walk out of the theatre and throw away your pan, then that pretty much sums up the hope of mega-corporations all around the world - that you prioritise their word over Robert and Wilbur’s.

Movie Rating:

(A docudrama that keeps it real, you’ll see facts and figures and the full impact of this true story slowly unfold, played out by a talented if subdued cast.)

Review by Morgan Awyong

SYNOPSIS: Casey (Jesse Eisenberg) just can’t seem to win. Attacked on the street, humiliated at his job and even emasculated by his dog, he joins a local karate dojo led by the enigmatic Sensei (Alessandro Nivola) to learn how to defend himself. In the midst of his training, Casey becomes friendly with a female instructor (Imogen Poots) and soon realizes he is caught in a bizarre world of outcasts, fraternal rituals and hilarious hyper-masculinity.

MOVIE REVIEW:

Let’s be honest right from the start, The Art of Self-Defense is not a movie for everyone. You can call it a dark comedy in the vein of the Coen Brothers but you must also be warned that it’s shocking at times and it doesn’t really make a lot of sense.    

Casey (Jesse Eisenberg) is a lonely, mild-mannered and timid accountant whose only companion is his pet dachshund. One night on the way home after buying pet food, he is brutally assaulted by a motorcycle gang. While recuperating, Casey decides to buy a firearm for self-defence but he is then later intrigued by a charismatic Sensei (Alessandro Nivola from Jurassic Park III) in a karate dojo. Hence, Casey starts to attend classes under the guidance of Sensei. But the seemingly knowledgeable Sensei might not be what he is as Casey slowly discovers dark secrets behind the man he so admires. 

Despite the offbeat humour, The Art of Self-Defense is much loved by critics. However, it’s not a film that is known or watched by the public. Perhaps it’s an indie film that never has the publicity budget although some critics called it an amusing satire on toxic masculinity, a grittier version of David Fincher’s Fight Club etc. Unfortunately, this reviewer isn’t much of a fan of this odd, dysfunctional flick about erratic social behavior, absurdities and karate fighting.    

First of all, none of the Sensei’s actions make much sense or motivation. Why is he conducting a “night class” to serve his psychotic actions? Why are there no consequences of people being killed or hurt? Is this a pre-apocalypse kind of thing? There seems to be a deeper message hidden under director and writer Riley Stearns’ tale. Basically, common sense doesn’t apply if you plan on watching the film or appreciating Stearns’ brand of humour. 

Jesse Eisenberg is an expert (not just a yellow-belt Karate master) when it comes to playing the typical socially awkward guy and it’s no difference in The Art of Self-Defense. Alessandro Nivola on the other hand is brilliant as the mysterious, ruthless Sensei. English actress Imogen Poots (Fright Night) stars as Anna, the neglected disciple of Sensei because of gender preferences, a character that deserved far more screentime than the boring Casey.   

The Art of Self-Defense has a few laugh-out-loud moments but it’s quickly dispersed by its occasional violence and extreme jarring tone. No doubt it’s an intriguing film throughout as you are likely curious about the outcome between the relationship of Casey and Sensei. 

SPECIAL FEATURES:

An Important Message from Sensei is a spoof on bygone VHS ads and it stars none other than Sensei. Some key cast members and filmmakers gave their insights and outputs in Cast and Crew Interviews and the last extra feature is Outtakes. 

AUDIO/VISUAL:

Intended or not, the film looks cheap on DVD. I guess it’s an intended choice by the filmmakers.  The 5.1 sounds ok since it’s dialogue driven with the exception of occasional loud outbursts.  

MOVIE RATING:

DVD RATING :

Review by Linus Tee

Genre: Comedy
Director: Miguel Arteta
Cast: Tiffany Haddish, Rose Byrne, Salma Hayek, Billy Porter, Jennifer Coolidge, Ari Graynor, Natasha Rothwell, Jessica St. Clair, Karan Soni
Runtime: 1 hr 23 mins
Rating: NC16 (Coarse language and Sexual References)
Released By: UIP
Official Website: 

Opening Day: 13 February 2020

Synopsis: Best friends Mia and Mel (Tiffany Haddish and Rose Byrne) are living their best lives running their own cosmetics company they’ve built from the ground up. Unfortunately, they’re in over their heads financially, and the prospect of a big buyout offer from a notorious titan of the cosmetics industry Claire Luna (Salma Hayek) proves too tempting to pass up, putting Mel and Mia’s lifelong friendship in jeopardy. The beauty business is about to get ugly.

Movie Review:

There are some movies which truly deserve the big screen treatment. Think gorgeous landscapes, eye popping special effects and a soaring soundtrack. Then there are other movies which are better viewed on your home TV or computer screen. The story is decent, but there isn’t really a need to spend time in the theatre because the viewing (and sensory) experience just doesn’t warrant it. Unfortunately, this comedy directed by Miguel Arteta belongs in the latter category.

The premise is simple, and that’s not necessarily a bad thing. Mia and Mel are two very close childhood friends who run their own beauty company. They have very different personalities: one is more down to earth and approaches life in a practical manner, while the other looks for smart ways to earn wuick bucks so she can live a good life. Despite their different outlook in life, they know how to complement each other and have stuck it out for many years. Things change when they cross paths with a deceitful businesswoman who wants to buy over their company. With a less than healthy profit, the friends decide to go on board this collaboration and before they know it, things start going awry.

It doesn’t take a genius to tell you that things will turn out alright at the end of the movie. So we are looking at other factors here, whether the energy level is high enough to keep the show going, whether the cast delivers impressive performances, and whether there is a zest to this comedy that will make it stand out above the crop of forgettable flicks about friends standing by each other.

The filmmakers are wise enough to keep the runtime short at 83 minutes, and the jokes are quite well paced to have you adequately entertained throughout. The cast is a nice mix of female comedians. Tiffany Haddish and Rose Byrne play Mia and Mel, and there is a natural chemistry between the two ladies. Haddish is known for her various appearances as a funny woman (check out her breakout performance in 2017’s Girl Trip), while Byrne has proved her while in comedies like Bridesmaids (2011) and Bad Neighbours (2014). Then there is Salma Hayek who has a hell of a time playing the b**chy antagonist. Other supporting characters are played by Jennifer Coolidge, Billy Porter and surprise – Lisa Kudrow.

With these seemingly fine ingredients in place, the result is not what we expected. The movie does have its funny moments (especially when Byrne tries to make things difficult for Haddish after the two fall out), but is essentially a formulaic comedy that doesn’t break any new ground. After a while, the jokes become tiresome, and there may be a certain demographic of audience who do not appreciate cat fights. The talented actresses try their best to elevate the comedy above mediocrity, but there is little chance that you will remember this as an outstanding funny movie the moment the credits roll.

Movie Rating:

(The talented actresses deliver some laughs in this otherwise forgettable comedy)

Review by John Li

Genre: Drama/Biography
Director: Rupert Goold
Cast:  Renée Zellweger, Jessie Buckley, Finn Wittrock, Rufus Sewell, Michael Gambon
Runtime: 1 hr 58 mins
Rating: PG13 (Some Coarse Language)
Released By: Shaw Organisation
Official Website: 

Opening Day: 9 January 2020

Synopsis:  Winter 1968: Showbiz legend Judy Garland (Academy Award Winner Renée Zellweger) arrives in Swinging London to perform in a sell-out run at The Talk of the Town. It is 30 years since she shot to global stardom in THE WIZARD OF OZ, but if her voice has weakened, its dramatic intensity has only grown. As she prepares for the show, battles with management, charms musicians, and reminisces with friends and adoring fans, her wit and warmth shine through. Even her dreams of romance seem undimmed as she embarks on a courtship with Mickey Deans (Finn Wittrock), her soon-to-be fifth husband. And yet Judy is fragile. After working for 45 of her 47 years, she is exhausted; haunted by memories of a childhood lost to Hollywood; gripped by a desire to be back home with her kids. Will she have the strength to go on? Featuring some of her best-known songs, including the timeless classic ‘Over the Rainbow’, JUDY celebrates the voice, the capacity for love and the sheer pizzazz of “the world’s greatest entertainer”. 

Movie Review:

Every award season, you can be sure that there will be a handful of actors who give it their all to play real life characters in biographies. It’d be a bonus if they play singers because they get to exercise their vocals - what’s stopping the juries from casting their votes to these multi talented actors who belt out tune after tune while making viewers laugh and cry with their emotions? Oh, extra points also go to actors who portray characters who suffered from physical and mental health torment, or alcohol and substance abuse.

Recent performances that have left an impression include those by Rami Malek (Freddie Mercury), Taron Egerton (Elton John) and Joaquin Phoenix(Johnny Cash). Dig a little deeper into cinema history and you’ll recall equally solid performances by Marion Cotillard (Édith Piaf), Angela Bassett (Tina Turner) and Jennifer Lopez (Selena).

The latest addition to the list of actresses who are leaving their mark by playing real life artistes is Renée Zellweger, who may be recognised with her first Best Actress Oscar (the 50 year old actress won the Academy Award for Best Supporting Actress in 2004 for ColdMountain). In this biographical drama directed by Rupert Goold, she takes on the titular role of Judy Garland, whom many fondly remember for playing Dorothy Gale in The Wizard of Oz (1939). This film’s not as cheery as a rainbow, as we see how the American singer and actress spends her last years by relocating her stage career to Britain. Things seem alright initially, but things start going downhill when her health begins to worsen.

Yup, Garlandwas plagued by mental health issues, alcoholism and substance abuse.

Such emotional upheavals are perfect for actresses to perform the hell out of the roles, and Zellweger does a brilliant job. She does her own singing and performing, and makes you feel for Garlandas a woman yearning to be loved, a mother wanting to shower all her love for her children, and an artiste taking the stage to bring the best entertainment to her audiences. This is the kind of performances that juries love, and the filmmakers are fully aware of that.

The 118 minute film is designed to showcase Zellweger’s acting. She crushes her facial muscles to look anguished, looks into the distance to wonder what life has in store for her, and sings her heart out on stage to have you tapping your feet to familiar tunes like “Come Rain or Come Shine”, “The Trolley Song” and “San Francisco”. Supporting characters are played by Finn Wittrock (Mickey Deans, Garland’s fifth and last husband), Rufus Sewell (Sidney Luft, Garland’s third husband) and Michael Gambon (Bernard Delfont, theatrical impresario who brings in Garland’s performance to the Talk of the Town nightclub).

Yes, the film contains that tune that you are yearning to hear – the one about going somewhere over the rainbow. When Zellweger sings it with all her heart during the last sequence of this sappily engaging movie, you may drop a tear or two. The heart tugging moments don’t end there. The filmmakers wouldn’t give up an opportunity to insert a quote from The Wizard of Oz. When it flashes across the screen, you’d be totally bought by this sentimental biography about an artiste who left us too soon.

Movie Rating:

(The unabashedly sentimental biography which chronicle Judy Garland's last years is boosted by Renée Zellweger's incredible performance)

Review by John Li