Genre: Action/Thriller
Director: Michael Polish
Cast:  Mel Gibson, Emile Hirsch, Kate Bosworth, David Zayas, Stephanie Cayo
Runtime: 1 hr 31 mins
Rating: NC16 (Coarse Language and Some Violence)
Released By: Shaw Organisation
Official Website: 

Opening Day: 30 July 2020

Synopsis: Fighting nature, greed, and the sweeping power of the past, two police officers find themselves in the eye of a dangerous storm in the action-drama FORCE OF NATURE. As a once-in-a-generation hurricane threatens Puerto Rico, a police officer (EMILE HIRSCH) trying to recover from a tragedy in New York, goes on evac duty with a new partner (STEFANIE CAYO). At an apartment complex, they arrive as a dangerous criminal called John the Baptist (DAVIDZAYAS) begins blasting bodies to get to a trove of priceless art. But when a cranky ex-cop (Oscar winner MEL GIBSON) and his daughter (KATE BOSWORTH) reluctantly enter the fray, the police find themselves ascending the building to maintain the high ground in a concrete death trap. As floodwaters rise, nothing but firepower and fierceness can survive this FORCE OF NATURE.

Movie Review:

For a start, I still can’t tell the difference between Kate Bosworth and Rachel McAdams at times. Okay one is an American and the other one is a Canadian. The former was in the ill-fated Superman Returns and the latter known for romancing Ryan Gosling in The Notebook. Never mind the blabbering but Bosworth stars in this action thriller that is directed by her real-life hubby, Michael Polish who normally makes indie films.

Other than Bosworth and Polish involvement, former A-lister actor and director Mel Gibson also has a starring role together with once promising young star turned troubled actor, Emile Hirsh (Into the Wild, Speed Racer).

Force of Nature is set in Puerto Rico amidst a category 5 hurricane where a gang of thieves led by their trigger happy leader, John (David Zayas) is out to steal valuable paintings from an apartment building. Rookie police officer Jess (Stephanie Cayo) and her suicidal depressed partner Cardillo (Hirsch) are assigned to evacuate the few remaining tenants from the building including a sick retired cop, Ray (Gibson) and a stubborn old man. At the same time, Ray’s daughter, Troy (Bosworth) is trying hard to persuade her father to check in to a hospital. But before any evacuation happens, the group of them needs to first team up to fight against John and his well-armed henchmen.

Honestly, if you handover a movie liked Force of Nature to an experienced HK action filmmaker or the guys behind The Raid, you are probably going to have a wild night of fun watching asses being kicked hard and people being blown off. The production companies might even save up half of the US$23 million budget for another flick. Unfortunately, what you have in the end is ninety minutes of boring generic shoot-em-up and absurd uninspiring flashback and narrative for the main characters. Even a supposedly attack by a wild cat happened off-screen. They can’t really afford a CGI animal it seems.

Did we also mentioned it’s from the same backers behind VOD releases that frequently starred Bruce Willis, Nicolas Cage and Josh Duhamel. Well, a grizzled Mel Gibson finally joined the club and he is having a scene-stealing time as an ex-tough cop although expectedly he doesn’t last "long" enough to watch the rolling credits. Of course, Kate Bosworth tried her best to match her hubby’s expectations but we are sure her performance is not going to spice up her career anytime soon. Hirsch on the other hand is miscast as the cop who has a tragic past while newcomer Stephanie Cayo is perfectly serviceable in her debut.

This is genuinely a B movie that fared much worse than the more than two decades old Hard Rain and even the recent, Rob Cohen’s The Hurricane Heist. The torrential downpour adds nothing to the story, the fistfights are dull and there’s too little Mel Gibson. At least we caught this so that you can proceed to catch something else. Move on, people. Nothing much to see here.

Movie Rating:

(The Force of Nature here belongs to Mel Gibson, too bad he came and went away too soon)

Review by Linus Tee

Genre: Horror/Thriller
Director: Nia DaCosta
Cast: Yahya Abdul-Mateen II, Teyonah Parris, Nathan Stewart-Jarrett, Colman Domingo 
Runtime: 1 hr 31 mins
Rating: M18 (Violence and Gore)
Released By: UIP
Official Website: https://www.facebook.com/CandymanMovie/

Opening Day: 23 September 2021

Synopsis: This October, Oscar winner Jordan Peele unleashes a fresh take on the blood-chilling urban legend that your friend's older sibling probably told you about at a sleepover: Candyman. Rising filmmaker Nia DaCosta (Little Woods) directs this contemporary incarnation of the cult classic.

For as long as residents can remember, the housing projects of Chicago's Cabrini-Green neighborhood were terrorized by a word-of-mouth ghost story about a supernatural killer with a hook for a hand, easily summoned by those daring to repeat his name five times into a mirror. In present day, a decade after the last of the Cabrini towers were torn down, visual artist Anthony McCoy (Yahya Abdul-Mateen II; HBO's Watchmen, Us) and his partner, gallery director Brianna Cartwright (Teyonah Parris; If Beale Street Could Talk, The Photograph), move into a luxury loft condo in Cabrini, now gentrified beyond recognition and inhabited by upwardly mobile millennials. With Anthony's painting career on the brink of stalling, a chance encounter with a Cabrini-Green old-timer (Colman Domingo; HBO's Euphoria, Assassination Nation) exposes Anthony to the tragically horrific nature of the true story behind Candyman. Anxious to maintain his status in the Chicago art world, Anthony begins to explore these macabre details in his studio as fresh grist for paintings, unknowingly opening a door to a complex past that unravels his own sanity and unleashes a terrifying wave of violence that puts him on a collision course with destiny.

Movie Review:

Like ‘Halloween’, ‘Candyman’ is both a sequel and a reboot at the same time.

As sequel, it references the elements of its predecessor, including the tragic events surrounding graduate student Helen Lyle (played by Virginia Madsen), who had gone on a killing spree before attempting to sacrifice a baby in bonfire, and the legend of Candyman (reprised here by Tony Todd), a Black artist in the late 1800s who was lynched to death by a White mob after falling in love and impregnating one of the female subjects of his paintings.

As reboot, it ignores the two forgettable sequels which came after the classic original, also starring Todd as the titular Candyman. But perhaps more significantly, while the cult classic centred around a white female protagonist (i.e. Helen Lyle), this latest is told from the lens of the Black community, who as victim of racism over the ages, spawned the original vengeful spirit of the Candyman and continues to perpetuate that same spirit of anger and injustice even till today.

Indeed, more than the original, director and co-writer Nia DaCosta’s film is pointedly political. It is no coincidence that the characters live in a gentrifying Chicago neighbourhood, or that the neighbourhood used to include the infamous towers of the Cabrini-Green public housing project. It is also no coincidence how the figure at the heart of the movie, an up-and-coming painter called Anthony McCoy (Yahya Abdul-Mateen II), eventually transforms into the legendary figure of Candyman that he develops an obsession with.

It is not hard to see why she and fellow co-writer and producer Jordan Peele sparked to the material – those which recall the 1992 original will know that the reason why the residents of Cabrini-Green were so fearful of Candyman was that it tapped into their real-life fears of law enforcement. Like Peele’s ‘Us’, the real horror here is allegorical, covering such topics as Black identity, class mobility and police brutality. It is sobering all right, and like we said, deliberate in its candidness of using the genre to explore race as well as playing around with our expectations of who is the hero and villain.

That’s not to say though that it forgets being a slasher movie at the end of the day. The first time the Candyman claims a victim is at an art gallery run by Anthony’s girlfriend Brianna (Teyonah Parris), in front of a mirrored exhibit called ‘Say His Name’ which Anthony had conceived based on the legend, and the bloodletting will dispel any doubts of its commitment to gore. By the time the movie gets to its finale, DaCosta fully and unapologetically unleashes the violence, not least by fulfilling Anthony’s transformation into Candyman in a bodily manner.

At the front and centre of this journey is Abdul-Mateen, who anchors the titular role with aplomb. It comes as no coincidence that the actor’s booming voice and physical presence bears resemblance to Todd, but Abdul-Mateen turns Anthony’s mental unravelling into a riveting portrait of social disillusionment. DaCosta has also assembled a fine supporting cast, including a stylish Nathan Stewart-Jarett as Brianna’s brother Troy, who gets to set the context with a chilling retelling of what happened to Helen Lyle, and Colman Domingo as a laundromat operator whose past is intimately and intricately linked to Cabrini-Green.

More so than the typical horror flick, ‘Candyman’ uses the genre to deliver sharp social critique. Her Candyman is the very expression of rage against racism, whose identity is also being shaped over the ages as cathartic fiction by the collective unconscious. Certainly, some of that topical relevance would be lost on us, but you’ll appreciate how DaCosta has reinvented the 1992 cult classic effectively. Truth be told, we were pleasantly surprised by how much more this ‘Candyman’ went beyond saying the name five times in front of a mirror, and if the commentary gets a little too shrill at times, we would hardly begrudge it for being a lot smarter than your average sequel cum reboot.

Movie Rating:

(Smarter than your average sequel cum reboot, 'Candyman' digs deep into topical subjects like Black identity, class mobility and police brutality to deliver sharp sociopolitical critique)

Review by Gabriel Chong

SYNOPSIS: Keen to bring honor to his clan, young villager Dong Yilong embarks on a perilous journey to compete in a tournament that selects warriors for battle. 

MOVIE REVIEW:

Double World is the kind of CGI loaded movie that gives you bad vibes all over after watching the initial trailer.

Based on the popular MMORPG game of the same name, ex-member of Super Junior-M, Henry Lau and Peter Ho (The Truth About Jane and Sam) plays a pair of villagers from Qing Yuan who volunteer to compete in a tournament. Organised by an evil Grand Tutor who is secretly planning to overthrow the South Emperor, Dong Yilong (Lau) and Chu Han (Ho) must team up with a heroic gal, Jinggang (Lin Chen Han) to overcome three set of dangerous games in order to win the coveted order of Grand Marshall.

However, that’s only scratching the surface of a story plot that probably deserves a mini-series to flesh out the various characters’ past and desires. Yilong may seems like an ordinary orphan child but who knows, he might be the heir of the North Yan Kingdom after all. Chu Han on the other hand is planning to avenge the wrongful death of his brother. Then there is Jinggang, a gal who pins for the love of a brother figure and a slave (Jiang Luxia) who struggles to forget about her past. And then there are the various clan members, one of them notably played by HK actor Him Law and the Grand Tutor (Hu Ming) elaborate scheme of overthrowing the King.

Despite the unnecessarily complex plotting, HK director Teddy Chan (Assassins and Bodyguards, Kung Fu Jungle) manages to keep things tightly in rein under two hours. At least, audiences are kept mesmerised by the relationship between Yilong, Chu Han and Jinggang although the frequent mention of political dynamics between the different states are nothing more than mere filler and confusion. 

For a Mainland title that feature CGI by local visual effects house, MoreVFX, the overall result is much better than expected although the design of some of the creatures seem to resemble those seen in Clash of the Titans and Dragonheart. We wouldn’t call the effects stunning but it’s a notch higher than the average Mainland production. The intricate set designs and physical sets are built quite handsomely and values are certainly rich enough to warrant the US$42 million price tag.

Double World works mostly in the hands of experienced veteran director Chan, producer Soi Cheang (SPL II, The Monkey King 2) and action director Stephen Tung Wai. It’s a conventional movie in terms of story but it’s shrouded with state-of-the-art technology to produce some spectacular, pretty cool chases and duels. Is it a remarkable, memorable flick in the end? Let’s just conclude by saying that Double World follows the footsteps of contemporary wu xia action flicks with a CGI twist. At least it’s much more enjoyable than last year’s Jade Dynasty.

MOVIE RATING:

Review by Linus Tee

Genre: Action/Thriller
Director: Yang Woo-suk
Cast: Jung Woo-sung, Kwak Do-won, Yoo Yeon-seok, Angus Macfadyen 
Runtime: 2 hrs 12 mins
Rating: NC16 (Some Coarse Language)
Released By: Golden Village Pictures
Official Website:

Opening Day: 13 August 2020

Synopsis: Leaders of South Korea, North Korea, and the U.S. hold a summit in Wonsan, North Korea to discuss North Korea’s nuclear issue and peace in the Korean Peninsula. Interrupted by some North Korean hardliners who have raised a coup, the leaders of the three countries are abducted and taken away on a North Korean submarine. As the North Korean hardliners, the U.S., Japan, and China each set up their own plans for war, how will President HAN of South Korea, who is trapped inside a submarine, overcome this crisis? 

Movie Review:

There is no narrative relation between ‘Steel Rain 2: Summit’ and its 2017 predecessor, even though both star Jung Woo-sung and Kwak Do-won, other than that they both deal with hardliners within the North Korean military wanting to scuttle peace efforts between North and South Korea.

In fact, Jung and Kwak have switched sides in this thematic sequel – whereas he played a loyal North Korean agent earlier, Jung is now the South Korean President Han; and while Kwak was playing a South Korean government official helping Jung’s character previously, he is now no less than the Supreme Guard commander who engineers a coup against his Supreme Leader.

Than working with each other, their characters are now working against each other. To prevent President Han from brokering a historic peace deal between his country and the United States, Kwak’s Commander Park Jin-woo sends his troops to surround the hotel in Wonsan where the leaders have gathered. Outnumbered, the three Heads of State are taken hostage on board the North Korean nuclear submarine Paektu, whereupon they discover an even bigger conspiracy involving China and Japan that could very well spark World War III.

Like the first movie, writer-director Yang Woo-suk injects a heavy dose of jingoism into the narrative, and depending on your knowledge of East Asia geopolitics, you may find the exposition intriguing or didactic. Dokdo (otherwise known as the Liancourt Rocks) plays a critical role in the story, its significance dating back to the Japanese invasion of Korea and the subsequent disputes over its sovereignty after the Korean War. The China-DPRK border plays a supporting but sizeable role too, its significance dating back to the Korean War. And last but not least, the US-China relationship is yet another pivotal actor, overshadowing almost every single one of the events of the film.

Frankly, those utterly unfamiliar with the delicate balance among China, DPRK, ROK and the US will probably find themselves lost amidst the labyrinth plotting, which arguably is a lot more complicated than the first movie. As tangled as it may be, you’ll have to give credit to Yang for even trying to weave such a dense backdrop into what could otherwise have been a straightforward political thriller, but the effort ultimately gives the movie added relevance especially in today’s geopolitical context.

The tension among the Big and Middle Powers sets the basis for the relationship among the key characters. President Han genuinely wants the DPRK Chairman Cho (Yoo Yeon-seok) to find common ground with the boorish US President, the latter clearly modelled after the current White House occupant; on the other hand, Han and Cho seem to have struck up a kinship as fellow Koreans, in obvious reference to the ambition of the current South Korean leadership. The interplay among them while locked inside a cramped room on the Paektu is surprisingly engaging, which is also credit to the chemistry among the three actors.

More so than the first movie, this sequel is a relatively talky affair, with much of its first two acts playing out as tense exchanges in confined spaces, whether on board a submarine or within the White House emergency room where the Vice-President and the rest of the Smoot administration have gathered to mount a response to their President’s kidnapping. Oh yes, those looking for some submarine-on-submarine action will have to wait till the last third, before things get heated both on board and outside the vessel with guns, missiles and decoys.

The wait is especially worth it for those starved of such underwater action since Gerard Butler’s ‘Hunter Killer’ two years ago, with Yang orchestrating some great nail-biting moments when President Han teams up with the Paektu’s second-in-command to wrestle control of the ship just as it is targeted by Japanese enemy subs. That said, those familiar with Butler’s film will find a whiff of similarity between the two movies, what with both featuring a veteran from the other side who guides the vessel through physically challenging waters while evading missile attacks from other subs.

Yet there is sufficient topical relevance to differentiate ‘Steel Rain 2: Summit’ from other similar genre outings, in particular with the  mention of a successful peace deal between both Koreas, and a US President modelled to resemble the orange buffoon we like to call Trump. By refusing to simplify the complex balance of power in East Asia, Yang adds legitimacy to the proceedings, despite obviously taking some creative license for dramatic effect. Admittedly, it can get pretty dense in the set-up, but if you stick with it, you’ll find a tense, gripping tale of brinksmanship, diplomacy and politics.

Movie Rating:

(Steeped in the complex balance of power in East Asia, this tense, gripping and relevant sequel is both an intriguing geopolitical lesson and a white-knuckle thriller)

Review by Gabriel Chong

Genre: Biography/Drama
Director: Marjane Satrapi 
Cast: Rosamund Pike, Sam Riley, Anya Taylor-Joy, Aneurin Barnard, Simon Russell Beale, Sian Brooke, Katherine Parkinson
Runtime: 1 hr 50 mins
Rating: NC16 (Some Nudity and Scene of Intimacy)
Released By: Shaw Organisation
Official Website: https://www.radioactivethemovie.com

Opening Day: 30 July 2020

Synopsis: From the 1870s to the modern era, RADIOACTIVE is a journey through Marie Curie’s (Rosamund Pike) enduring legacies – her passionate relationships, scientific breakthroughs, and the consequences that followed for her and for the world. After meeting fellow scientist Pierre Curie (Sam Riley), the pair go on to marry and change the face of science forever by their discovery of radioactivity. The genius of the Curies’ world-changing discoveries and the ensuing Nobel Prize propels the devoted couple into the international limelight. From renowned producers, WORKING TITLE (DARKEST HOUR) and Shoebox Films (ATONEMENT), and Academy Award® nominated director, Marjane Satrapi, comes a bold, visionary depiction of the transformative effects and ensuing fallout of the Curie’s work and how this shaped the defining moments of the 20th Century.

Movie Review:

From her Oscar nominated performance in Gone Girl to her compelling portrayal of the late journalist Marie Colvin in A Private War to being Marie Curie, the first and only woman to win the Nobel Prize twice, English actress Rosamund Pike is on a roll.

Together with her French husband and also fellow scientist Pierre Curie, Marie Sklodowska-Curie is largely known for discovering radium and polonium and under her direction, developed mobile radiography units to provide X-ray services to field hospitals during World War one. In this movie version which is directed by Marjane Satrapi (Persepolis) and adapted from the graphic novel by Lauren Redniss, Radioactive takes a non-linear approach to document the life and works of the famous scientist.

Headstrong, persistent and even arrogant according to her husband (played by Sam Riley), Curie is shown from the start as an uncompromising individual who has no qualms fighting for her rights in a field dominated by men. But it’s the love of her life, Pierre Curie that supported her career throughout until a freak accident resulting in the death of Pierre cut short their relationship and nearly toppled her career.

Perhaps it’s the death of her mother and Pierre that constantly torment Marie that she got herself into an affair with a married graduate student of Pierre and the increasingly hostility against her of being an immigrant after her success and scandal. Radioactive often falls into the conventional route. There isn’t any significant, mind-blowing accounts of Curie’s achievements or suggestions which have been left out in history books. The subject is intriguing no doubt but we can’t help feeling the by-the-numbers treatment.

Radioactive generally is a mixed bag. There’s some fantastic visuals on display however, scenes which beautifully intercut Curie’s imagination to the impact of Curie’s discovery which leads to the atomic attack on Hiroshima, the 1986 nuclear disaster at Chernobyl or the continued use of brachytherapy on cancer patients. The fusion of past and present serves as a reminder how powerful Curie’s discovery is though we can’t get a good picture of how radium and polonium actually works or how one of her daughters, Irene follows in her mother’s footsteps in the end.

Rosamund Pike is yet again the soul and star of this biopic delivering a stirring and convincing performance as an extraordinary woman who developed the theory of radioactivity. Isn’t it high time for Pike to get an Oscar for acting? Sam Riley better known for his appearance in Maleficent is more than decent as Pierre Curie while Anya Taylor-Joy (Spilt) is underused as Irene, the gutsy elder daughter who worked as a nurse and subsequently a Nobel prize winner in chemistry.

The movie feels like a lukewarm tribute to Marie Curie, unable to bring out the best of the scientific genius nor delivering the worse. It’s definitely not a ground-breaking biography for sure. You probably won’t find the material daring or provocative still the occasional dreamy visuals and metaphors plus Pike’s perfect performance does light up this title a little.

Movie Rating:

(It’s kind of missing a passionate account though this arthouse biopic deserved a chance because of Rosamund Pike’s solid acting)

Review by Linus Tee

Genre: Drama/Romance
Director: Andy Tennant
Cast: Katie Holmes, Josh Lucas, Jerry O’Connell, Celia Weston, Sarah Hoffmeister, Aidan Pierce Brennan, Chloe Lee 
Runtime: 1 hr 47 mins
Rating: PG
Released By: Shaw Organisation
Official Website: https://www.facebook.com/thesecretdaretodream

Opening Day: 6 August 2020

Synopsis: The Secret: Dare to Dream centers around Miranda Wells (Katie Holmes), a hard-working young widow struggling to raise three children on her own. A powerful storm brings a devastating challenge and a mysterious man, Bray Johnson (Josh Lucas), into her life. In just a few short days, Bray’s presence re-ignites the family’s spirit, but he carries a secret—and that secret could change everything. Rhonda’s ground-breaking book has been translated into 50 languages, sold over 34 million copies worldwide and spent an incredible 190 weeks on “The New York Times’ bestseller list.

Movie Review:

If you walk into the screening of The Secret: Dare to Dream without a hint of the material it’s based on, you probably thought it’s adapted from a Nicholas Sparks novel. It contained the typical traits of a Sparks title with tragic, inspiring and romantic themes all rolled into one. The only exception being The Secret is actually based on the best-selling 2006 book of the same name by Australian self-help guru Rhonda Byre.

The Secret in general teaches one to believe in the power of positivity and good things will come your way. Since there’s no scientific evidence involved with Byre’s teachings, there’s certainly some controversy that comes with Byre’s book but of course you won’t find it here in this theatrical movie directed and co-written by Andy Tennant who brought audiences Hitch and Sweet Home Alabama.

Katie Holmes stars as Miranda, a widow struggling with money issues and trying to raise three kids after the death of her husband. One day, she meets a good Samaritan, Bray (Josh Lucas) after she rear-ends his car. Not only he didn’t ask her for any compensation but he also offers to repair her bumper and when an old tree crashed through her roof during a hurricane, Bray even volunteers to help her take care of it for a mere sum of $500 while Miranda and her kids stays with her mother-in-law, Bobby (Celia Weston) for the time being.

Then there is Tucker (Jerry O’Connell), Miranda’s on-and-off successful boyfriend and owner of the restaurant she worked in though it seems Miranda is not really into him. Anyway, is Bray a good guy or a symbolism of a God-like spiritual figure who spouts well-meaning phrases and stories? Well spoilers ahead, he is indeed a good guy and he is also hiding a SECRET! We wonder what is it.

Even though this is not a faith-based movie, we can’t help feeling it’s a combination of self-help and faith. Perhaps the fault lies in Tennant’s clunky and predictable treatment because it fares so similar to a Sparks adaptation. Bray is the perfect gentleman from god knows where. He is here to rescue Miranda from the depths of the unknown, a woman so overworked, stressed and in need of some positivity in which Bray has lots to spare.

Based on the laws of attraction, the book attempts to spread a simple message of whatever you experience in life is a direct result of your thoughts. Bray even tried to explain the concept by using magnets in one scene. The Secret: Dare to Dream is an on-screen testimonial of it. In other words, if you constantly think of a better life, you will achieve it in the end. If you wish for a pony, you might also get it on Christmas. It’s the sort of movie that non-believers will regard as pure hogwash while long-time readers of the book will love to death.

Holmes looking a bit aged here fits well into the role of a mother faced with a series of misfortunes. She is quite a good actress though we don’t really see her in a lot of big Hollywood titles nowadays. Lucas is almost perfect as the part-time handyman and full-time professor Bray. Admittedly, it’s kind of a surprise to see Jerry O’Connell in a live-action picture since mostly he has been busy dabbling in voice acting.

Coincidental or not, The Secret: Dare to Dream comes amidst a pandemic where the power of positivity is very much needed during this troubled time. The messages shared here might be tricky from a religious point of view and maybe doesn’t really suit those with a narrow perspective of things. Nevertheless, it’s a romance drama brewing with positive messages that ask you whether do you dare to dream? Just don’t wish for a unicorn.

Movie Rating:

(There’s no harm done in this old school romance movie that ask for audiences to apply the law of attraction in your daily life and goals)

Review by Linus Tee

Genre: Action/Thriller
Director: Zackary Adler 
Cast: Olga Kurylenko, Gary Oldman, Amit Shah, William Moseley, Alicia Agneson, Greg Orvis, Calli Taylor, Dermot Mulroney
Runtime: 1 hr 40 mins
Rating: M18 (Violence)
Released By: Shaw Organisation
Official Website: 

Opening Day: 23 August 2020

Synopsis: Set against a gritty London backdrop, Olga Kurylenko plays a tough motorbike courier whose delivery is interrupted when she discovers one of the packages she's transporting is a bomb. The gas bomb she’s carrying is set to kill Nick Murch (Amit Shah, Final Score), the only witness able to testify in Washington DC against ruthless crime lord Ezekiel Mannings (Gary Oldman, The Dark Knight). As the British Police and FBI scramble to deal with the mess, the mysteriously welltrained and equipped courier teams up with unlikely partner Nick to evade Mannings' heavily armed goons and make sure that justice is delivered. 

Movie Review:

Olga Kurylenko, the Bond girl from Quantum of Solace has joined the ranks of action heroines in The Courier, one of the many low budget subpar action thrillers produced by Grindstone Entertainment each year.

Joining Olga is Oscar winning actor Gary Oldman, although both never met each other in the entire course of the movie. Olga plays a courier who is tasked with delivering a package to a location where a trial witness, Nick Murch (Amit Shah), is held. It turned out that the package is a cyanide bomb arranged by crime lord, Ezekiel Mannings (Oldman), to kill Nick.

Being more than just a good Samaritan, the courier decides to save Nick from the clutches of Mannings’ henchmen and a corrupt cop, Agent Bryant (William Moseley from The Chronicles of Narnia). It’s a race against time as the courier and Nick must find all sort of ways to outlast and outwit the heavily armed goons before backup arrives.

To be fair, director Zackary Alder and his team of writers did a rather decent job concocting the action pieces given the obvious less than stellar budget, although the plotting is an absolutely duh. Being an ex-military deserter probably is the only thing you know about Olga's character. Perhaps Alder is pulling a John Wick except there is no puppy, no love interest or a sequel in sight.

Ezekiel Mannings doesn’t fare much better. All Oldman has to do is put on an eye patch, scream a few lines, listen to opera and talking to his onscreen daughter in a few select scenes in his vast New York mansion. A paycheck that is easily earned by the acclaimed actor. Nobody knows exactly what dirty deeds Mannings has done, except he wants Nick dead because the latter sort of stumble upon Mannings murdering a man.

As it conveniently turned out, all the cops turned out to be crooks, and there is an unnecessarily contrived cameo by a known actor as an US agent in the finale to add on to all the silliness before the credits rolled. Likely wanting to expand his portfolio, Moseley takes on the thankless role of a villain who mostly do the controlling and shouting from the control room until the climatic finish with his sniper henchman.

The Courier does churn out several decent fights and shootouts in a multi-storey carpark which basically stands in for almost the entirety of the movie. Olga indeed puts in lots of hard work as she gets messy, bloody and tough with several stronger brutes. The courier actually wears a high-tech motor helmet capable of seeing in the dark though we are plain curious where she got it from. Stark Industries? There’s also a fancy drone which surveillance and kills if guns and knives are no longer a thing.

There’s very little satisfaction coming out of a movie like The Courier. It’s stylishly violent (kudos to the real stunts and gruesome makeup) but the plot is so mundane and predictable that it’s more tiring than compelling to watch the courier in constant motion. Olga Kurylenko no doubt breathes much life to the character given her gung-ho performance. She is great but the movie on the whole is not.

Movie Rating:

(The Courier delivers a mindless, generic action experience)

Review by Linus Tee

Genre: Action
Director: Choi Jae-hoon  
Cast:  Jang Hyuk, Joe Taslim, Kim Hyun-soo, Jung Man-sik, Lee Na-kyung, Lee Minhyuk
Runtime: 1 hr 40 mins
Rating: NC16 (Violence)
Released By: Shaw Organisation
Official Website: 

Opening Day: 15 October 2020

Synopsis: After the fall of King Gwanghae, Joseon’s greatest swordsman and royal guard Tae-yul (JANG Hyuk) is forced into hiding. In the meantime, Joseon is caught between Qing and Ming dynasties’ conflict, and is at the mercy of Qing’s envoy and slave trader Kurutai’s (Joe TASLIM) ridiculous demands. As general populace suffering deepens, Tae-yul’s daughter is taken away as a tribute to Qing and although he wanted to live his remaining days in solace, Tae-yul has no choice but to unsheathe his sword and face the Qing foes in order to bring his daughter back…

Movie Review:

To me, modern action has nothing on period pugilistic pieces. Guns, lasers, cars and bombs rarely need skill, and filmmakers often depend on bigger explosions to one-up excitement. The clash of fists and swords in comparison, feels more elegant, and often results in a more satisfying payout. They are called martial arts for a reason.

It’s been a while since a title with a focus on sword fighting has come out from South Korea, and The Swordsman pulls no punches in delivering this key theme. Casting the charismatic Jang Hyuk in the lead as Joseon’s greatest swordsman, it’s a stylish piece decorated with heart-racing sequences and some inventive sword work.

The story takes place in a chaotic slice of Joseon’s history, when the warring factions of the Ming and Qing Dynasties were suppressing the Korean monarchy. After the King Gwanghae falls to the schemes of his own ministers, his most trusted guard Tae-yul (Jang Hyuk) flees into the mountains with his infant daughter under his instruction.

After years of isolation, Tae-yul’s eyes deteriorate, and the now grown-up Tae-ok (Kim Hyun-soo) insists he seeks treatment in their nearby town. He reluctantly does so, and gets his first glance of Qing envoy and slave trader Kurutai (Joe Taslim), who happens to have a fondness for seeking out skilled sword fighters. Fortunately, our hero manages to slip away discreetly from his attention.

But circumstances sees Tae-ok being taken away as tribute and forces Tae-yul’s hand, so the father works up the hierarchy using his walking stick, and eventually unsheaths his sword against tougher opponents to save the girl. An old royal commander, Min Seung-ho (Jung Man-sik), catches sight of the Tae-yul and recognises the swordsman. Disillusioned by the new ministry, he begins to track down Tae-yul to uncover an old secret and perhaps settle an old score.

The Swordsman carries within it several threads, bundled in a decent plot which does get a little unclear at parts. The initial coup d’etat was brief with its motivations, and dignitaries had ambiguous agendas that would have benefited with better introductions. Thankfully, the main plot of a father’s sacrifice for his charge is clearly demonstrated, and something which Jang Hyuk strongly identifies within himself and presents remarkably.

We see Jang Hyuk’s brooding swordsman played with restraint, with an added layer of torture given his failing eyesight. This conundrum plays up tension well on the screen, disabling a figure with almost superhero skills with an achilles heel, but the actor also delivers richness with his nuanced expressions, even going as far as to blur his vision during practice to get a better sense of how his character should react during these fights.

But if there is a contender for our attention, it would be the sword fighting sequences. The choreography here is a treat to watch. Tae-yul’s natural gift in martial arts lets him imbue his sword-fighting with unorthodox flair, and this flummoxes his opponents, but the wise king admires the freedom from the lack of discipline. It is expressed with swift flows as much as clashing strength, sharp jabs as well as fluid slashes, creating sparring episodes that are exciting and poetic - very much what makes these films so riveting. The boss fight is particularly inventive, and The Swordsman gives a refreshing update to the genre without trying too hard.

Another standout is Indonesian actor Joe Taslim, who possesses his own unique gravitas. His Kurutai is enriched with a natural admiration for great swordplay, which makes for a less straightforward but equally compelling villain journey. He presents this with supernatural charisma, making him a character you’ll love to hate, and this magnetic presence lets him hold his own against his South Korean co-stars. My only complaint - that his final fight with Tae-yul a tad short, because it was really that good.

Movie Rating:

(The Swordsman feeds the audience with riveting action sequences, with a distinctive and refreshing swordplay delivered by a talented cast)

Review by Morgan Awyong

Genre: Drama/Crime
Director: Park Sang-hyun 
Cast: Shin Hae-sun, Bae Jong-ok, Huh Joon-ho
Runtime: 1 hr 51 mins
Rating: PG13 (Some Coarse Language)
Released By: Shaw Organisation
Official Website: 

Opening Day: 6 August 2020

Synopsis: Hotshot lawyer Jung-in (Shin Hae-sun) hears about her father’s death but refuses to attend his funeral. At her father’s wake, a senior guest has died and 4, including the town mayor, were in critical condition after pesticide was detected in the rice wine that was served. In addition, the suspect who was arrested for the crime was none other than her demented mother Hwa-ja (Bae Jong-ok). In order to prove her mother’s innocence, who doesn’t even recognize her, Jung-in takes over the role of her defense lawyer and uncovers terrifying truths and conspiracies revolving her hometown.

Movie Review:

‘Innocence’ begins intriguingly with a funeral in a backwater small town, whereupon the supercilious village mayor (Huh Jun-ho) and a number of the local townsfolk are poisoned after drinking rice wine laced with pesticide. The suspect is none other than the deceased’s wife Hwa-ja (Bae Jong-ok), who is taken into custody and promptly charged with the heinous act.

As you would expect, the subsequent plotting will unveil just who the real culprit is, with writer-director Park Sang-hyun opting to do so through a combination of courtroom and investigative drama. Both are driven by the brilliant young lawyer Jung-in (Shin Hye-sun), who returns from Seoul to her birthplace when she hears about the case and then decides to take over from the incompetent lawyer engaged by Hwa-ja’s sister.

Jung-in also happens to be Hwa-ja’s daughter, so it isn’t just any life that is in her hands but in fact that of her mother. There is good reason why she had not returned prior for her father’s wake, and revisiting her painful past that had led to her leaving her hometown as a teenager is one of the poignant pleasures of this well-crafted mystery thriller.

Oh yes, the question of ‘who did it’ is probably less important than ‘why it had happened in the first place’, and over the riveting course of two hours, we are led on a viscerally and emotionally gripping journey of greed, guilt and reconciliation. Jung-in’s relationship with her mother is one major dimension, which also concerns her autistic younger brother Jung-soo (Hong Kyung); and without spoiling anything, let’s just say the secrets from her past will form a pivotal basis for the surprising yet affecting conclusion.

The other dimension concerns the mayor’s shady dealings with Jung-in’s father and a bunch of local village folk, all of whom used to be miners before there was nothing left to mine. As with such tales, money and power are the reasons why once-firm friends turn against one another, and even though the revelation here isn’t quite so shocking, the twists and turns are still more than engaging to hold your attention.

What is perhaps more significant is how the two subplots tie in together with each other, which lends added poignancy to the fate which the young Jung-in had suffered at the hands of an uncaring and physically abusive father that ultimately led to her running away from home. It should come as no surprise that mother and daughter do eventually make up, but how Jung-in comes to terms with her professional and personal lives is something the story manages with deftness and finesse.

In what is her first leading role, actress Shin Hye-sun shines with nuance and poise. She doesn’t over play her character’s steeliness and knows just when to play up Jung-in’s vulnerabilities especially with regard to her mother’s condition. Shin holds her own against the deliciously cunning Huh, and the courtroom scenes between them as lawyer and witness crackle with tension and suspense.

That it may not boast a big-name cast means it’s all too easy to lose sight of ‘Innocence’ amidst the flurry of Korean movies hitting our screens over the past few weeks, but you’ll do well not to dismiss this well-plotted drama. It is paced with momentum, packed with good surprises, and nicely executed to deliver an emotional wallop towards the end. In fact, we would go so far as to say that it is one of the finest Korean movies we’ve seen this year, so don’t be guilty of letting it slip you by.

Movie Rating:

(Taut, intriguing and poignant, this courtroom and investigative drama of greed, guilt and reconciliation is one of the best Korean movies we've seen this year)

Review by Gabriel Chong

Genre: War/Drama
Director: Guan Hu 
Cast: Jiang Wu, Li Chen, Zheng Kai, Du Chun, Vision Wei, Wang Qianyuan, Zhang Yi, Oho Ou, Hou Yong
Runtime: 2 hrs 29 mins
Rating: NC16 (Violence)
Released By: Shaw Organisation
Official Website: 

Opening Day: 10 September 2020

Synopsis: The film is based on true events taking place during Sino-Japanese war in Shanghai, China in 1937. There are around 400 soldiers (so called Eight Hundred Heroes in history), holding out against numerous waves of Japanese forces for 4 days and 4 nights during the battle and protection of the Si Hang Warehouse.

Movie Review:

They were just over 400, not 800 as they had let others believe; and over four days in late 1937, these men made up of veteran soldiers of the 542th Regiment from the elite 88th Division of the Chinese Resistance Army (NRA), as well as civilians and deserters of less-trained security corps of Hubei, Hunan and Zhejiang, were holed up in the Sihang Warehouse against the Japanese Third Division, the highest calibre of the Imperial Army.

As a Mainland China production, ‘The Eight Hundred’ cannot not be a patriotic war movie; but amidst the overt demonstrations of courage and devotion to country, writer-director Guan Hu paints a surprisingly nuanced portrait of cowardice and self-preservation. Next to the stoic commander Col Xie Junyuan (Du Chun), there is the cowardly Lao Tie (Jiang Wu), who wants only to get back to his village and continue being a farmer; and then there is the circumspect Duan Wu (Ou Hao), who struggles to reconcile the grimness of their situation vis-à-vis the seemingly obliviousness of those living in the foreign concessions just a mere river away.  

Indeed, the juxtaposition is wholly intentional. Though Hu stuffs too many supporting parts into the narrative, those that stand out are the ones who ultimately are forced to make their moral choices amidst the heat of battle. Stay or fight with the rest? Flee or alert the rest of the men of an impending ambush? Obey orders or do what is noble and honourable? The last, in particular, takes aim at the KMT for obvious (political) reasons, illustrating how their leadership had ultimately for the sake of expediency betrayed the country into the hands of the Japanese.

We’re not quite sure what tweaks were made to the storytelling in order to satisfy the Chinese censors to agree to lift the unofficial ban on the movie a year ago, which scuttled its high-profile debut at the Shanghai International Film Festival as well as its summer release then. Notwithstanding, this mega production that costs an unprecedented $80 million still looks and feels every bit like the blockbuster it was meant to be, unfolding tersely and tensely the fateful events of the four days the men held up in the warehouse against the Japanese onslaught.

Each day is a set-piece in itself. The first sees the Japanese try to overcome with sheer numbers and firepower, though failing to overtake the warehouse after having been met with a fiercer resistance than expected. The second finds them try with strategic formation, vowing to overpower in three days with tanks, mortars and other artillery. The third has the men attempting to keep the national flag raised on the rooftop of the building, all the while enduring an aerial assault from a Japanese fighter plane. And last but not least, the fourth sees them try to cross the New Lese Bridge to the concessions, after being abandoned by the Generalissimo.

Working with cinematographer Cao Yu, visual effects supervisors Tim Crosbie and Jason Troughton, and veteran action coordinator Glenn Boswell, Hu choreographs and executes four days of blood-soaked intense action, no less thrilling than that of recent Hollywood war movies such as ‘1917’ and ‘Dunkirk’; in fact, we would even go as far to say that the carnage here is sometimes more vivid than its Western counterparts. There is also significant attention paid to the details, from the faithful recreations of 1930s Shanghai to the rubble of the Sihang warehouse and right down to the very military hardware and formations. This is the first Chinese movie to be shot entirely on IMAX, and that achievement is right up there on the big screen.

Though somewhat thin on characterisation, there is still emotional resonance to be found within the visual spectacle. Hu intersperses the action with quieter moments of intimacy – for example, the camaraderie which develops between Lao Tie and Yang Guai (Wang Qianyuan) – and symbolic scenes of say the men standing in rows waiting for their turn to take their last bath. Hu is sometimes guilty of clichés, especially that of a runway white horse whose fur is tainted by blood as the days go by, but there is nonetheless impressive artistic vision from a director whose earlier projects (such as the crime drama ‘Mr Six’) had not portended such dramatic accomplishment.

So politics aside, ‘The Eight Hundred’ is no doubt a stunning blockbuster war epic, replete with riveting battle action, impeccable historical detail and enough nuance to rescue it from being mere propaganda. It stands at a hefty two and a half hours, but given how fast the fights unfold, you won’t feel the runtime. Though the ending is well known, we should warn those looking for a satisfying finish that there is none to be found here, not due to the fault of the filmmaker but rather what had met the 400 over men at the end of their ordeal. Yes, despite being only half their titular number, their heroism shows the strength, power and endurance of an indomitable fighting spirit, which deserves to be celebrated any day but even more in these bleak times.

Movie Rating:

(Every bit the blockbuster war epic it has been touted to be, 'The Eight Hundred' boasts riveting battle action, impeccable historical detail and enough nuance from being mere propaganda)

Review by Gabriel Chong