Genre: Drama
Director: Miwa Nishikawa
Cast: Kōji Yakusho, Taiga Nakano, Seiji Rokkaku, Yukiya Kitamura, Hakuryu, Midoriko Kimura, Masami Nagasawa, Narumi Yasuda, Meiko Kaji, Isao Hashizume
Runtime: 2 hrs 7 mins
Rating: M18 (Sexual Scene & Some Nudity)
Released By: Golden Village Pictures and Clover Films
Official Website:

Opening Day: 3 June 2021

Synopsis: Mikami, an ex yakuza of middle age with most of his life in prison, gets released after serving 13 years of sentence for murder. Hoping to find his long lost mother, from whom he was separated as a child, he applies for a TV show and meets a young TV director Tsunoda. Meanwhile, he struggles to get a proper job and fit into society. His impulsive, adamant nature and ingrained beliefs cause friction in his relationship with Tsunoda and those who want to help him.

Movie Review:

This Japanese film about an ex convict who is struggling to adapt to the society after his release almost feels like a Yellow Ribbon awareness project – except that it is heartbreakingly grounded in its portrayal about a released offender who is at a loss when he regains freedom.

When we first meet Masao Mikami (played flawlessly by veteran actor Kōji Yakusho), he just finished his 13 year prison sentence. The ex yakuza was convicted for murder. Known for their strict codes of conduct and extreme violence, yakuza are gangsters from organised crime syndicates who had their heyday in a bygone era. Naturally, he finds it difficult to integrate into a world that has changed drastically. It reminds you of how the characters from The Shawshank Redemption found life after leaving prison.

The man has to live on welfare, look for a proper job and familiarise himself with social norms. He also hopes to find his mother who was separated from him since he was a child. At his age, you’d think this is enough a burden to bear. The drama doesn’t stop there, as he finds himself involved in a TV production helmed by a seemingly sincere crew.

Directed by Miwa Nishikawa, the movie based on the 1990 novel “Mibuncho” (Inmate Files) is a poignantly realistic portrayal of an individual who is making great effort to be part of a society that has heartlessly moved on without him. Mikami has no financial ability to survive on his own, and has to unwillingly receive governmental support. He wants to stand on his own feet by finding a job, but we know how challenging that is going to be. Then there are two strangers who want to milk his story into a TV hit.

The 126 minute film takes its time to tell Mikami’s story. We feel his anger when he repeatedly fails his driving test, but can’t help chuckling at the situation. We feel heartened to see the friends he makes, including a retired lawyer and his wife (Isao Hashizume and Meiko Kaji), a supermarket employee (Seiji Rokkaku), and his case manager (Yukiya Kitamura) from the welfare office. These supporting characters add a human touch that warms your heart. Mikami also strikes up an unexpected friendship with the young TV show producer (Taiga Nakano) – an earnest exchange between the two men in the onsen is especially touching.

The film also sends Mikami to seek out some shady people from his past when he is at his lowest point. Unexpectedly, there are some affecting moments to look out for during those scenes. The story also has Minami befriending an intellectually challenged colleague at a nursing home, and there are sequences that will leave you questioning the goodness in human nature.

Unmistakably, this is Yakusho’s show. It is not a sentimental portrayal of a character that has no place in society, nor is it one that is anchored by melodrama. The actor delivers a beautiful and nuanced performance that makes the story achingly humane.

Movie Rating:

(A humane story that features a beautiful performance by Kōji Yakusho)

Review by John Li

Genre: Action/Crime
Director: Chan Kin Long
Cast: Lam Ka Tung, Bipin Karma , Michael Ning, Ben Yuen, Tai Bo, Chin Siu Ho, Chu Pak Him, To Yin Gor, Tony Ho, Aaron Chow, Andy Tse
Runtime: 1 hr 41 mins
Rating: NC16 (Some Violence & Coarse Language)
Released By: Golden Village Pictures and Clover Films
Official Website:

Opening Day: 17 June 2021

Synopsis: Actor Chan Kin-long (The Midnight After) makes his directorial debut with a gritty bromance drama born out of the much-lauded First Feature Film Initiative. In his finest performance to date, award-winning actor Gordon Lam Ka-Lung plays a former Hong Kong Military Service Corps officer who becomes caught in a triad manhunt when he takes in an ethnic South Asian man carrying a bag of stolen drugs. Forced to live under the same roof, the two men transcend their cultural and racial differences to form a beautiful friendship in this poignant tale of loyalty and brotherhood.

Movie Review:

The manly brotherhood between dudes can be as beautiful as a romantic relationship between a man and a woman. This film paints a sorrowful yet glorious picture of the friendship between two men, both seemingly marginalised by the society. This is the kind of bromance guys imagine themselves to be in, portrayed by movie stars on the big screen.

We are first introduced to Chiu (the ever reliable Lam Ka Tung) in a black and white sequence at the beginning of the film. He is a captain of the British army pre 1997. After Hong Kongis returned to the Chinese, he becomes of the many soldiers abandoned by the system. Once a man who is proud of what he does for a living, Chiu becomes debt ridden and constantly involved in shady deals with gangsters. He crosses paths with Mani (newcomer Bipin Karma), a South Asian man on the run with a bag of stolen drugs. The small time criminal is obviously an outsider in Hong Kong who is conveniently (and rudely) addressed as “Brownie”.

The two men are somehow on the run from the same bad guys (outlandishly played by Ben Yuen and Michael Ning), and in the mix are also baddies from Taiwan(To Yin Gor and Tai Bo). The 101 minute film takes us on a journey to the city’s underbellies and in a very forlorn way, shows us the two protagonists’ trials and tribulations. It is very gloomy, but the unlikely bond between them is admirable.

The film is supported by the Hong Kong First Feature Film Initiative and was the only film in production when the industry was hit by COVID-19. Like the themes of loyalty explored in the movie, Lam did not receive any salary to support the local film industry. This very commendable act makes the film one that is worth supporting. The film was nominated in seven categories at the 2020 Golden Horse Awards, including Best Picture, Best New Director and Best Actor.

Director Chan Kin Long is an actor turned filmmaker (he appeared in Fruit Chan’s The Midnight After and Philip Yung’s Port Of Call), and his debut feature film has a lot of style. The cinematography is moodily hypnotic, and every frame is oozing with beautiful melancholy. There is also a one take fight sequence at the end of the film that is poetically executed and brilliantly showcases the stunt choreographer’s skills.

We wish the film could have made us emotionally more invested in how the two men are ‘leftovers’ from Hong Kong’s colonial past. It’s also a shame that the dubbed version loses some of its authentic flavour. Thankfully, the all star cast (besides the abovementioned familiar names, veteran actors like Chin Siu Ho, Tony Ho and Chu Pak Hong also show up) deliver noteworthy performances, making the movie a worthy watch. This is a project that is worth celebrating, and we are definitely looking forward to Chan’s future films.

Movie Rating:

(Lam Ka Tung proves himself again to be one of Hong Kong's finest actors in this melancholically gorgeous film)

Review by John Li

Genre: Action
Director: Robert Schwentke
Cast: Henry Golding, Andrew Koji, Úrsula Corberó, Samara Weaving, Haruka Abe, Tahehiro Hira, Iko Uwais
Runtime: 2 hrs 1 min
Rating: PG13 (Some Violence And Coarse Language)
Released By: UIP
Official Website: 

Opening Day: 22 July 2021

Synopsis: Snake Eyes: G.I. Joe Origins stars Henry Golding as Snake Eyes, a tenacious loner who is welcomed into an ancient Japanese clan called the Arashikage after saving the life of their heir apparent. Upon arrival in Japan, the Arashikage teach Snake Eyes the ways of the ninja warrior while also providing something he's been longing for: a home. But, when secrets from his past are revealed, Snake Eyes' honor and allegiance will be tested - even if that means losing the trust of those closest to him. 

Movie Review:

Neither ‘G.I. Joe: The Rise of Cobra’ or ‘G.I. Joe: Retaliation’ were rousing enough to set off a franchise, which explains why it has taken eight years before Paramount decided to embark on the next chapter, in the form of an origin story on Snake Eyes. Those familiar with the cartoon-and-toy G.I. Joe counter-terrorism superhero squad from the 1980s will remember the character as the silent fan-favourite ninja, so it isn’t any surprise that the filmmakers have landed on him to develop this reboot.

Eschewing the square-jawed, heavy-weapons combat orgy of the earlier two movies, director Robert Schwentke goes for a surprisingly character-driven martial arts adventure which makes for a refreshing change of pace. A prologue establishes the childhood tragedy that would come to define him as a young adult: in a secluded cabin in the woods, the young boy had watched his father being murdered by a group of sinister men, the leader of whom had rolled a pair of dice which came up snake eyes that hence determined his father’s fate.

Some twenty years later, he is a drifter that goes by the nickname of how his father died. Duelling in underground fight tournaments while searching for his father’s killer, Snake’s (Henry Golding) quest gets a boost when the Yakuza ringleader Kenta (Takehiro Hira) offers to help him get revenge if he agrees to work for the latter’s gun-smuggling operation at the Los Angeles docks. His loyalty is immediately tested when asked to kill a man Kenta says had wronged him; that man happens to be Tommy (Andrew Koji), heir-apparent to the Arashikage clan, who had gone undercover as part of Kenta’s crew in order to expose the unscrupulous’ boss’ criminal deeds.

After a messy dock-side brawl in which Snake saves Tommy’s life, Tommy invites him to follow him back to Tokyo. There, Tommy offers Snake a new lease of life within the Arashikage clan as his personal bodyguard. The clan’s head of security Akiko (Haruka Abe) is distrustful of Snake’s true intentions and pleads caution, but Tommy vouches for Snake, saying that the initiation process of three tests will prove his mettle. Not so much a test of his fighting skills than of his spirit and heart, these ‘challenges of the warrior’ will end up revealing not only Snake’s allegiance but also the camaraderie among him, Kenta and Akiko.

Indeed, there is more character work here than you would expect from a typical summer blockbuster; that is credit to its screenwriters Evan Spiliotopoulos, Anna Waterhouse and Joe Shrapnel, whose plotting of Spiliotopoulos’ story goes beyond the usual narrative beats of such genre material. Most intriguingly, we learn that Snake is serving two masters: whereas he speaks of honour in front of Tommy, Snake is still secretly working for Kenta, who has asked him to steal the clan’s most powerful weapon, an incendiary gem known as the Jewel of the Sun, in exchange for his father’s killer. Which master Snake chooses, as well as its concomitant ramifications on those closest to him, turns out unusually rewarding, not least because of the compelling push-and-pull between Snake and Tommy as their relationship deepens.

Ironically though, Schwentke lets his audience down not in the storytelling department but in the action set-pieces. Right from the start, you get the nagging sense that Schwentke and his editor Stuart Levy had gotten over-zealous in the cutting room, slicing and splicing shots like how Paul Greengrass did for the ‘Jason Bourne’ films. True enough, the rest of the action follows the same misguided style, employing a mix of shaky-cam and quick cuts that make it often difficult to comprehend what is happening onscreen (and therefore a poor fit for IMAX). Those looking for true fighting talents such as Iko Uwais to kick butt will be even more disappointed, not least because their talents are sorely wasted in the sequences that ‘cut, cut, cut’.

Still, that does not diminish the fact that ‘Snake Eyes’ is probably the best live-action G.I. Joe movie yet. That isn’t meant to be faint praise for a movie that we frankly did not have much expectation of; rather, aside from the underwhelming action, this is as promising a franchise-starter as it gets, thanks too to a convincing lead performance by Golding (in his first bona fide action hero no less) as well as a stellar supporting turn by fellow British actor Koji (best known for the Bruce Lee-inspired TV series “Warrior”). Golding and Koji make a great team, the latter adding layers of nuance that complement the former’s bravado. By the time Koji announces his transformation into Storm Shadow, you’ll be eagerly awaiting what promises to be a dynamite reunion.

Movie Rating:

(Better than you'd probably be expecting it to be, this origin story of the silent fan-favourite ninja overcomes its underwhelming action set-pieces with surprisingly character-driven plotting)

Review by Gabriel Chong

SYNOPSIS: Determined teen Din is longing to reconnect with his childhood best friend when he meets a wish-granting dragon that leads him on an adventure a thousand years in the making. 

MOVIE REVIEW:

The Western has Aladdin and now the Chinese has their own version of it- Wish Dragon.  

Produced by Jackie Chan, Sony Pictures and China’s VFX firm, Base Animation, Wish Dragon in short is a family fun, crowd pleaser. However, expecting it to be on the level of Pixar in terms of storytelling will be a wish of its own.

Din (Jimmy Wong) is a college student who dreams of reuniting with his childhood best friend, Li Na (Natasha Liu). While Din still stays with his mom in a dilapidated community, Li Na has moved on with her life and living lavishly with her businessman father, Mr Wang (Will Yun Lee). Until one day, Din is given a jade teapot by a mysterious old man. Inside the teapot is a trapped dragon named Long (John Cho) who will grant the owner of the teapot three wishes. But Din has no fancy for riches or gold, he just wants to reunite with Li Na to the dismay of the dragon spirit.

Hot on Din’s heels is Pockets (Aaron Yoo) and his two henchmen. Hired by a businessman to retrieve the wish-granting teapot, the evil kung fu expert Pockets is determined to get hold of the teapot. The question is will there be a happy reunion in the end?

To be fair, there are plenty of decent gags and well-meaning messages in the entire affair. The dragon is a cynical, shrimp crackers loving creature with a sad past. Din is a kind-hearted boy. Pure and true to himself. Add these two characters together, you get a rousing mindless time. Notably, there’s a playful sequence involving lion dancing and dragon dancing. And probably due to Jackie Chan’s influence, there’s a nice balance of kung fu fighting and magic on display.

What’s truly lacking is the character development of Li Na. What causes her to forget her childhood playmate and best friend? Riches, fame, her desire to please her father? This part of the storyline is clearly glanced over in favour of a rushed happy ending. Even Long’s run in with a deity is negligible although there’s a strong desire to see more of that.  

The story of Wish Dragon is not on the level of a classic liked Aladdin for sure. Consider there are much worse animations out there, this one is a middling outing that has a lovable creature and positive messages. Forgettable but loads of enjoyable fun.

MOVIE RATING:

Review by Linus Tee

Genre: Drama
Director: Andy Goddard
Cast: Eddie Izzard, Judi Dench, Jim Broadbent, Carla Juri, David Schofield, James D’Arcy, Celyn Jones
Runtime: 1 hr 40 mins
Rating: PG (Some Violence)
Released By: Shaw Organisation
Official Website: 

Opening Day: 17 June 2021

Synopsis: Based on true events from 1939, the film follows teacher Thomas Miller (Izzard) who has taken a last minute and controversial role teaching English to the daughters of high-ranking Nazis at the Augusta-Victoria College, Bexhill-on-Sea – a finishing school on the south coast of England. Under the watchful eye of their headmistress Miss Rocholl (Dench), and her devout assistant Ilse Keller (Juri), the girls practice their English and learn how to represent the ideal of German womanhood.

When the body of a former teacher is discovered, it triggers a sequence of deadly events and leaves Thomas running from the police with the threat of being hanged for murder.

Movie Review:

As far as British spy thrillers go, ‘Six Minutes to Midnight’ is decidedly old-school and enjoyably so. A passion project for its star, co-writer and co-producer Eddie Izzard, it is inspired by the real-life Bexhill-on-Sea’s Augusta Victoria College, a 1930s finishing school for the daughters of the Nazi elite. Here, Izzard and director Andy Goddard imagine a plot within its walls of German spies and forcible repatriation as the UK and Germany stand on the brink of war in August 1939.

Casting himself against type, the comedian Izzard stars as Thomas Miller, who is hired as the school’s English master after his predecessor is found dead on the beach. The headmistress Miss Rocholl (Judi Dench) isn’t shy about showing her disdain of Miller. “I wouldn’t normally hire such a journeyman, but your predecessor proved somewhat unreliable,” she says to him on their first meeting. Why Miller would accept such an assignment becomes clear not long after – suspecting something may be up at the school, Miller had been sent as an undercover agent by British intelligence to uncover the German plot and in the process find out who had murdered his predecessor.

Miller’s suspicions soon fall not on the stern Miss Rocholl but the school’s other teacher Miss Keller (Carla Juri), a former swimming champion who almost made the Berlin Olympics and now teaches the girls at the school German and physical culture. And among the students, the only two which are given some form of character treatment are the bossy Astrid (Maria Dragus) and the meek Gretel (Tijan Marei); in particular, the latter while quiet shows herself to be extremely perceptive, not only in guessing Miss Keller’s sinister intentions but also in figuring out Miller’s true purpose at the school.

To their credit, Goddard and his co-writers do a fine job setting up Miller’s initiation into the school’s doctrine, driven as much by discipline as it is by loyalty to the German Nazi regime; in particular, it is chilling to see how successfully indoctrinated some of the young girls are, saluting ‘Seig Heil’ with absolute gusto. The first act also succeeds in establishing the sense of space and place, especially in showing how increasingly isolated the girls are being on foreign soil that is at the brink of war with their motherland.

But that set-up unfortunately is somewhat wasted with a third act that is more obsessed with double-crossings and derring-dos than politics, ideology or even historical accuracy. Indeed, the narrative takes a decidedly different turn once Miller is accused of murdering his superior (David Schofield), sending him on a race-against-time to contact the right authorities and stop Miss Keller from forcibly repatriating the girls back to Germany before the war commences. Izzard isn’t quite believable as a man on the run, or for that matter, is the cat-and-mouse game he is engaged with the smooth Captain Drey (James D’Arcy) and dogged Corp. Willis (co-writer Celyn Jones) particularly credible too.

Not surprisingly therefore, those looking for an intriguing peek into the halls of the Augusta Victoria College will be disappointed, with only the occasional nuggets of pedagogy (like how Miss Keller draw analogies around bees and wasps to alligators and crocodiles to Gentiles and Jews) reasonably fascinating. That said, Goddard, who cut his teeth in TV on episodes of ‘Torchwood’ and ‘Downtown Abbey’, keeps the pace sufficiently engaging from start to finish, as long as you are prepared to suspend your disbelief and go along with the spy plot.

It should also be said that ‘Six Minutes to Midnight’ was clearly filmed on a lean budget, so you should set your expectations right before stepping into the movie. And while you’re at it, you should also forget about this being an intelligent exploration of individual, cultural and national loyalty, which admittedly the first act does tease. Like we said at the start, this is through and through an old-school British spy thriller, and on that count, it is packed with sufficient twists to keep you satisfied..

Movie Rating:

(A solid, though unspectacular, spy thriller that is as old-school British as it gets)

Review by Gabriel Chong

SYNOPSIS: Set in a beautiful seaside town on the Italian Riviera, Disney and Pixar’s original feature film “Luca” is a coming-of-age story about one young boy experiencing an unforgettable summer filled with gelato, pasta and endless scooter rides. Luca shares these adventures with his newfound best friend, but all the fun is threatened by a deeply-held secret: they are sea monsters from another world just below the water’s surface. 

MOVIE REVIEW:

This is frankly a Studio Ghibli inspired project than a true blue Pixar one as director Enrico Casarosa admitted himself that he drew inspiration from the former. Definitely not on the level of Soul or even Finding Dory, Luca is a fun, whimsical title perfect for the hot summer despite the modest storytelling.

Set in Portorosso, Pixar’s imagined version of Cinque Terre which is known for its picturesque sea coast and villages, a young sea monster, Luca (Jacob Tremblay) befriends another sea monster, Alberto (Jack Dylan Grazer) and agrees to set out on an adventure on a Vespa after transforming to human forms while on land. But first, the duo needs to find the money to buy one. And it happens that they met with a local gutsy girl, Giulia (Emma Berman) and decides to join her in the Portorosso Cup.

Anyway there is also a local bully Ercole (Saverio Raimondo) who is out to stop the trio from winning the race. Luca’s overprotective parents, Daniela (Maya Rudolph) and Lorenzo (Jim Gaffigan) who are also in Portorosso looking for Luca. For a 95 minutes animation, there’s not a minute wasted and not a second of boredom in short.

Longtime Pixar fans and general audience will find the coming-of-age flick a delight. Most of the best moments derives from Luca and Alberto’s desperate attempt not to get in touch of water or risk turning into sea monsters in front of the locals who are out to kill any creatures in sight. Even a drop of dew can be dangerous it seems. The comedy is mostly on point and the relationship between the boys are affecting.

As per Pixar’s standards, the animation details are flawless. Every scene is meticulously created by the animators. The Mediterranean is remarkably recreated onscreen that you probably need to pause or risk blink-and-missed the insane amount of details and Easter eggs. Another thing to note is the inclusion of numerous upbeat, melodic classic Italian songs to go with all the visual beauty. II gatto e la volpe?

Perhaps the biggest takeaway from Luca is the subtext. By subtext, we mean the underlying LGBT theme between Luca and Alberto. You know how society find it hard to accept sea monsters. You get the drift. Maybe it’s Disney’s subtle way of acknowledging the fact but since it’s a well-known, wholesome family-friendly brand, we got to say it’s a beautiful movie about friendship and loyalty instead.

Luca is a straight to Disney+ release despite the excellent workmanship. On the other hand, it’s always a good thing to get an original mega production for subscribers. The latest offering from Pixar is a celebration of imagination, culture and friendship. It also marks this generation version of The Little Mermaid, the one with a sea creature fascinated with human life. Similar yet different.

MOVIE RATING:

Review by Linus Tee

SYNOPSIS: A widowed new dad copes with doubts, fears, heartache and dirty diapers as he sets out to raise his daughter on his own. Inspired by a true story.

MOVIE REVIEW:

Kevin Hart is definitely not the first name you think of when you are casting a leading actor in a serious drama. But Paul Weitz’s Fatherhood did just that and the end result surprisingly works.

Matt Logelin (Hart) is expecting his first newborn with his beloved Liz when a tragic event occurred and changes his life. As a result of pulmonary embolism, Liz passed away shortly after giving birth to Maddy leaving Matt as a single parent, struggling to cope with Maddy and his IT job.

Based on the memoir, “Two Kisses for Maddy: A Memoir of Loss and Love” by real-life blogger and public speaker Matt Logelin, Fatherhood is very much predictable yet sentimental enough to tug at your heartstrings. At times, ticklish enough to make you laugh and cry. Perhaps credit has to give to Weitz, director and writer of About A Boy and American Pie.

The first half of Fatherhood deals mainly with Matt’s loss and his inability to cope with parenting. Adding on to his stress is his mother-in-law, Marian (Alfre Woodard) whose best intention often collides with Matt’s desire to be a hands-on daddy for Maddy. Helping Matt to deal with his grief is his buddies, Jordan (Lil Rey Howery) and Oscar (Anthony Carrigan). Two socially awkward buddies trying hard to turn Matt’s life around.

Fast forward five years later, the second half of the movie tells of Matt liking to a woman also named Lizzie (DeWanda Wise) by the way and his constant struggle with raising Maddy, his fast-growing career and newly found love life. The whole thing works primarily audiences grow to love Matt and daddy’s little girl played by gutsy newcomer Melody Hurd. There’s nothing showy about their relationship just pure human and soul sprinkled all around.

Despite the initial heartbreaking theme, Weitz’ flick is full of optimism, sort of that when life gives you lemons, make lemonade vibe. Obviously, it’s a journey that you have seen all before. Fatherhood falls somewhere inbetween The Pursuit of Happyness and Three Men and a Baby, though not as somber as the former and not as comical as the latter. The interaction between the various characters are always natural and veteran Alfre Woodard shines in every second of the screentime.

Fatherhood is an intimate, heartwarming drama where Kevin Hart deserved the most praise for his understated performance. Essentially a vehicle for Hart, the comedian who is known for the Jumanji series than anything else, Fatherhood marks his second successful foray into drama after The Upside. Recommended for those who love making lemonade during lemon season.

MOVIE RATING:

Review by Linus Tee

Genre: Sports/Drama
Director: Han Bowen
Cast: Zheng Kai, Li Yunrui, Cao Bingkun, Zhang Lanxin, Sandrine Pinna
Runtime: 1 hr 38 mins
Rating: PG13 (Some Coarse Language)
Released By: Shaw Organisation
Official Website: 

Opening Day: 17 June 2021

Synopsis: Never Stop, a comedy sports drama, tells the story of a young 100-metre-running athlete who encountered career obstacles and sought guidance from his former teammate and idol, but only to find out that his idol had backslid. Slowly but surely, the two work together to get away from their past and into the bright future.

Movie Review:

We know life can be cruel, but this film shows life’s harsh consequences on athletes. In general, the sporting career of an athlete would begin to falter as age catches up. And the fame and glory that the athlete once basked in, where be forgotten by the people who once applauded and cheered so loudly.

The first protagonist we meet is Hao Chaoyue (the Chinese name literally means ‘to overtake’), an outstanding sprinter who has quite the media darling for his victories on the running track. Enter Wu Tianyi (another in the face Chinese name here – ‘to add wings’), a younger and very enthusiastic junior who looks up to Chaoyue. We see inspiring montages of them training together with their teammates (cue shots of the shirtless men showcasing their sculpted bods), and after a series of dramatic events later, the two men take on very different paths in life.

Chaoyue, being the older one, eventually gives up his running career after an injury and ventures into a sports shoes business. Obviously hoping that things will work in his favour due to his athletic past, he becomes a businessman who unfortunately sees his project crumble after a scam. Tianyi moves on to become quite a celebrity, but this is also where his attention deficit disorder takes on a turn for the worse and is on the verge of a mental breakdown. Chaoyue comes up with the idea of asking Tianyi to become the ambassador of his failing business, and the two reunite to some very poignant outcomes.

Like many Chinese productions, the performances delivered by the main cast are outstanding. Chaoyue is played by Zheng Kai, a very apt choice because the actor is best known in Chinese showbiz for being one of the cast members of Keep Running, China’s version of the popular variety show Running Man). If you sat through Zack Snyder’s Justice League, you may also remember the actor portraying Ryan Choi, whom comic fans will know as the Atom. To become the middle aged version of Chaoyue, Zheng reportedly put on 24kg by eating more than he should. You will also be moved by the scenes where he puts away his pride in an attempt to keep his business alive. We also love the details put into making the middle aged Chaoyue relatable – from the tight polo tee and the clutch bag, to the long fingernail which many Chinese men have as it is a sign that they don’t work with hands and are above the social station of a common laborer.

The camera loves Li Yunrui who plays Tianyi. Every shot with the young actor makes you want to empathise with this character who may have moved too fast in life for his own good. While Li’s acting is not as layered as Zheng, the sequences where the men meet after parting ways on a bad note are well played out on screen. The scene where they have dinner with their former teammates in the back alleys is the highlight of the film as repressed emotions are released over hot pot and beer, no less.

While there are many melodramatic scenes, the movie is also a comedy. Light hearted moments are provided by Li Chen, who plays a weightlifter with a bowl haircut and Jin Jing, who plays Chaoyue’s vain niece. The film is triumphant in bringing out the messages of persevering even when life gets you down. It is also nice that there is no real closure between Chaoyue and Tianyi. Life does indeed play out like this – while we each go on our separate tracks, we know that what’s important is to keep on running. 

Movie Rating:

(Zheng Kai's remarkable performance elevates this poignant drama about how life may get you down, and why you should keep running)

Review by John Li

Genre: Action/Adventure
Director: Ruben Fleischer
Cast: Tom Holland, Mark Wahlberg, Sophia Ali, Tati Gabrielle, Antonio Banderas
Runtime: 1 hr 55 mins
Rating: PG (Some Violence)
Released By: Sony Pictures
Official Website: 

Opening Day: 17 February 2022

Synopsis: Based on one of the best-selling, most critically acclaimed video game series of all time, Uncharted introduces audiences to the young street-smart Nathan Drake (Tom Holland) and showcases his first treasure hunting adventure with wisecracking partner Victor “Sully” Sullivan (Mark Wahlberg). In an action-adventure epic that spans the globe, the two go in dangerous pursuit of “the greatest treasure never found” while also tracking clues that may lead to Nathan’s long-lost brother. 

Movie Review:

What a great time to be a Tom Holland fan. It wasn’t too long ago when we saw him web swinging in Spider Man: No Way Home. He is back on the big screen as Nathan Drake, a young fortune hunter from Uncharted, a series of popular action adventure games played by geeks worldwide on their PlayStation consoles. This writer would like to disclaim that he hasn’t played the game, and is merely reviewing this popcorn movie from the point of view of someone who is looking to enjoy a action adventure flick in the cinema.

Holland is paired with Mark Whalberg (looking fab at 50), who plays his mentor Victor Sullivan (another character from the game), and the two men travel the world to locate a treasure. Coming along for the ride are fellow fortune hunter Chloe Frazer (Sophia Ali), mercenary Jo Braddock (a bad ass played by Tati Gabrielle) and ruthless baddie Santiago Moncada (a sneering Antonio Banderas).

There is really nothing new in terms of plot. The task is simple: the two guys are out to track down an expensive loot, and there is a relentless string of antagonists trailing behind them. They aren’t sure whether their female accomplice is trustworthy. Heck, they aren’t even sure whether they can trust each other. Cue the somewhat entertaining bickering and the mindless action sequences set against impressive international backdrops. Spain’s Barcelona and Madrid are gorgeous on the big screen, while magnificent islands in the Philippines are probably digitally created.

You may feel that you’ve seen much more superior movies of the same genre. You’re right – this movie directed by Ruben Fleischer isn’t going to be the most exhilarating adventure flick you’ll see (it’s hard to beat the Indiana Jones franchise, really), but you have to admit that Holland is a real charmer on screen. The 25 year old English actor shines in every scene he is in. The filmmakers also did not miss the opportunity to include shirtless scenes for him to show off his physique. Maybe we are too used to the on screen chemistry with his real life girlfriend Zendaya, but there is little spark between him and Ali in this movie. For the older viewers, Whalberg is a decent distraction from the serviceable storyline.

There are a number of impressive sequences though. The 115 minute movie opens with a gripping plane fight scene, where we see Drake fall through the sky after combating baddies on a cargo plane. You know everything in that jaw dropping stunt defies logic, but it is still quite a treat to enjoy on the big screen, especially if you are watching it in an IMAX theatre. Holland also puts his athletic front to good use as his runs across rooftops and climbs through tunnels throughout the movie.

Fans of the video game series can spot Easter eggs, including a cameo appearance by Nolan North, who voiced Drake in the games. The movie went through a complicated production process, with various directors, screenwriters, and cast members attached at various points. The release was also postponed several times, no thanks to the COVID-19 pandemic. But one thing’s for sure – this will be a money making movie franchise and we’ll be seeing Holland and Whalberg charm their way through more globe trotting adventures in the future. 

Movie Rating:

(The movie features a number of impressive action scenes, and a whole lot of charm from Tom Holland)

Review by John Li

Genre: Comics/Action
Director: Matt Reeves
Cast: Robert Pattinson, Zoë Kravitz, Paul Dano, Jeffrey Wright, John Turturro, Peter Sarsgaard, Jayme Lawson, Andy Serkis, Colin Farrell
Runtime: 2 hrs 56 mins
Rating: PG13 (Some Violence and Drug References)
Released By: Warner Bros
Official Website:

Opening Day: 3 March 2022

Synopsis: Two years of stalking the streets as the Batman (Robert Pattinson), striking fear into the hearts of criminals, has led Bruce Wayne deep into the shadows of Gotham City. With only a few trusted allies—Alfred Pennyworth (Andy Serkis), Lt. James Gordon (Jeffrey Wright)—amongst the city’s corrupt network of officials and high-profile figures, the lone vigilante has established himself as the sole embodiment of vengeance amongst his fellow citizens.

Movie Review:

How do you reinvent Batman after Christopher Nolan’s ‘The Dark Knight’ trilogy? To Matt Reeves, the answer is to return to the character’s reputation in the comics as the ‘world’s greatest detective’. And indeed, over the course of a preternaturally gripping three hours, ‘The Batman’ sees our titular caped crusader play detective as a serial killer terrorises Gotham City by murdering some of its most prominent officials, including its mayor, police commissioner and district attorney.

The opening scene both sets the tone and comes as fair warning for what is to come – whilst this is rated PG-13, the murders are brutal and shocking. The mayor is pummelled to death with an unidentified, clawlike object, with his thumb cut off while still alive as one of the twisted puzzles that the killer intends for Batman. That Batman is involved in the investigation is no coincidence, given how the killer had left a card at the scene addressed “To the Batman”, along with elaborate cyphers that reveal his motive as well as his seething rage.

Only in his second year of donning the cape, Batman (Robert Pattinson) remains yet oblivious to the extent of corruption within Gotham’s elites, not least because his family (we’re talking about the Wayne family) is among them. The trail of clues deliberately left in the wake of the mayor’s murder will lead Batman to discover how, despite his family image, he had been a regular patron of a sleazy rich boys’ club whose proprietor is Oswald Cobblepot, otherwise known as The Penguin (Colin Farrell).

Not surprisingly, the ensuing murders will further tear open the conspiracy among the Gotham City government and its seedy underbelly. In particular, the latter is masterminded by the suave, menacing mob boss Carmine Falcone (John Turturro), who in one of the few scenes that Bruce Wayne appears as his own self, is reminded by Falcone himself that there is history between them. Suffice to say that the later events will lead to some personal revelations that, as the trailer hinted, even the faithful Alfred (Andy Serkis) had kept hidden from him.

Reeves, who co-wrote the movie with ‘The Town’s’ scribe Peter Craig, plots a sprawling and twisty noir detective story that had us gripped to our seats for the entire duration. There is not a boring or wasted moment here; every single scene and minute has its purpose either towards the larger plot or to shed light on the choices and motivations of the characters within – and besides those already mentioned above, the notable others include Selina Kyle aka Catwoman (Zoe Kravitz), whose paths, agendas and feelings will cross with that of Batman, and Lt James Gordon (Jeffrey Wright), Batman’s ally in the police department.

Only in the last third does Reeves nudge the confrontation between Batman and the Riddler (Paul Dano) – on one hand, Bruce’s family legacy finds him unwittingly being targeted to repay “the sins of the father”; on the other, the Riddler more explicitly proclaims Batman not his nemesis but his partner, executing what the bespectacled terrorist could not do without the suit, gadgets or muscle. The one-on-one between them is a genuinely thrilling standout scene that will send chills down your spine, not least because of Dano’s demented embodiment of the villain.

Knowing better than to try to top Nolan’s command over spectacular set-pieces, Reeves eschews such blockbuster tendencies, save for a pulsating Batmobile sequence; instead, ‘The Batman’ unfolds as part-procedural, part-mob drama, and part-superhero action. Even so, Reeves sustains a tense and enthralling mood throughout, carefully balancing between gritty realism and heightened pulp. That it remains compelling and atmospheric throughout is also credit to the ace low-light photography by Grieg Fraser, the vivid production design by James Chinlund, and a pitch-perfect score by Michael Giacchino (easily one of his very best).

We liked how ‘The Batman’ is an origin story without explicitly being one, with our titular hero examining the very nature of his existence and mission without having to start right from the beginning. We liked how ‘The Batman’ is structured like an intricate puzzle, taking its time to methodically and meticulously stitch together its parts into a labyrinth but marvellous whole. And most of all, we loved how ‘The Batman’ is grim and dark but yet different from the classic Nolan trilogy. We dare say this is a Batman you’ve never seen before, and one definitely worth seeing on the big screen – in fact, we’d even go as far to say this will be one of the very best movies of the year.

Movie Rating:

(Part-procedural, part-mob drama, and part-superhero action, 'The Batman' is brilliant, compelling and tense from start to finish)

Review by Gabriel Chong