Genre: Horror/Thriller
Director: John Berardo
Cast: Jon Huertas, Isabella Gomez, Lindsay LaVanchy, Froy Gutierrez
Runtime: 1 hr 37 mins
Rating: M18 (Violence & Sexual Scene)
Released By: Shaw Organisation
Official Website:
Opening Day: 30 September 2021
Synopsis: Teen horror is back with a vengeance in this edgy slasher about a cruel social media game that spins out of control. Whiton University unravels the night a star-athlete is murdered in the wake of a hidden assault allegation, kicking off a spree of social media linked slayings. As a masked killer targets students across campus, a trio of sorority sisters race to uncover the truth behind the school’s hidden secrets – and the horrifying meaning of an exclamation point – before they become the killer’s next victims.
Movie Review:
At first glance, ‘Initiation’ may seem like your typical college slasher movie, and indeed the first half hour comes off very much like that. So we must say we were pleasantly surprised when it revealed that it had much more on its mind, proving in fact to be especially relevant in today’s #MeToo era, notwithstanding how the movement itself has somewhat gotten out of hand.
As its title suggests, the movie begins with a freshman initiation joint frat/sorority party at the fictional Whiton University, where amidst the usual boozy excesses, a sorority girl Kylie (Isabelle Gomez) passes out in a boy’s room and believes that she might have been sexually assaulted. The accusation is particularly troubling to her sorority president Ellery (Lindsay LaVanchy), as one of the dudes involved could be her very own brother Wes (Froy Gutierrez).
Notwithstanding that Kylie is hesitant to file charges, Ellery decides to investigate on her own, especially given how Wes had previously been accused of similar crimes a year ago. But before she can complete the DNA sequencing of whatever specimen she can find on Kylie’s clothes, Wes is found impaled in the very frat house. His murder stuns the entire campus, given how he was a star athlete who was training to compete in the Olympics.
Wes’ murder draws in the other supporting characters, including the university chancellor Van Horn (Lochlyn Munro), his other frat buddies Beau (Gattlin Griffith) and Dylan (James Berardo), and officers Sandra Fitzgerald (Yancy Butler) and Rico Martinez (Jon Huertas). Each of these characters will be connected to the murder in one way or another; and as the plotting unfolds, it becomes clearer that the killings (yes, there will be more than one by the time the murderer is revealed) are motivated by something much more fundamental than being in the wrong place at the wrong time.
To say more would spoil the surprise at the end of a tense final act, but let’s just say that while the film does not exactly have the finesse to turn itself into sharp social commentary, it does leave its audience thinking hard about the instances where we as a society or as institutions fail to protect those who have trusted us to do so. Yes, more so than the impaling or even the guttings, it is its empathy with those whom we have failed that cuts the deepest.
There should be no illusion that ‘Initiation’ is a low-budget horror thriller, but given what he had to work with, it is pleasantly surprising that director and co-writer John Berardo has delivered a topical film with a lot more on its mind than the typical college slasher. It won’t be counted a classic by any measure, but those in the mood for some genre diversion will find an incisive, thoughtful slice of entertainment perfectly suited for the current milieu.
Movie Rating:
(Smarter than the average college slasher horror-thriller, this low-budget genre piece taps into the social milieu to provide some thought-provoking lessons on campus sexual politics)
Review by Gabriel Chong
Genre: Drama
Director: Anthony Chen, David Lowery, Jafar Panahi, Laura Poitras, Dominga Sotomayor, Malik Vitthal, Apichatpong Weerasethakul
Cast: Zhou Dongyu, Zhang Yu, Catherine Machovsky, Mokarameh Saidi Balsini, Tahereh Saidi Balsini, Solmaz Panahi, Jafar Panahi, Iggy, Alaa Mahajna, Carmen Asritegui, Ghada Oueiess, Mazen Masri, Nihalsing Rathod, Pierre Chanel Affognon, Salvador Camarena, Shalini Gera, Yahya Assiri, Francisca Castillo, Rosa García-Huidobro, Rita, Antonia Mendía, Inti Briones, Assisareru Brionesmendía, Bobby Yay Yay Jones, Yay'veontay Jones, Bobby Levi Jones, Imani Jones
Runtime: 2 hrs
Rating: NC16 (Some Sexual Scenes)
Released By: Golden Village Pictures
Official Website:
Opening Day: 21 October 2021
Synopsis: A love letter to cinema, shot across the US, Iran, Chile, China and Thailand, by seven of today's most vital filmmakers. New life in the old house. A breakaway, a reunion. Surveillance and reconciliation. An unrecognizable world, in the year of the everlasting storm.
Movie Review:
What a year it’s been. Covid-19 brought the world to its knees, showing up faultlines and shifting paradigms in a way no other historical event has laid claim to.
We’ve all had to adapt to these changes - some more inconvenient than others. From face masks and beeping apps, to isolation and strained relationships, the stories coming forth from these new experiences can also be inspiring.
From this dense year of change, three producers Brad Becker-Parton, Andrea Roa, Jeff Deutchman outlined a framework for an anthology from seven directors, inspired by Jafar Panahi’s This is not a Film. In the 2011 film, the Iranian filmmaker documents his state-imposed stay-home order for political reasons, and the producers sought to investigate the nature of filmmaking within tight restrictions. This became The Year of the Everlasting Storm.
What emerges may seem to be topics attached to the pandemic, but really, it’s more an ode to the celluloid craft. The producers term it as, “A love letter to cinema, shot across the US, Iran, Chile, China and Thailand, by seven of today's most vital filmmakers.”
This becomes clearer midway through the film. As we move into the third piece by Malik Vitthal, we start witnessing a more conceptual take, melding a parental story with animation. The story - told through recorded video calls between Bobby Jones and his three children fostered out - follows a narrative told half in conversation, half in prose. It’s fairly easy to follow still, even past the purposeful glitches, but what comes after, is a little less so.
Laura Poitras takes us on an expose of a nefarious company who weaponises data in “Terror Contagion” but the lengthy documentary-style piece felt like an overextended Zoom meeting forced upon us. The content itself is compelling, but the short format fails to credit enough context, and thus gravity. Relying on witnesses instead, it can come across as almost preachy.
“Sin Titulo” by Dominga Sotomayor and David Lowery’s “Dig up my darling” follows, and are two tender pieces that quietly approach milestone events during the pandemic and family bonds and dying wishes respectively.
The last, by Apichatpong Weerasethakul, goes full-hilt into art with an observational piece - “Night Colonies”. At the core, with whispered recordings taken from the demonstrations for democracy in Bangkok on 18 July and 27 August, the message of inadequate leadership is clear. But the lingering shots over lights, photos and insects help to flesh out the story, but lies heavy in the realm of interpretation.
Perhaps regular goers would enjoy the start more than the end for The Year of the Everlasting Storm. Panahi - who was initially not contributing - turned out a cheeky yet warm piece with a visitation from his mum, during the pandemic period. He is followed by Singapore’s own Anthony Chen, who documents a married couple’s estrangement, done with his signature acumen for teasing out the humanistic fragilities.
Movie Rating:
(This experimental anthology may not take root with some, but the pieces do resonate with the lingering effects of what the pandemic has wrought, and the global scale grants some relief)
Review by Morgan Awyong
Genre: Comics/Action
Director: Andy Serkis
Cast: Tom Hardy, Michelle Williams, Naomie Harris, Reid Scott, Stephen Graham, Peggy Lu, Woody Harrelson
Runtime: 1 hr 38 mins
Rating: PG13 (Some Violence and Coarse Language)
Released By: Sony Pictures
Official Website:
Opening Day: 14 October 2021
Synopsis: Tom Hardy returns to the big screen as the lethal protector Venom, one of MARVEL’s greatest and most complex characters. Directed by Andy Serkis, the film also stars Michelle Williams, Naomie Harris and Woody Harrelson, in the role of the villain Cletus Kasady/Carnage.
Movie Review:
Given its massive success, it made sense that Sony would give Tom Hardy, the lead star of its 2018 Spider-Man spinoff, more creative control over the sequel. So in addition to reprising his role as the investigative journalist Eddie Brock and his titular alien symbiote alter-ego, Hardy now gets his first-ever story credit next to returning screenwriter Kelly Marcel. He also got to pick the performance-capture genius Andy Serkis to take over as director from Ruben Fleischer, whom Hardy apparently had ‘creative differences’ with in the original.
To his credit, Hardy rewards that authority with an even more confident embrace of the dual role he plays in the movie. Even more a buddy comedy than before, Hardy dives headlong into the odd-couple chemistry between Eddie and Venom, their feud at the front and centre of the storytelling. In particular, they argue about Eddie’s refusal to let Venom chomp off heads, forcing the latter to conform instead to a diet of chickens and chocolate. On the other hand, Eddie blames Venom for not being able to live his life, most notably following a meeting with Eddie’s ex-fiancee Anne (Michelle Williams) where she announces her engagement to a doctor Dan (Reid Scott).
It should come as no surprise that Eddie and Venom will part ways after a bitter quarrel, or that they will eventually make amends and bond again. The impetus to that reunion is the threat of the red symbiote Carnage, who is born out of Eddie’s extraterrestrial-infected blood when the enraged serial killer Cletus Kasady (Woody Harrelson) takes a bite out of his hand during an interview just before the latter is put to death. Cletus’ role as the chief antagonist in this sequel was foretold during the mid-credits scene of the 2018 movie, although the narrative doesn’t give much room to develop the relationship between Eddie/Venom and Cletus/Carnage, or for that matter between Cletus and his childhood sweetheart Francis Barrison (an underused Naomie Harris).
Whereas its predecessor took close to two hours to spin an origin story around the fan-favourite comic book character, the sequel is as economical as it gets, clocking in a bit over a tight 90 minutes (in fact, the end credits start running at the 82-minute mark) and single-minded in maximizing whatever time to offer pure dumb fun to its fans. Whilst we appreciate the intent not to go the way of the typical Marvel canon with offering up a superhero grounded in reality, Serkis might have swung too far to the other end of the pendulum, bathing his movie in such slapstick humour and cartoonish plotting that there is barely any stakes involved.
Because of that, aside from Hardy, most of the other actors are wasted in their roles. Harrelson chews the scenery whenever he has the chance to, but there is little more he can bring to Cletus, whether is it the emotional longing of reuniting with Francis as we’ve mentioned or the tension between Celtus and Carnage that eventually deals a fatalistic blow to their symbiotic dependency. As Riz Ahmed was in the previous movie, Harris is squandered here, hardly given enough screen time for us to empathise with the tortured nature of her character. Ditto for Williams, who spends much of the third act bound and gagged in a box, waiting for her superhuman friend and foe to battle it out mano-a-mano in a cathedral.
Those accustomed to the sort of blockbuster action from other Marvel superhero movies will probably find the action too scrappy and underwhelming. Most of the sequences happen in dimly-lit settings, be it in the driveway of the secret facility where Frances has been held or within and outside the cathedral compound, and despite some reliable camerawork (by returning cinematographer Robert Richardson), the decision to piece together each sequence with quick cuts spoils the momentum and excitement of these set-pieces. That however doesn’t diminish the artisans who had worked on the special effects though; their achievement in that regard is unequivocally impressive.
Truth be told, ‘Venom: Let There be Carnage’ feels less an improvement over its predecessor than a quick-and-dirty vanity project. No doubt Hardy sinks his teeth into the role, and with story control, devotes an awful lot of time to Hardy-as-Eddie-talking-to-himself-as-Venom, but this is ultimately a loud, frenetic and chaotic sequel that becomes mind-numbingly tiresome very quickly. Fans will of course lap up the assault on their senses, but for everyone else, there is hardly any joy to be had amidst the incessant mayhem.
Movie Rating:
(Loud, frentic and chaotic, this inevitable sequel to 2018's commercial smash is a mind-numbingly tiresome assault on the senses, and little more)
Review by Gabriel Chong
Genre: Action
Director: Cary Joji Fukunaga
Cast: Daniel Craig, Rami Malek, Léa Seydoux, Lashana Lynch, Ben Whishaw, Naomie Harris, Jeffrey Wright, Christoph Waltz, Ralph Fiennes, Rory Kinnear, Ana de Armas, Dali Benssalah, David Dencik, Billy Magnussen
Runtime: 2 hrs 43 mins
Rating: PG13 (Some Violence and Coarse Language)
Released By: UIP
Official Website:
Opening Day: 30 September 2021
Synopsis: In No Time To Die, Bond has left active service and is enjoying a tranquil life in Jamaica. His peace is short-lived when his old friend Felix Leiter from the CIA turns up asking for help. The mission to rescue a kidnapped scientist turns out to be far more treacherous than expected, leading Bond onto the trail of a mysterious villain armed with dangerous new technology.
Movie Review:
Fifteen years after he first donned the tuxedo and inhabited a character that is arguably the most enduring movie persona over the last half-century, Daniel Craig returns for his fifth and final turn as the licensed-to-kill MI6 agent. Following in the shoes of Pierce Brosnan, Craig redefined James Bond to ensure that he could be both relevant and relatable, investing the trademark 007 with grit and gravitas, a scrapper with a soul, and perfectly attuned for the 21st century. As brooding as it was, ‘Spectre’, Sam Mendes’ follow-up to his franchise-high entry ‘Skyfall’, would ultimately have been a disappointing ending for Craig had it been his last, so kudos to longtime producers Michael G. Wilson and Barbara Broccoli for deciding to give their hugely popular leading man a more honorable sendoff.
‘No Time to Die’ knows it is intended as farewell for Craig, and is perfectly comfortable being just that. It starts off with Bond in retirement mode, first enjoying a vacation in the beautiful Italian city of Matera with psychiatrist Madeleine Swann (Lea Seydoux), and after being ambushed by Spectre agents, going into seclusion in Jamaica on his own. It has numerous references to the four earlier Bond movies which preceded it, including his lost love Vesper Lynd (Eva Green) from ‘Quantum of Solace’, his arch nemesis Ernest Blofeld (Christoph Waltz) from ‘Spectre’, and even a full roster of fellow MI6 colleagues M (Ralph Fiennes), Q (Ben Whishaw), Moneypenny (Naomie Harris) and Tanner (Rory Kinnear) as well as an old CIA friend Felix Leiter (Jeffrey Wright). It even pays tribute to previous classic Bond movies, most notably ‘On Her Majesty’s Secret Service’ in which John Barry’s ‘We Have All the Time in the World’ debuted (spoiler alert: that’s the tune to which the end credits toll to), and even finds material in the Ian Fleming novels that has never been used before.
As conceived by Bond veterans Neal Purvis and Robert Wade with first-time franchise helmer Cary Joji Fukunaga (of ‘True Detective’ fame), the plotting is intricate without ever being convoluted, or needlessly complicated as some (of undoubtedly simpler minds) have commented. Like the earlier films, this latest is built along similar themes of trust, betrayal, secrets, lies and shadows from the past. So without giving too much away, let’s just say that Madeleine is somehow connected not only to Spectre but also to the new criminal mastermind Safin (Rami Malek), and that the threat here lies with a revolutionary bioweapon codenamed Project Heracles, which was developed by no less than British intelligence to protect their agents from enemies operating in the ether. Certainly, there are a number of twists and turns before these truths are unveiled, but Fukunaga maintains a tight and confident rein on the storytelling from start to finish.
Those who have kept pace with this entry’s own real-life twists and turns in the six years since ‘Spectre’ it took to make it onto the big screen will recall that Fukunaga was called in to replace former hire Danny Boyle after the latter departed due to ‘creative differences’; yet, without any prejudice to Boyle, we dare say we are delighted the American filmmaker got to step in. Demonstrating the same intuitiveness as his previous projects, Fukunaga brings a heretofore unseen humanity and even vulnerability to Bond, whether in the form of a compelling love story with Madeleine or even simply the affection between Bond and Q or Moneypenny; most impressive is the operatic tragedy he orchestrates in the third act, culminating in a stunningly emotional finale that is probably the most poignant in the entire Bond canon.
That ‘No Time to Die’ proves to be a first-rate Bond film is also credit to Fukunaga’s mastery of the other fundamental elements. The action here is splendid, combining intense chase sequences with savage gunfights across fascinating locations in Italy, Jamaica, Norway and the Faroe Islands. The exposition is likewise sharp, with spot-on observations of the dysfunction in global politics and the resultant fracture in Western intelligence that leads to concealment than collaboration. And last but not least, the dialogue is razor witty, in no small measure due to Phoebe Waller-Bridge’s ‘script polish’ contributions that lend not just Craig some genuinely inspired one-liners but also sparkling chemistry with his co-stars Ana de Armas (as a feisty CIA agent Bond teams up with in Cuba) and Lashana Lynch (as the female agent designated with the 007 codename after Bond’s official retirement).
Indeed, ‘No Time to Die’ is one of the finest Bond movies ever made, a perfect blend of class, finesse, soul, ambition and aplomb. We’re not saying this because we feel nostalgic already for Craig, but rather as an objective appreciation of its achievement, mixing the familiar with the fresh to create a supremely exciting spy thriller that reinvigorates the franchise in more ways than one. But what makes it even more special is how glorious it is as a valedictory film for Craig, who in turn brings emotion, power and style to the role like no other actor has done. Yes, every generation has its defining Bond, and we’re proud that Craig has come to do so for those of us who have lived through the turn of the century. Like the closing song that will stay with you long after the credits roll: if that’s all we have, you will find… we need nothing more.
Movie Rating:
(A perfect sendoff for a Bond that had grit and gravitas in equal measure, 'No Time to Die' is one of the finest Bond films ever made, packed with intrigue, action, wit and surprising emotion)
Review by Gabriel Chong
Genre: Drama
Director: Zhang Ziyi, Wu Jing, Shen Teng, Xu Zheng
Cast: Zhang Ziyi, Wu Jing, Shen Teng, Xu Zheng, Song Jia, Kitty Zhang, Wan Qian, Huang Xuan, Ma Li, Zhang Tianai, Li Guangjie, Chen Daoming, Du Jiang, Peng Yuchang, Allen
Runtime: 2 hrs 36 mins
Rating: TBA
Released By: Clover Films
Official Website:
Opening Day: 8 October 2021
Synopsis: Actress Zhang Ziyi, actor-and-director Wu Jing, comedian Shen Teng, and actor-and-director Xu Zheng come together to direct four short films as part of a new anthology drama paying tribute to China’s families.
Movie Review:
Following the beautifully patriotic My People, My Country (2019) and My People, My Homeland (2020), Chinagives us the third movie in the National Day trilogy that is equally magnificent. Released in its home country to coincide with the week long National Day holiday, it was naturally a hit, earning a massive 940 million yuan at the box office.
With the Communist Party of China’s centennial celebrations, it is most apt that this four film containing four stories pays homage to past generations who have contributed to China's revolution and development. It sure helps to have four famous Chinese stars Wu Jing, Zhang Ziyi, Xu Zheng and Shen Teng to direct the four segments.
The first story directed by Wu takes place during the War of Resistance Against Japanese Aggression. You can expect quite a bit of violence and blood as soldiers and civilians fought as the Jizhong Cavalry Regiment. You can also expect lives to be sacrificed as loyal individuals did what they had to do to protect the masses. This is the signature action piece that will get your adrenaline rush going. Wu does a decent job at portraying a father and son relationship (Leo Wu channels genuine wide eyed wonder as Wu’s son), and excels in bringing out the brutality of war. The battle sequences are a sight to behold.
The second segment is a tearjerker. Directed by Zhang, it is a story is centred on a family when Chinalaunched their first man made satellite in 1969. The parents are played by Huang Xuan (delivering an underrated but heartbreaking performance) and Zhang, and they do a brilliant job in bringing out the hard work and selfless dedication towards aerospace while trying their best to provide for their two children. Yuan Jinhui and Ren Sinuo, the two young actors who play their kids, are a joy to watch on screen. Veteran actor Chen Daoming also makes a cameo appearance.
Xu directs the third episode, which is a clear winner in terms of storytelling. The protagonist is a seemingly glib tongued sales director in a Traditional Chinese Medicine factory who just cannot get anything right. His son is often put in a spot, and as the story progresses, it becomes an inspiring tale of the birth of China’s first TV commercial. Just like how the medium was a new wave of innovation, this segment is creatively executed and every minute is gold. Xu takes on the role of the hardworking father who is always open to trying new ideas, while Han Haolin (who has also appeared in the previous two films in the trilogy) is adorable as his son. Zhang Yimou takes on a cameo role and gets to deliver a spot on line: “I have directed movies before!"
The last story helmed by Shen sees a robot travelling from 2050 to 2021. He meets a boy with scientific aspirations and they bond quickly. The result is an often funny and always moving tale of how one continues to chase his dreams despite challenges. Shen is comical as the robot, while Wu Yuhan is as real as any kid can get as the inventive child. Ma Li has a bit role as Wu’s mother, while another veteran actor Li Xuejian shows up at the end of this episode.
It is evident that the filmmakers went all out to produce a relatable and stirring movie to instill pride in the viewers at home. It clearly works, given the impressive box office figures and positive reviews. This is also successful storytelling for viewers who are not from China, as the themes are universal and the performances from its ensemble cast are powerful.
Movie Rating:
(The third movie of China's National Day trilogy is just as emotionally stirring, and explores universal themes that will tug at your heartstrings)
Review by John Li
Genre: Horror/Thriller
Director: Alexandre Bustillo and Julien Maury
Cast: Camille Rowe, James Jagger, Eric Savin
Runtime: 1 hr 25 mins
Rating: NC16 (Horror and Some Coarse Language)
Released By: Shaw Organisation
Official Website:
Opening Day: 18 November 2021
Synopsis: Tina (Camille Rowe) and Ben (James Jagger) are a couple of young youtubers specialized in underwater exploration videos. While diving in a remote French lake, they discover a house submerged in deep waters. What was initially a unique finding soon turns into a nightmare when they understand the house was the scene of atrocious crimes. Trapped, with their oxygen reserves falling dangerously, Tina and Ben realize the worst is yet to come: they are not alone in the house.
Movie Review:
Just as you thought you’ve seen enough haunted house movies, this French supernatural horror flick comes along. The 85 minute movie uses the all too familiar formula which you would have seen in other forgettable horror films. The protagonists are Ben and Tina, a couple (who happen to be always looking out for interesting content to post on YouTube) looking for infamous haunted houses so they can get their shot at becoming social media personalities. You won’t be surprised with what happens next – the pesky human beings get themselves into trouble with a haunted house, disturb beings from the other dimension, bring in numerous jump scares and undead creatures, before the scriptwriters decide whether they deserve to survive.
What gives this movie directed by Alexandre Bustillo and Julien Maury a twist is that the haunted house is fully submerged in the waters of a murky lake, and hence the title of the movie “The Deep House”.
When the characters first submerge into the water with their diving kit, we were pleasantly surprised and interested to see how things would go. The filmmakers cleverly created a setting where you would be greeted my cloudy waters, and all you would hear are muffled conversations through Ben and Tina’s diving apparatus. You are aware of the impending danger that their equipment may become faulty, or the fact that their oxygen supply may run out due to some unforeseen circumstances. Human beings should know better than to deal with haunted houses, and for these two, it is possible that they may meet their demise in a watery grave.
As Ben and Tina (played by James Jagger and Camille Rowe, two actors who most of us are probably unaware of) dive deeper into the water, they come face to face with the titular house. What comes to mind is how the filmmakers managed to build the relatively magnificent set, and how challenging the production process was, considering that the movie mainly takes place underwater. Then we enter into the house and see creepy décor, and jump scares are in the form of sea creatures instead of cats. We are still fairly invested in what’s going to happen as the film progresses.
When the story unveils the undead beings in the house, and begins to explain why they have been stuck in that state, you realise the movie probably has nothing else to offer except familiar horror clichés which are less than innovative. Murders, vengeance, curses – haven’t we seen them in other movie already?
At a runtime of less than one and a half hours, the movie was well paced initially before things became dreary and you get the expected story development where one character become possessed, and the other has to struggle for survival. That said, the thought that Ben and Tina are going through this ordeal underwater (with depleting oxygen, no less) is still haunting and something you do not want to go through in real life. And maybe that’s the most important lesson for all of us (after watching countless haunted house movies): do not mess with the supernatural, regardless of whether they exist on land or underwater.
Movie Rating:
(A formulaic horror movie that places its haunted house in an interesting location - the depths of a gloomy, murky lake)
Review by John Li
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THE SIMPSONS X BALENCIAGAPosted on 05 Oct 2021 |
Genre: Anime/Action
Director: Tsutomu Hanabusa
Cast: Takumi Kitamura, Yuki Yamada, Yosuke Sugino, Mio Imada, Nobuyuki Suzuki, Gordon Maeda, Hiroya Shimizu, Hayato Isomura, Shotaro Mamiya, Ryo Yoshizawa
Runtime: 2 hrs
Rating: PG13 (Some Violence & Nudity)
Released By: Encore Films and Golden Village Pictures
Official Website:
Opening Day: 21 October 2021
Synopsis: Takemichi Hanagaki leads a dead-end life in a run-down apartment while working part-time at a job for a younger manager who treats him like an idiot. Then one day, he learns that a girl he used to date during his hooligan days in middle school, Hinata Tachibana, and her brother, Naoto, have been murdered by the Kanto area’s most villainous hoodlums, Tokyo Manji. The very next day, Takemichi is standing on a train platform when he is suddenly pushed onto the tracks. But instead of dying, Takemichi is transported ten years into the past where he is reunited with Hinata’s younger brother, Naoto. “10 years from now, Hinata and you will be killed” he tells Naoto, thus altering the future. Hinata still doesn’t survive, but Naoto does, becoming a police detective. Returning to the present day, Takemichi recruits Naoto’s help in returning to the past to crush Tokyo Manji and save his Hinata’s life once and for all. All Takemichi needs to do to travel through time is to shake hands with Naoto in either the present or the past. But to save Hinata and break free from a life of running away, Takemichi must take on Kanto’s most powerful syndicate, the Tokyo Manji gang!
Movie Review:
Tokyo Revengers is a live-action adaptation of an ongoing popular manga series of the same name which started in 2017, and has since accumulated 10 million copies in sales. Though published in a weekly manga magazine targeted at males, the manga series is also well loved by the female audience for its cool characters, interesting story and character development. The story centres on Hanagaki Takemichi (played by Kitamura Takumi), a freeter in his 20s who leapt back in time after being pushed onto the train tracks, on the same day he learnt that his highschool sweetheart and her brother got killed by a Tokyo Manji gang, the strongest anti-social syndicate group in Kanto. As the same happenings start to replay in his ‘past’, Takemichi discovers that he holds the power to undo things in the ‘past’ such that undesirable outcomes can be avoided in his ‘present’. Once convinced that he’s a good-for-nothing, Takemichi decides to toughen himself up to impact the change that only he can.
Delinquents, time leap, sci-fi, brotherhood and romance. Who would have known that these elements would stand a chance to work so well together? The time paradox, the ‘device’ of how Takemichi time travels, the character development of each character are definitely strong points and what makes the story interesting. The movie stayed true to the narrative of the manga, and did an incredibly great job in telling the story within the runtime of the movie. Seeing how the characters’ costumes, hairstyles and setting come to life on screen so accurately definitely gives you goosebumps. The dedication from both the cast and production team in reproducing the Tokyo Revengers world on screen was admirable. Take for instance, to retain the fact that Draken is a character who is tall in build and towers over the rest, Yamada Yuki wore 15cm insoles for the entire film, including all the fight scenes. He never once complained, nor showed fatigue at the filming set. He’s also a fan of the manga series, and insisted that he use his own hair to cut and dye in the same hairstyle as Draken, instead of wig/costume.
This movie also shows that the hard work of the staff forms an important backbone of the film, and sets up the film for win. The producer of the movie, Okada Shota, is a fan of the original manga series and started with the vision of having this iconic work of this generation adapted for the screen. The cast was an assembly of the faces representative of the emerging generation, who not only had the looks, but had substance in acting. For instance, even the director was impressed with the way Kitamura iterated his role of Takemichi. Borrowing the words from the director, “Just by the way Kitamura-kun pours his enthusiasm into the role of Takemichi, it’s something worth watching for 2 hours.”
Further on casting, the production team also saw eye-to-eye and felt no one else other than Yoshizawa Ryo suited the role that’s idolised and admired by many. Producer Okada even commented to say if Yoshizawa Ryo were to turn down the offer of Mikey, it might put a setback to this entire Tokyo Revengers movie project. That was how strong the vision he had in casting right Takemichi, Mikey and Draken. Also for the only rose among the thorns, Imada Mio was casted as Tachibana Hinata. Exactly like what the producer aimed for, in picking out a person who is an influencer and fashion icon among young girls. Her likeability and cuteness definitely doesn’t lose out to any of the other eye candies on screen.
In terms of the action choreography, the gang fights were done right too. Oftentimes, ‘mass fight’ might mean ‘mess fight’. However, for the action sequences in Tokyo Revengers, there are so many exciting things happening on screen, it’d make you wish to have expanded peripheral vision to take in every single detail!! The action choreographer and director is helmed by veteran Morokaji Yuta, who has been involved in a great range of works, spanning from movies, drama series and stage plays, including long-running stage play Endless SHOCK (2004 - 2018), Takizawa Kabuki (2012, 2014 & 2020). After working with Yoshizawa Ryo on Tokyo Revengers, he also worked with Yoshizawa Ryo on this year’s NHK Taiga drama series (historical drama), ‘Reach Beyond the Blue Sky’. The flexibility and agility of each actor was key in bringing out the action as well. In particular, the scene towards the end involving Takemichi and Kiyomasa was particularly exhilarating. It will surely keep you at the edge of your seat, while you watch the action and story unfold.
All in all, there is practically nothing one could nitpick on Tokyo Revengers. There are plenty of reasons why Tokyo Revengers is the highest grossing live action movie of 2021 in Japan. The pace of the movie was good, entertaining from the start till end, and it was enjoyable for both manga fans and non-fans alike. The wicked mix of great casting, eye candies, incredible vision, strong narrative and exciting sequences all contributed to propelling it to achieving JPY 700 million in box office sales within 3 days. Though the filming of this movie got interrupted twice because of the state of emergency declarations in Tokyo since March 2020, these setbacks didn’t deter it from emerging strong, much like Takemichi.
Movie Rating:
(You will have at least one takeaway from the movie: one does not need to be the strongest in order to change your destiny)
Review by Tho Shu Ling
Genre: Action/Diaster
Director: Lee Jun
Cast: Zhu Yilong, Huang Zhizhong, Chen Shu, Jiao Junyan, Chen Taisheng
Runtime: 1 hr 55 mins
Rating: PG (Some Intense Sequences)
Released By: Clover Films
Official Website:
Opening Day: 21 October 2021
Synopsis: Hong Yizhou, the acting chief engineer of the Yunjiang Tunnel Project, felt abnormal geological activity due to a tunnel flooding accident and went into the mountain to repair the sensor. He asked his girlfriend Lu Xiaojin to pick up his father Lao Hong who came to visit the project and visit him. Suddenly the station where Lao Hong stayed collapsed and Lao Hong plunged into the ground to save people. Yizhou quickly went to the rescue. Lao Hong used his skills as a railroad soldier and led the survivors to escape. He ran into Yizhou on the way out, but they had a lot of contradictions because of their different ideas. The hole where Yizhou came in was buried, and the new escape exit was blocked by the water. Yizhou was afraid of water because his mother died from drowning, so Lao Hong went into the water to search. When Lao Hong was exhausted and his consciousness was about to become blurred, Yizhou finally overcame the mental barrier and saved his father. And they also let go of their past. After they returned to the ground, Yizhou learned that the landslide was threatening the safety of the town nearby. So the China Railway Construction’s manager Ding Yajun decided to explode the tunnel to project the town. Yizhou found an ideal solution to save the town and also keep the tunnel by dropping explosives in a high-risk crack. Lao Hong assisted Yizhou regardless of the danger, and finally succeeded. However, Lao Hong died, and was left in this land ever since……
Movie Review:
China has come to the point that it’s ready to deliver yet another Roland Emmerich style, crowd pleasing, eye-popping CGI disaster fest in your local cinema after The Wandering Earth which skipped the local theatrical release.
Lee Jun’s Cloudy Mountain drops you straight into the action without much of an introduction or a prologue. The plot is fairly simplistic. A geographical disturbance is detected in an underground tunnelling project and engineer Hong Yizhou (Zhu Yilong) and his colleague and conveniently also love interest, Lu Xiaojin (Jiao Junyan) are sent to investigate.
Before long, a massive quake and sinkhole occurred in town and Yizhou’s estranged dad, Hong (Huang Zhizhong) who came to visit his son volunteers himself to save some trapped survivors which include a vlogger, a vet, a runaway kid and an insurance seller. However, a subsequent quake causes them to be trapped under a cave and the busy Yizhou has to first recover some precious geological data before rescuing the group of survivors.
Expectedly, Yizhou and his dad formed the main core of the movie which provides some need be emotional and also heroic moments. Apparently, Yizhou bores a grudge against his dad for being absence during the accidental death of his mom. Hong being the old school, tough father who knows nuts in communicating with his son except teaching him survival skills and such. Even while the pacing is relentless, you can always relied on the father and son pair to at least hold your interest before the next massive elaborate CGI set piece arrives.
As a movie partly financed by China Railway Construction Corporation (CRCC) which specialised in building railway, tunnels and bridges, there’s a subplot involving the manager of the tunnel project, Ding (Chen Shu) who ponders between saving the tunnel or the people every minute onscreen. It’s no surprise as to what Ding decides on in the end as the nationalistic spirit continues to live on proudly in the hearts of every Chinese.
Certainly without the presence of Yizhou and his dad, Cloudy Mountain will be filled with cardboard characters and meaningless talking heads liked those played by veterans Cheng Taishen and Zhang Guoli. These roles serve only one purpose that is to cram as much bureaucracy into one movie. At least the character of Hong serves as a homage to the generations of rail workers who risked their lives building the numerous infrastructures seen today.
Comparable to most major American disaster movies out there, the effects work are mostly convincing given that the CG plates are combined beautifully with actual landscapes shot in picturesque Guizhou. Instead of filming in a controlled studio environment, we heard the filmmakers also went into a steep cave for authenticity sake. There are also some exaggerated car stunts in the vein of The Fast and Furious saga courtesy of Hong Kong stunt choreographer, Bruce Law.
Even though there is a preposterous stunt in the finale, the movie ends on a happy somewhat meaningful note before it wears out its welcome. There’s nothing inventive here just escapist fun and the usual disaster movie tropes. If you are a huge fan of Roland Emmerich, then you should ascend Cloudy Mountain with ease.
Movie Rating:
(China is ready to take on Hollywood and Roland Emmerich! Prepare to ascend Cloudy Mountain now!)
Review by Linus Tee
Genre: CG Animation
Director: Sarah Smith and Jean-Philippe Vine
Cast: Zach Galifianakis, Jack Dylan Grazer, Olivia Colman, Ed Helms, Justice Smith, Rob Delaney, Kylie Cantrall, Ricardo Hurtado, Marcus Scribner, Thomas Barbusca
Runtime: 1 hr 47 mins
Rating: PG
Released By: Walt Disney
Official Website: https://www.instagram.com/ronsgonewrongmovie/
Opening Day: 21 October 2021
Synopsis: 20th Century Studios and Locksmith Animation’s “Ron’s Gone Wrong” is the story of Barney, a socially awkward middle - schooler and Ron, his new walking, talking, digitally - connected device , which is supposed to be his ‘ ”Best Friend out of the Box.” Ron’s hilario us malfunctions set against the backdrop of the social media age, launch them into an action - packed journey in which boy and robot come to terms with the wonderful messiness of true friendship.
Movie Review:
One wonders whether the filmmakers behind this computer animated science fiction movie were inspired by Big Hero 6 (2014), Disney’s computer animated superhero movie about the friendship between a boy named Hiro and his healthcare provider robot known as Baymax.
In this first film from Locksmith Animation that is distributed by 20th Century Studios (which is a subsidiary of Walt Disney Studios, if you don’t know already), a boy named Barney befriends a robotic buddy known as Ron. Like Hiro and Baymax, Barney and Ron go on a pretty wild adventure that results in them saving the world (albeit at different magnitudes). Like Hiro, Ron is not the most sociable teenager but is very intelligent (a shoutout to all the geeks out there!). Like Baymax, Ron is white and is irresistibly adorable (bring on the merchandise!). Even the soundtrack scores of both movies give us a similar vibe, one that is techno inspired but friendly to the ears – that’s because Henry Jackman is the composer behind both movies.
The similarity between the two animated films isn’t a bad thing though, because this one directed by Sarah Smith and Jean Philippe Vine stands well on its own, mainly because of the relevancy of the themes explored. The story takes place in a future where we can see coming – kids become best friends with mass manufactured robotic buddies, each one promising to be unique and catering to each child’s needs. Every B bot (that’s what they are affectionately known as) will know your child’s favourite things, spend time doing things with your child based on his or her hobbies, and connect with his or her friends (yup, that’s how your social networking platforms may evolve into one day) through other B bots.
It’s a scary but very possible scenario, and we may all buy in to this because of all the convenience and customisations. Of course, we also know what this means for the company behind the ‘service’: lots and lots of data mining in the name of bringing us an even more advanced product. And lots of profit for the company, definitely.
Let’s not get too carried away with this discussion because the movie is, after all, a family friendly affair. Back to the story – the fun elements are aplenty, because the plot has it that Ron is slightly defective, and he behaves differently from the other B bots owned by Barney’s friends. For example, his security features are unlocked, which means he can get back at the bullies who are making things difficult for Barney. He also has a funny way of helping Barney make new friends, which provides plenty of opportunities for hilarious sequences.
This also gives Zach Galifianakis, the voice behind Ron, to showcase some truly comical voice acting. He is joined by an ensemble cast of recognised names which includes Jack Dylan Grazer (Luca), Ed Helms (Captain Underpants: The First Epic Movie), Justice Smith (Pokémon Detective Pikachu) and Olivia Colman (fun fact: the award winning actress is has voiced several Thomas & Friends movies and more recently, The Mitchells vs. the Machines – she is a hoot here as Barney’s feisty grandma).
While the movie may not be the most original in exploring how technology is going to consume our lives, it is a very entertaining and well made family film that stands out. And because of Disney, you’ll even get some Star Wars and Marvel Easter eggs to have a good laugh.
Movie Rating:
(The family-friendly animated movie provides plenty of entertainment and reminds you that technology is here to stay. Meanwhile, someone give us a B-bot to befriend!)
Review by John Li
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