Genre: CG Animation
Director: Joel Crawford
Cast: Antonio Banderas, Salma Hayek, Olivia Colman, Harvey Guillén, Samson Kayo, Wagner Moura, Anthony Mendez, John Mulaney, Florence Pugh, Da’Vine Joy Randolph, Ray Winstone 
Runtime: 1 hr 42 mins
Rating: PG (Some Frightening Scenes)
Released By: UIP
Official Website: 

Opening Day: 8 December 2022

Synopsis: This fall, everyone’s favorite leche - loving, swashbuckling, fear-defying feline returns. For the first time in more than a decade, DreamWorks Animation presents a new adventure in the Shrek universe as daring outlaw Puss in Boots discovers that his passion for peril and disregard for safety have taken their toll. Puss has burned through eight of his nine lives, though he lost count along the way. Getting those lives back will send Puss in Boots on his grandest quest yet. Academy Award ® nominee Antonio Banderas returns as the voice of the notorious PiB as he embarks on an epic journey into the Black Forest to find the mythical Wishing Star and restore his lost lives. But with only one life left, Puss will have to humble himself and ask for help from his former partner and nemesis: the captivating Kitty Soft Paws (Oscar ® nominee Salma Hayek). In their quest, Puss and Kitty will be aided — against their better judgment — by a ratty, chatty, relentlessly cheerful mutt, Perro (Harvey Guillén, What We Do in the Shadows ). Together, our trio of heroes will have to stay one step ahe ad of Goldilocks (Oscar ® nominee Florence Pugh, Black Widow ) and the Three Bears Crime Family, “Big” Jack Horner (Emmy winner John Mulaney , Big Mouth ) and terrifying bounty hunter, The Big Bad Wolf (Wagner Moura, Narcos)

Movie Review:

11 years is a long time to wait for a follow-up to the ‘Shrek’ prequel/ spinoff ‘Puss in Boots’, but that’s how long it has taken for DreamWorks Animation to complete this belated sequel. In fact, it’s been close to two decades since the swashbuckling ginger cat with a tiny sword, a smart pair of boots, and an adorable air of enormous kitten eyes first made his appearance in ‘Shrek 2’, but those old (or young) enough to remember will be glad to know that ‘The Last Wish’ embraces its parent franchise's penchant for reinventing fairy tale characters with tongue firmly in cheek.

As the title suggests, ‘The Last Wish’ sees Puss confronting his own mortality after exhausting eight of his nine lives. An elaborate opening sequence reminds us of the fearless feline hero we had come to know Puss as, not only against a whole army of guards serving the governor whose house he just thrashed with a rowdy party, but also against a mighty beast the fireworks Puss had intentionally set off awakens. Proving how he is both a master and slave to irony, Puss is killed by a stray falling bell after slaying the ston, and after regaining consciousness at the town physician’s examination room, is advised that he needs to make some lifestyle changes.

Puss is nonplussed (pardon the pun) until he is visited that evening at the bar by the grim reaper, who appears in the form of a cloaked big-bad-wolf bounty hunter (Wagner Moura) wielding two scythe blades. To escape the reaper, Puss buries his signature outfit and takes refuge in the home of self-described ‘cat fancier’ Mama Luna (Da’Vine Joy Randolph). Puss’ initial indignation at having to eat and defecate together with three dozen or so other strays slowly gives way to resignation and even despair, so much so that not even meeting a mangy, nameless mutt in kitty disguise in a place like Mama Luna's piques his curiosity.

He is though jolted by the sudden appearance one day of a crime family comprising Papa Bear (Ray Winstone), Momma Bear (Olivia Colman), a not-so-diminutive Baby Bear (Samson Kayo) and a teenage Goldilocks (Florence Pugh), who turn up at Mama Luna’s looking for the legendary Puss. The said Goldilocks and the Three Bears have learnt of a map in the possession of the vain and villainous Jack Horner (John Mulaney), which will show the way to a shooting star that has landed in the dark forest and will grant whoever reaches it first a wish.

Though Puss eschews being part of their criminal enterprise, the feline sets off to steal the map to locate the Wishing Star on his own, hoping that he would be able to wish all his lives back. Unfortunately for Puss, things get even more complicated when he encounters his former girlfriend and occasional foil Kitty Softpaws (Salma Hayek Pinault) while breaking into Jack’s residence. And just because they find themselves up against both Jack and Goldilocks and the Three Bears, Puss and Kitty become unwitting partners on the quest into the forest, with the aforementioned therapy dog Perrito (Harvey Guillen) along for company, encouragement and sunny optimism.

It shouldn’t come as a surprise that ‘The Last Wish’ packs plenty of frenetic action from start to finish, in order that it does not come off boring or tedious to its younger audience demographic. What is unexpected though is how director Joel Crawford and screenwriters Paul Fisher and Tommy Swerdlow weave in a mature and complex story about facing death in order to fully embrace life. That is not just what Puss comes to learn but also in why Goldilocks is after the same wishing star, and the grace and wisdom by which it delivers its life-affirming message is not something we’d typically associate with Dreamworks.

Just as delightful to see is how the Dreamworks’ animators switch up various styles to play up the tonal shifts over the course of the movie. From the first big fight with a stone giant, to Puss’ confrontation with the Big Bad Wolf, and finally to the forest that acts as a mirror of the person holding the map, we are treated to a vibrant blend of standard computer imagery and hand-drawn animation. Like ‘Into the Spiderverse’, ‘The Last Wish’ also plays with frame rates and painterly looks to give the overall film an expressionistic storybook quality. It is eye-popping to say the least, and a genuine visual treat.

And perhaps most importantly of all, ‘The Last Wish’ boasts the one and only Antonio Banderas as the silky voice of Puss. Channelling not only the character’s grandiose ego but also his very real insecurities, Banderas brings depth, emotion and gravitas to the titular feline. He is also complemented by an equally outstanding supporting voice cast, including a terrifically menacing Moura as the Big Bad Wolf, an irresistibly adorable Guillen as Perrito, and an utterly beguiling Hayek with whom Banderas shares beautiful chemistry.

So though it may have taken slightly more than a decade for this follow-up, it is certainly worth the wait for both fans of the original ‘Shrek’ franchise and those discovering its formula of playfully reimagining classic fairy tales for the first time. Though things did get a little stale after ‘Shrek Forever After’ was done and dusted in 2011, ‘The Last Wish’ proves that a ‘Shrek’ universe reboot might be ripe with just the right amount of creative ingenuity. You’d love Puss, so too Kitty and Perrito, and also Jack, Goldilocks and even a scene-stealing, conscience-voicing Talking Cricket, and we’d dare say by the end of it, you’d wish this weren’t the last you’ll see of Puss or his standalone adventures.

Movie Rating:

(Clever, poignant and utterly hilarious, this gorgeously animated 'Puss in Boots' sequel represents the best of the 'Shrek' franchise)

Review by Gabriel Chong

WAKANDA EMBRACES AN ELECTRIC LEXUS Posted on 22 Oct 2022 A new Marvel movie. A new endorsement. How does one prepare for a speech? Some practice quietly, but legendary warriors take an active, hands-on approach. Watch how the formidable Dora Milaje nimbly navigate impending danger and take electrification to a whole new level: ... more

Genre: CG Animation
Director: Aaron Horvath, Michael Jelenic
Cast: Chris Pratt, Anya Taylor-Joy, Charlie Day, Jack Black, Keegan-Michael Key, Seth Rogen, Fred Armisen, Kevin Michael Richardson, Sebastian Maniscalc 
Runtime: 1 hr 32 mins
Rating: PG
Released By: UIP
Official Website: 

Opening Day: 6 April 2023

Synopsis: From Nintendo and Illumination comes a new animated film based on the world of Super Mario Bros. Directed by Aaron Horvath and Michael Jelenic (collaborators on Teen Titans Go!, Teen Titans Go! To the Movies) from a screenplay by Matthew Fogel (The LEGO Movie 2: The Second Part, Minions: The Rise of Gru), the film stars Chris Pratt as Mario, Anya Taylor-Joy as Princess Peach, Charlie Day as Luigi, Jack Black as Bowser, Keegan-Michael Key as Toad, Seth Rogen as Donkey Kong, Fred Armisen as Cranky Kong, Kevin Michael Richardson as Kamek and Sebastian Maniscalco as Spike. The film is produced by Illumination founder and CEO Chris Meledandri and by Shigeru Miyamoto for Nintendo. 

Movie Review:

Hard to believe that it has been close to four decades since the Super Mario games first made their debut on the Nintendo Entertainment System back in 1985, but that is also a reflection of the generations of teenagers and young adults who have grown up with the likes of Mario, Luigi, Toads, Peach, Bowser, Donkey Kong etc. Indeed, there is good reason why Universal Studios Japan had needed to introduce time-based entry into its latest ‘Super Nintendo World’ attraction, and it is for that same reason why it is about time that someone has decided to make a movie out of it.

That someone happens to be Illumination, which while has never quite attained the same critical credibility as say Pixar, has undeniably built a brand name over the years for perfectly agreeable family-friendly animation through their ‘Minions’ and ‘Sing’ franchises. It is the same sensibility which informs their latest venture, a beautifully, colourfully animated adventure that won’t please critics by any measure but will have the rest of us thoroughly satisfied with its constant stream of broad gags, inventive action and fan service.

From the get-go, the film establishes Bowser (Jack Black) as its antagonist, a fire-breathing beastie who commands a vast army of Koopas and is seen in the prologue conquering an ice kingdom of blue penguins to steal their Super Star. Bowser’s next target is Mushroom Kingdom, ruled by Princess Peach (Anya Taylor-Joy) whom he is infatuated with; in fact, Bowser’s main intention of mounting an invasion of Mushroom Kingdom is to have leverage even as he asks for her hand in marriage. As fate would have it, Peach receives some unexpected help from Mario (Chris Pratt), who lands in the kingdom after getting sucked into a cavernous sewer system with his brother Luigi (Charlie Day) while attempting to repair a water-main break.

Unlike Mario, Luigi ends up in Bowser’s Dark Lands, where Mario seeks Peach’s help to journey to in order to rescue Luigi. Before Peach agrees for Mario to join her, Mario will have to prove himself through an obstacle course of pipes and girders, man-eating flowers and wrecking balls, learning about the importance of power-ups in the process. Of note, this training montage deserves special mention for how it pays tribute to the classic ‘Super Mario’ game, with some of Koji Kendo’s gloriously recognisable musical motifs thrown in for good measure.

Their quest to stop Bowser will include a critical stop at Kong Kingdom to enlist the help of the Kong army, where Mario will need to defeat Cranky Kong’s son Donkey (Seth Rogen) in a gladiatorial arena of red girders hanging 2,000 feet in the air. Without giving too much away, let’s just say that Mario will eventually chance upon a power-up to do just that, setting the stage for a go-kart race between the Kongs and the Koopas down Rainbow Road in a thrilling homage to ‘Mario Kart’. Before the final showdown with Bowser, Mario and Donkey Kong will also encounter the Maw-Ray, within which Mario will discover a power-up that will transform him into Tanooki Mario.

The list of Easter Eggs goes on, including the spooky castle from ‘Luigi’s Mansion’, the moons from ‘Super Mario Galaxy’, and especially the Super Star which will turn Mario and Luigi into the titular ‘Super Mario Brothers’. Those who pay close attention will spot the more subtle references such as the original GameCube start-up sound, and those who are patient enough to sit through the end credits will be rewarded with the one and only appearance of the beloved Yoshi. The plot may be simple, but directors Aaron Horvath and Michael Jelenic (who made the Teen Titans Go! series and its own subsequent big screen spinoff) and their screenwriter Matthew Fogel exercise wit, ingenuity and creativity to make this a greatest hits parade.

So as much as the critics can criticise it for being rote, simplistic or even commercial, you can mark our words that ‘The Super Mario Bros Movie’ will be an audience favourite. Like we said, almost four decades of Mario mean generations of people who have grown up with the franchise, and this deeply faithful animation will not only please kids who are growing up with Mario through their Nintendo Switches or Universal theme parks, but also their parents for whom this will undoubtedly be a sweet nostalgic throwback. It is super fun we dare say, so bring the whole family along for the ride.

Movie Rating:

(Everything you love about the Super Mario universe, this infectiously fun animation will delight both young and old alike)

Review by Gabriel Chong

Genre: Comics/Action
Director: Ryan Coogler
Cast: Letitia Wright, Lupita Nyong’o, Danai Gurira, Angela Bassett, Tenoch Huerta Mejía, Winston Duke, Martin Freeman, Dominique Thorne, Florence Kasumba, Michaela Coel, Alex Livinalli, Mabel Cadena
Runtime: 2 hrs 41 mins
Rating: PG13 (Some Violence)
Released By: Walt Disney
Official Website:

Opening Day: 10 November 2022

Synopsis: In Marvel Studios’ “Black Panther: Wakanda Forever,” Queen Ramonda (Angela Bassett), Shuri (Letitia Wright), M’Baku (Winston Duke), Okoye (Danai Gurira) and the Dora Milaje (including Florence Kasumba) fight to protect their nation from intervening world powers in the wake of King T’Challa’s death. As the Wakandans strive to embrace their next chapter, the heroes must band together with the help of War Dog Nakia (Lupita Nyong’o) and Everett Ross (Martin Freeman) and forge a new path for the kingdom of Wakanda. 

Movie Review:

In the opening sequence of the 30th film in the Marvel Cinematic Universe (MCU), we see Shuri (Letitia Wright) in the lab. The princess of Wakanda is desperately trying to save her dying brother King T'Challa with technology. Ramonda (Angela Bassett), the Queen Mother of Wakanda, enters and tells her daughter solemnly: “Your brother is with the ancestors.”

We can only imagine the heavy hearts of the cast and crew when this poignant scene was filmed.

You would have read how Marvel chose not to recast the role of T'Challa after Chadwick Boseman died from colon cancer in August 2020. Director Ryan Coogler’s original script had to be changed, and for more than two years, the world anticipated how the sequel to the critically acclaimed and commercially successful Black Panther (2018) would turn out.

We are pleased to report that this slow burner is a fitting tribute to Boseman, who portrayed one of the most well developed superhero in the MCU, in a movie notable for its cultural significance.

We see the Wakandans paying respect to their leader and protector in a beautifully moving funeral sequence that may bring tears to your eyes. Then we get into business and brought forward in time by a year where Ramonda is refusing to share Wakanda’s vibranium with the rest of the world, fully knowing that the much sought after element will be exploited. Elsewhere, vibranium has been discovered in the depths of the Atlantic Ocean, and there are sightings of mysterious sea creatures.

As the story continues, we are introduced to new characters. There’s Namor (Mexican actor Tenoch Huerta), the ruler of Talokan, an ancient civilisation who is referred to by his people as the feathered serpent god K'uk'ulkan. There’s Riri Williams (Judas and the Black Messiah’s Dominique Thorne), a genius MIT student who finds herself involved in a battle between humans, Wakandans and Talokanians. There are also returning favourites like Nakia (Lupita Nyong'o), Okoye (Danai Gurira), M'Baku (Winston Duke) and CIA agent Everett K Ross (Martin Freeman).

As you can see, there’s quite a lot going on, which explains the 161 minute runtime. The length of the movie can be felt as the different storylines from the screenplay written by Coogler and Joe Robert Cole play out. This is a Marvel blockbuster, and you understand there are certain business objectives to the project. The $250 million budget means audiences need to be immersed in breathtaking Wakandan and Talokan sceneries. Riri Williams, whose character feels underwritten, needs to be included so she can have her TV series in MCU’s Phase Five.

But we are not complaining, because the movie is a feast for the eyes and ears. On the big screen (watch it on IMAXif you can), Wakanda looks as magnificent as ever. And we are also brought underwater to Talokan, a mesmerising underwater kingdom based on Mexican mythology. The action scenes are exciting enough to keep you engaged, and the finale battle sequence featuring Wakandans and Talokanians is expectedly blockbuster material. Swedish composer Ludwig Göransson returns to score the sequel, after winning an Oscar for the first movie. The soundscape is unique and will have you appreciating the African and Mayan music throughout the film. Ruth E. Carter, who also won an Academy Award for the first movie, is also back with her awe inspiring costumes.

The cast delivers impressive performances too. It goes without saying that Bassett effortlessly portrays a grieving mother, making us feel her pain with every line she says. Wright takes on the burden of being the emotional core of the movie, and does a decent job of having us root for her while she fights her inner demons. Huerta finds his footing among the many characters, and leaves an impression as an empathetic anti hero.

Above all, this film is about handling grief, healing and moving on. And while this Marvel blockbuster is not without its flaws, it is an apt closure to Phase Four of the MCU.

Movie Rating:

(A fitting closure to Phase Four of the Marvel Cinematic Universe, this sequel to one of the most culturally significant superhero movies of our time not only works as a moving tribute to the late Chadwick Boseman, it provides the necessary thrills you'd expect from a Marvel blockbuster)

Review by John Li

Genre: Crime/Thriller
Director: Yoon Jong-seok
Cast: So Ji-sub, Kim Yun-jin, Nana, Choi Kwang-il 
Runtime: 1 hr 45 mins
Rating: PG13
Released By: Golden Village Pictures
Official Website: 

Opening Day: 17 November 2022

Synopsis: The head of a promising IT company who one day becomes the sole suspect in a closed door murder case in which his girlfriend is the victim, and the defense attorney with the 100% acquittal rate who must prove him innocent - the story begins when these two people sit down together to assemble the pieces of the puzzle. The central axis on which the film CONFESSION is structured is the conversation between YOO Min-ho, who claims he is innocent, and the attorney YANG Shin-ae, who reconstructs the details of the case based on his testimony. A sharp tension arises between YOO Min-ho, who tells of the events that led him to the scene of the crime in a hotel room, and Attorney YANG, who continues to find holes in his story. In a situation where all the evidence points to him as the culprit, YOO Min-ho tries to gain control of the situation by manipulating even YANG Shin-ae, a lawyer with an unblemished record. YANG, a talented lawyer with the ability to transform guilt into innocence, makes use of YOO's psychology to create a perfect scenario that will prove his innocence, while coaxing out the truth that he refuses to reveal. 

Movie Review:

As the attorney reminds her defendant that salvation is never painless and veers him towards revealing the entirety of the situation, the already distorted truth gets twisted in unimaginable ways.

Confession opens with an interlaced narrative of the lead actor strutting scot-free as the arrest warrant is nullified and the camera clicks away unapologetically with the press swarming around him. The lawyer would then receive a call that marks the battle of the truth. And the Confession begins....

The seemingly defenceless litigant plays into every alternate scenario that the crafty lawyer creates. The plot pivots on a dynamic loosely based on snakes and ladders, where the case progresses on two steps back for every step forward.

Based on "The Invisible Guest" by Oriol Paulo, Confession is worlds apart from any stoic courtroom shenanigans that may be anticipated, given the title. But if one doesn't mind a little bit of going around in circles, then the ruthlessness of the hidden elements of Confession would absolutely make up for it. It isn’t just another movie with an intriguing plot that takes one down the rabbit hole. With meandering layers of alternate perspectives sheathing the plot, the 105-minute thriller drama becomes a nail-biting affair.

The Korean remake of the 2016 Spanish film has aced the definition of what a crime thriller has to offer on so many levels. While being perfectly punctuated with heart wrenching scenes that feel like ice-pricks launching into a fluff of duck feather pillows, the character-driven narrative renders a walking on tight rope effect, with excellent subtlety achieved by the cast members.

Award-winning director, Yoon Jong-seok, known for his meticulous directorial style, has picked the veterans of the Korean film industry and has conjured the essence of a densely- woven actioner, with dozens of pre-shoot script readings and rehearsals prior to actual filming.

Hailed as a thriller queen, Kim Yun-jin plays the competent lawyer with an unblemished record and wages a psychological warfare against So Ji-sub who becomes a murder suspect overnight. Recognised for her roles in Lost and Mistresses, the South Korean-American actress’s embodiment of a corporate cat-like demeanour is a real class act. So nails it as a first timer in a thriller genre with Yoo Min-ho being one of the trickiest character of the whole lot.

With plenty of K-pop idols transitioning from music to film, Nana aka “the barbie doll of K-pop” who is known for her role in the 2016 drama, The Good Wife, once again delivers more than expected, thus proving to be an intuitive actress with Confession. The minutest nuances are captured while every member of the stellar cast ensemble delivers a brooding air of fear and uncertainty with their on-point expressions and body language.

For cinephiles who are fatigued by the special effects, sounds and CG creatures of recent blockbusters, you may seek delight in this high-octane thriller which is an offering of muted jump scares paired with a steady build-up of slow poison.

Along with a depressing colour palette reflecting the mood of the mind-boggling storyline that is perfectly textured with plot twists and icy landscapes featuring snow-capped mountains and frozen lakes, this gripping psychological thriller number is well-deserving of bagging awards and accolades in the nearest future. 

Movie Rating:

(A diabolically brilliant, unmitigated, edge-of-your-seat revenge thriller served with a cocktail of twists, high-stakes conflict, tension and suspense)

Review by Asha Gizelle Mariadas

SYNOPSIS: In “Barbarian,” a young woman traveling to Detroit for a job interview books a rental home. But when she arrives late at night, she discovers that the house is double booked, and a strange man is already staying there. Against her better judgement, she decides to spend the evening, but soon discovers that there’s a lot more to fear than just an unexpected house guest. 

MOVIE REVIEW:

Do yourself a favour – stop reading this review after this line, set aside two hours on a late evening, and let yourself be taken away by the twists and turns of this wildly unpredictable horror. But for the sake of the more skeptical readers, we’ll try to tell you more about ‘Barbarian’, without giving too much away to spoil its delightful surprises.

Employing a distinct three-act structure, writer-director Zach Cregger unfolds a tale of a homestay in a ravaged Detroit suburb which might be housing something sinister. The first act comprises two key characters – a budding documentary filmmaker named Tess (Georgina Campbell) who has rented an Airbnb for a job interview, and a young man named Keith (Bill Skarsgård) who has supposedly also booked the same Airbnb from a different website. Because our introduction to Tess also hints at how she might be running away from someone who once hurt her, it is probably intuitive for one to suspect that Keith might be linked to this same person.

Suffice to say that as natural as the deduction might be, it is also all too obvious and ultimately mistaken. In fact, the real terror lies in the origins of the house which both will discover the morning after, its most horrific secret hidden in the basement that Tess will inadvertently stumble on and Keith will curiously wander into. It isn’t pretty, and truth be told absolutely nerve-wracking, but this is much more than just a survivalist thriller between Tess and Keith and the monster behind the walls of the house.

Concluding the first act on a height of suspense, the ensuing act introduces us to a fictional Hollywood actor named AJ Gilbride (Justin Long). Over the course of a phone call during his drive along the Santa Monica coast, we learn that AJ has just been dropped from the latest broadcast pilot that he’s filmed, all because of his allegedly sexually aggressive actions towards his co-star, whose accusations are due to appear in The Hollywood Reporter the next day. Against the backdrop of the #MeToo movement, AJ is suddenly poison to the network executives, and finds his promising career all but ruined.

There are enough hints to suggest that AJ is hardly innocent, but what links his story to that of Tess and Keith is how he happens to be the owner of the very property that they had rented. Given his imminent financial woes, AJ decides to fly down to Detroit to sell the property, and is there confronted with the very same horror which Tess and Keith encountered months earlier. The second act also goes further to show what the monster living in the basement is after, though such details are best seen and not simply described.  

We’ll not say much about the third act – just that it provides the backstory of how the monster came to be, and proving how the greatest horror of them all perhaps are the sins of mankind. The conclusion in particular turns a couple of genre cliches on their head, including and especially that about how the lead character in such movies does not seem to do the right thing to save himself or herself. Indeed, it is comforting to see that it reaffirms how it isn’t dumb to be kind, even in life-threatening situations.

Like we said, ‘Barbarian’ is best discovered on its own terms. Not only is it one of the most effective horror films we’ve seen in a while, it’s also one of the most unique, daring to attempt several narrative and tonal gear-shifts over the course of its runtime. It also is confident enough to hold your attention without resorting to cheap scares or shlock, even raising a couple of thoughtful themes along the way about urban decay, #MeToo and the ugly side of the Reagan era. For those who have needed the length of this review to convince you to watch it, you now have no excuse not to catch probably the most brilliant horror film this year.

MOVIE RATING:

Review by Gabriel Chong

SYNOPSIS: From the delightfully wicked minds of Henry Selick (director of The Nightmare Before Christmas and Coraline) and Jordan Peele (Nope, Us, Get Out) comes the story of Kat (Lyric Ross), a troubled teen haunted by her past, who must confront her personal demons, Wendell & Wild (played by Keegan-Michael Key and Jordan Peele) to start a new life in her old hometown. 

MOVIE REVIEW:

If Ray Harryhausen is the Godfather of stop motion animation then Henry Selick ought to be credited as the Daddy of modern day stop motion animator who makes the technology cool again with his success of The Night Before Christmas.

And well after an absence of 13 years (his last feature was Laika’s Coraline), Selick is back and he has teamed up with current in-demand filmmaker/comedian Jordan Peele (Get Out) for his latest venture based on an original story by the former.

Wendell & Wild follows Kat (Lyric Ross), a teenager who lost her parents in a car crash years back and subsequently land herself in an all-girls Catholic school where she encountered two scheming demon brothers, Wendell (Keegan-Michael Key) and Wild (Peele). Promising to resurrect her dead parents, the brothers tricked Kat into summoning them into the living world. In actual fact, the brothers wants to build an amusement park for the departed souls in order to escape the clutches of their father, Buffalo Belzer (Ving Rhames)- the head demon.

Besides the demon brothers and their magic hair cream, Wendell & Wild also involves a scheming Father (James Hong) and an evil, ruthless business couple, the Klaxons who plans to build a private prison in Kat’s dilapidated home town, Rust Bank. And of course, it’s up to Kat and her friend, Raul (Sam Zelaya) to save the day.

Wendell & Wild continues Selick’s tradition of telling spooky, dark stories and pairing it with Key and Peele’s brand of macabre humour, Selick’s fifth animated feature is genuinely delightful for the masses including young children. However, the whimsical fantasy can be a bit busy at times with plenty of characters and unexplained subplots that can filled a sequel.

Let’s see there’s a school janitor cum exorcist, Manberg, Sister Helley (Angela Bassett) who is also once a “Hell Maiden” liked Kat and a group of girls and their cute baby goat. Then there is the convoluted underworld of Buffalo Belzer and the confusing politics and conspiracy of the real world. But still, the script keeps the pacing tight enough to ease the off-beat narrative that you likely won’t feel the bumps.

Strangely, Selick’s trademark visuals seem more CG animated than stop motion this time. Don’t get us wrong, the visuals are definitely imaginative on every level but on the whole, lacks the nuance and beauty of his past efforts.

For a tale about facing your own demons, trauma and sexuality, Wendell & Wild is all round delightful from two creative minds despite some minor flaws.
 

MOVIE RATING:

Review by Linus Tee

SYNOPSIS: Two unlikely strangers find solace in newfound friendship as they navigate their journey from grief to healing. 

MOVIE REVIEW:

After flirting with blockbuster material in the ‘Hunger Games’ franchise, followed by prestige dramas such as ‘American Hustle’ and ‘mother!’, Jennifer Lawrence returns to her indie roots with a trauma drama that reminds us of the talent she demonstrated when she earned the first of her many Academy Award nominations at the age of 20. Indeed, those who recall her searing performance in the 2010 Debra Granik indie ‘Winter’s Bone’ will likely recognise the same stripped down, lack of sentimentality that she exhibits here, playing an army veteran on leave after a bomb from her tour of duty in Afghanistan leaves her with a traumatic brain injury.

We are introduced to Lawrence’s character Lynsey through a close-up shot of the back of her head. Just out of focus is an older woman (Jayne Houdyshell), whom we will find out soon is a care-taker meant to help with Lynsey’s recovery. Over an economical number of scenes, we see Lynsey regaining her motor skills, relearning basic tasks like brushing her teeth or holding a glass of water. As she regains her mental capacity, Lynsey starts to get frustrated and impatient with her current state of dependency, and it isn’t long before she requests to return to her hometown in New Orleans. And yet the first sign that things may not be as straightforward is when her mother fails to pick her up from the bus station, leaving Lynsey to make her way back to her family’s shabby home all by herself.

Over the course of the next one and a half hours, writer-director Lila Neugebauer reveals the life Lynsey had chosen to leave behind, including an unreliable mother (Linda Emond) hopelessly distracted in her own world and a brother (Russell Howard) in prison after messing up his life with drugs. But more importantly, we experience how she comes to terms with her emotional and psychological wounds through an unlikely bond she forges with a mechanic James (Brian Tylee Henry) she meets when she drives into an auto shop to have her broken-down pickup truck repaired.

It is in the connection between Lynsey and James that the screenplay from noted novelist Ottessa Moshfegh, co-written with newcomers Luke Goebel and Elizabeth Sanders, finds its purpose. Both are lost souls with demons of their own, but together, they bond over strolls in the sunshine, eating sno-balls, sneaking into the Garden District backyards where Lynsey cleans pools by day, and the simple activity of drinking a six-pack of beer in the park on a summer night. Their slow-and-low rapport is beautifully mounted, and the emphasis on realism means nothing ever comes across contrived or implausible.

Whilst we cannot deny that we had hoped the movie would let both actors explore their characters more thoroughly, Lawrence and Henry are an absolute joy to watch onscreen. Theirs is a warm, natural chemistry, as they complement each other with perfect understatement; in particular, Lawrence’s guarded stoicism and Henry’s soulful despondency frames this two-hander of damaged people finding mutual solace, and whereas James finds Lynsey rejoin the real world, Lynsey helps James open up and trust again. It is also notable that their relationship isn’t romantic in nature; as Lynsey informs James early on, when she does date, she doesn’t date men.

It is not often we find a film that is both restrained and fulfilling at the same time, so kudos to Lawrence and Henry for an honest, authentic and affecting tale of trauma and recovery. If your memory of Henry is as Lemon in ‘Bullet Train’ or Phastos in ‘The Eternals’, ‘Causeway’ will make you see him for the brilliant Yale drama graduate that he is. And of course, this coming home story is also a tremendous homecoming for Lawrence, who returns to the sort of unfussy, intimate role that she broke into Hollywood with. Shot in 2019 and snipped into shape over the course of the pandemic, ‘Causeway’ is perfect catharsis for those who need to know it is ok to move on. 

MOVIE RATING:

Review by Gabriel Chong

Genre: Horror/Thriller
Director: Suphakorn Riensuwan
Cast: Xu Bin, Damien Teo, Rio Dewanto, Bae Jin Young, Mean Phiravich, Aloysius Pang
Runtime: 1 hr 29 mins
Rating: NC16 (Some Violence and Horror)
Released By: Shaw Organisation
Official Website: 

Opening Day: 1 December 2022

Synopsis: This horror trilogy tells supernatural stories of items displayed in The Antique Shop. Survive – Wadi (Rio Dewanto) is kidnapped by a rival gang and brought to an abandoned building. He is tied to a chair – one which many previous victims were tied and killed… Half Second – Ryan (Aloysius Pang) has no memory of how he ended up in prison. No one can hear him no matter how loud he shouted… Happy Birthday – Long after everyone thought Song (Bae Jin Young) had returned to Korea, his three friends received an invitation to his birthday party where they are the only guests… 

Movie Review:

This Thai Singapore horror movie will be known as the late Aloysius Pang’s final project on the big screen. And that should be enough to draw crowds into the theatres, especially fans of the young actor who unfortunately died after sustaining serious injuries during reservist training in New Zealand. What’s also unfortunate is that this won’t be the best Thai horror flick you’ve seen – it does feel like a project that is let down by its execution despite a promising premise.

The movie begins with a Singaporean tourist (Xu Bin) walking into a mysterious antique shop. An equally mysterious lady (Pijika Chittaputta) known as Madam tells him that there are tales behind each item. There is also her assistant (Damien Teo) who is suspiciously putting up a mysterious front. We guess the filmmakers were trying their best to evoke a mysterious atmosphere, but the result is baffling instead. Our take is that the delivery of lines by the actors in this setup that cuts across the three segments feels contrived.

The first tale sees an Indonesian man (Rio Dewanto) working for a gang in Thailand. He gets captured by a rival gang and is brought to a dilapidated location and tied to a haunted chair. You can be sure that the ghost haunting the chair is pretty pissed about the whole situation (no thanks to why it became a vengeful spirit in the first place), and Wadi’s captors are definitely not in a good place.

There isn’t really much to say in this segment, but the scenes do go on for quite a bit, and you can’t help but feel that the filmmakers didn’t know what to do to progress the story. It doesn’t help that there is a back story about how Wadi is taking on this difficult job to support his family back home. The flashbacks feel dreary and affect the pace.

In the second tale, we are introduced to a Singaporean guy (Pang) who wakes up in a Thai jail. A self respecting screen writer would have him not remembering how he landed there – and that’s what exactly the story is about. For the next 20 plus minutes, you get to see his past and then try to figure out what exactly is happening.

We understand that production for the movie initially began in 2018, but was delayed because of Pang’s demise in January 2019. After further delays because of the pandemic, we are guessing the filmmakers had to pick up the pieces to try their best to tell a coherent story, which explains the odd plot development and the final reveal. Viewers who are familiar with Pang’s on screen performances would be glad to know that his efforts are evident in this movie.

The third segment tells the story of a South Korean teenager who invites three Thai guys (Phiravich Attachitsataporn, Chayapak Tunprayoon, Setthapong Eosuk) to his birthday party. Two problems here: first, these mean dudes bullied him back when they were studying in the same school; and second, they are the only guests at the party with red balloons and bloody steaks. We would have fled for our lives the moment we entered the creepy big house.

This last story actually has the most potential to leave audiences spooked, thanks to Korean star Bae Jin Young’s eerie and disturbing getup. But the tale does drag quite a bit after the big reveal, and you may find yourself guffawing at the dramatic showdown instead of feeling spooked. Don’t even get us started on why there is a need to include the character of a maid in the house.

One thing that’s poignant about this movie is how Xu’s character offers to bring the supposed spirit of Pang’s character home back to Singapore. It is a moving gesture that is a touching tribute to a life that was gone too soon.

Movie Rating:

(There are much better Thai horror flicks out there, but there is a touching tribute to the late Aloysius Pang in the movie's final moments that may leave fans teary-eyed)

Review by John Li

SYNOPSIS: A newly engaged, spoiled hotel heiress (Lindsay Lohan) gets into a skiing accident, suffers from total amnesia and finds herself in the care of a handsome, blue-collar lodge owner (Chord Overstreet) and his precocious daughter in the days leading up to Christmas. 

MOVIE REVIEW:

The Mean Girls star not only starred in the flick but also executive produced it. Falling for Christmas is Lindsay Lohan’s comeback effort after decades being labelled as a troubled actress.

Lohan plays Sierra Belmont, a spoiled hotel heiress who lost her memory after a marriage proposal by her influencer boyfriend, Tad (George Young from Channel 5’s The Pupil if you recall) went wrong on a snowy mountain top. Fortunately, she is saved by Jack Russell (Chord Overstreet), a local bed and breakfast owner who in turn offers her a room to stay for the time being since she is unable to recall even her own name and home.

In other words, you know the ending before the credits rolled.

Falling for Christmas is that kind of formulaic romance movie that no one in the right mind will pay to watch on the big screen. The script is clichéd, all so predictable and unbelievable. Generally, it has shades of Overboard, the 1987 movie starring Kurt Russell and Goldie Hawn. However, given that Falling for Christmas is likely set in 2020 or beyond, it’s quite unlikely that no one in town is able to spot a hotel heiress liked Sierra Belmont. You mean no one recognises Paris Hilton if she loses her memory one day?

Story aside, if you are a big fan of Lindsay Lohan then at least the actress still has what it takes to channel some playful fun vibes to charm you. She even records her version of “Jingle Bell Rock” and even her sister, Aliana contributes to the soundtrack.

Not to be labelled as a scrooge, Falling for Christmas is the kind of movie that plays in the background while all of us enjoy the turkey and champagne. It’s chock full of festive holiday spirit and the two leads are charismatic enough to make us root for their reunion. Basically, it’s a Netflix version of a Hallmark movie.

MOVIE RATING:

Review by Linus Tee