Genre: Action/Thriller
Director: Wong Hing Fan
Cast: Aaron Kwok, Simon Yam, Lam Ka Tung, Megan Lai, Kenny Wong, Patrick Tam
Runtime: 1 hr 51 mins
Rating: NC16 (Some Violence)
Released By: Golden Village Pictures and Clover Films
Official Website: 

Opening Day: 3 March 2023

Synopsis:  A menacing forest of fiber and data lies behind every digital screen. The Internet, while having given birth to many innovations, is also the nest of deadly computer viruses. Around the world, on a daily basis malicious hackers attack firewalls holding Governments, private companies and citizens hostage. However, not even the strongest of the hackers can do in Chun (Aaron Kwok), a genius cyber security engineer who can fend off any attack with his innovative, self-developed protective firewall system. In an attempt to bring him down, unfortunately Chun gets caught up in a money laundering operation where he discovers that his boss Chi (Lam Ka Tung) is behind the attack. To fight Chi and regain his integrity and credibility, Chun has to venture into the dark web where he can deploy an all-powerful AI virus that he created; along the way taking down violent hit-men and hackers in order to uncover the evidence of Chi’s crimes. In the meantime, Chi attempts to seize Chun’s technology, further resorting to blackmail while kidnapping Chun’s wife (Megan Lai) and their daughter in an effort to get Chun to turn sides. With the super AI virus going rogue and corrupting the web and the clock ticking down, how can Chun save the world, save the internet, save his family, and take down Chi at the same time?

Movie Review:

Gone are the days when a good old Hong Kong action thriller would see cops and robbers engage in fierce shootouts on its streets; indeed, the last such entry we recall was Benny Chan’s ‘Raging Fire’, which, as entertaining as it was, felt like a swan song to a genre that used to be a staple of Hong Kong cinema. With the theatre of modern-day crime unfolding instead across wires and within servers, it is not surprising that this latest genre addition has also followed suit.

So instead of grizzled cops and gruff robbers, ‘Cyber Heist’ has as its protagonist a bespectacled cyber security engineer named Cheuk Ka-chun (Aaron Kwok), who assists lead inspector Suen Ban (Simon Yam) from the Hong Kong Police’s Cyber Crimes Unit apprehend his furtive boss Chan Ming-chi (Lam Ka-tung) for money laundering. Though there are still a couple of shots fired and a number of foot chases, much of the action takes place in the virtual world.

To director Wong Hing-fan’s credit, there are less than more stereotypical shots of characters staring intently at computer screens and typing furiously on keyboards; instead, Wong makes the happenings intriguing with visual depictions of these virtual environments. The illegal transfers of funds between bank accounts takes place within a dark, menacing forest, while the firewalls within Chan’s hardened computer are portrayed as physical walls that disappear when broken through by a powerful computer virus aided by AI/ machine learning.

As arresting as it is, Wong doesn’t let the visuals overrun the plotting, using them instead as representations of what would otherwise be conveyed through exposition. There is a lot going on story-wise, what with Ka-chun bugging Chan’s illicit fund transfers at the fictional Hong Shing bank after opening a backdoor into its systems, while hacking through the firewalls on Chan’s computer in order to keep a log of his criminal activities, and inadvertently releasing a virus that infects not only their company servers but also every other electronic device linked to the Internet.

Especially in the last act, the visuals also serve as helpful distraction from an otherwise increasingly preposterous chain of events, including a supposed paralysis of the Internet for the people in Hong Kong, a cat-and-mouse game between Ka-chun and Chan within the Dark Web, and Ka-chun’s almost God-like omnipresence by tapping into every possible camera-enabled device. Amidst the obvious absurdities, Wong’s depiction of the Dark Web as a decrepit underground city of dank floors inhabited by hooded figures doing shady transactions is beguiling, especially to illustrate Ka-chun’s relentless pursuit of Chan in the virtual realm.

Yet despite Wong’s inventive portrayal of the back and forth in the world of fibre and data, there is no hiding how far-fetched the story gets - beginning with how unbelievably compromised the cybersecurity firm Ka-chun and Chan work at is, to Ka-chun’s amazing ability to stay ahead of everyone else including and especially the police, and right down to the one single remarkable detail that would lead Ka-chun to pinpoint Chan’s whereabouts. Without giving away too much, let’s just say it wouldn’t have hurt if the writing trio (of Lui Koon Nam, Ip Ming Ho and Shum Kwan Sin) had opted to dial down the proceedings a notch, than rachet things up to outlandish proportions.

It doesn’t help that the character work leaves much to be desired. Setting Ka-chun up with a criminal record as well as a young daughter (Megan Lai) who has a medical condition hardly goes anywhere meaningfully; ditto Chan’s circumstance having to look after a physically disabled younger brother in need of expensive medical care. Compared to Ka-chun and Chan, Ban gets even shorter shrift, and other than barking commands at Ka-chun over the phone, there is little the inspector does to get in front of the case. For that reason, as solid as Kwok and Lam are in their respective roles, the two Best Actors get little opportunity to exercise their acting chops; the same can be said of Yam, who is even more criminally under-utilised.

That is a pity, not just because of the talent in front of the camera but also the pedigree behind the camera, including Wong, who made an impressive directing debut with the social drama ‘I’m Livin’ It’, and producer Soi Cheang, who had most recently directed the thoroughly engrossing crime thriller ‘Limbo’. Despite their efforts, ‘Cyber Heist’ ends up being both overwrought and undercooked at the same time, no thanks to a script that needs more wit and less contrivance. At least though it unfolds at an almost breakneck pace, and as long as you don’t think too hard, you’ll still find this a reasonably entertaining modern-day action thriller.

Movie Rating:

(Not quite as smart as it wants or ought to be, this modern-day action thriller is nonetheless a fast-paced watch from start to finish, with intriguing visual depictions of its cyber environments)

Review by Gabriel Chong

Genre: Action/Adventure
Director: Wes Ball
Cast: Owen Teague, Freya Allan, Peter Macon, Lydia Peckham, Travis Jeffrey, Kevin Durand, Neil Sandilands, William H. Macy
Runtime: 2 hrs 18 mins
Rating: PG13 (Some Violence)
Released By: Walt Disney
Official Website: 

Opening Day: 9 May 2024

Synopsis: Many years after the reign of Caesar, a young ape goes on a journey that will lead him to question everything he’s been taught about the past and make choices that will define a future for apes and humans alike.

Movie Review:

Few would have thought ‘Rise of the Planet of the Apes’ could revive a decades-old franchise, but it managed to do not just that but also give birth to a trilogy with ‘Dawn of the Planet of the Apes’ and ‘War for the Planet of the Apes’, representing one of the most successful second go-rounds in Hollywood. It also left a tough act to follow, and to be sure, this first chapter of what is hoped to be a new trilogy for the series doesn’t quite match up to ‘Rise’; notwithstanding that, it is in its own right a rich, soulful and engaging adventure that offers more than enough smarts and thrills to kickstart a new beginning.

A brief prologue depicts a funeral ceremony for Caesar, the beloved ape leader who had succumbed to his wounds at the end of the last movie, and whose tenet of ‘apes together, strong’ became a rallying cry to unite their species. The significance of this will become apparent later, as writer Josh Friedman wisely builds this ‘Kingdom’ on the hard-fought lessons of Caesar’s legacy. Indeed, about 300 years later, a bellowing bonobo despot named Proximus (Kevin Durand) has twisted the ideals of Caesar to serve his quest for absolute power, amassing a kingdom in a coastal colony that aims to break open an iron vault which he believes contains all of mankind’s information and technology and can help advance the evolution of his species.

It is this tyrant and his army that the young chimpanzee Noa (Owen Teague) finds himself up against, after his clan’s peaceful existence is disrupted one evening by an unprovoked attack by the troops under the generalship of the fearsome Sylva (Eka Darville). They believe Noa’s clan is harbouring a young human female Mae (Freya Allan) after following her scent to their community, and end up subjugating the whole lot after burning down their whole village. Along his journey to free his clan, Noa finds a companion in the wise old orangutan Raka (Peter Macron), a devout follower of the original Caesar’s teachings who shares the true wisdom behind Caesar’s quest for peace with mankind.

Than try to match the spectacle of his predecessors, director Wes Ball (of ‘The Maze Runner’ trilogy) chooses instead to emphasise Noa’s coming-of-age throughout a lengthy but never boring two-and-a-half hours. Ball lets his audience feel Noa’s world before and after the invasion by Proximus’ army, behold how Noa takes in a whole new reality he had hitherto been oblivious to, and eventually come into his own as the leader of his clan. As part of Noa’s transformation, Ball also carefully develops the relationship Noa forges with both Raka and Mae, both of whom will shape what sort of leader he will choose to be as well as how he thinks of the ape-human dynamic.

Unlike its predecessors therefore, ‘Kingdom’ unfolds at a much more measured pace, taking its time to develop not only its characters but also the world in which they inhabit. Oh yes, there is plenty of world-building at work here, detailing the community Noa’s clan had forged, both within their own and with the falcons they tame, and the colony Proximus has built by bending the will of his fellow simians and borrowing Caesar’s ideas to bolster his own dictatorship. This is even more a world of the apes than any of the films in the last trilogy, and Ball conceives an incredibly tactile universe where the apes are both similar yet different to humans.

That said, what ‘Kingdom’ does lack is edge. While the confrontations – be it between Noa and Proximus or even between Noa and Mae – are captivating, we wish that they were pushed to more visceral levels. Both philosophically and physically, we wish the film had gone to greater extremes, by being less subtle and more primal in its conflicts and in combat. Though the action is clean and has scope, it is not nearly as thrilling as the last trilogy, and we would be lying if we didn’t admit that we missed the sheer adrenaline rush that the previous films delivered with their ballistic action spectacle.

Amidst the inevitable expectation from the last trilogy, ‘Kingdom’ offers a solid, if not yet compelling, possibility of a new beginning for the series. Like we said, it was wise of Ball not to attempt to emulate his predecessors, but carve out a different way forward built on how history can be reclaimed, reframed and re-purposed with time and with misplaced ambition. It is in many ways tamer than what it could be, but with subsequent instalments, we hope it will get bolder, more provocative and definitely more exhilarating. We won’t call it an evolutionary step forward, but at least ‘Kingdom’ takes a sturdy step in the right direction.

Movie Rating:

(Not quite as exhilarating as its immediate predecessors, this new chapter in the Apes franchise nevertheless offers more than enough smarts and thrills to take the series in the right direction)

Review by Gabriel Chong

SYNOPSIS: Newcomer Azhy Robertson stars as Oliver, a lonely young boy who feels different from everyone else. Desperate for a friend, he seeks solace and refuge in his ever-present cell phone and tablet. When a mysterious creature uses Oliver’s devices against him to break into our world, Oliver’s parents (Gillian Jacobs and John Gallagher Jr.) must fight to save their son from the monster beyond the screen. 

MOVIE REVIEW:

Come Play is the feature film adaptation of director Jacob Chase’s short film, Larry. The creature feature is a mixed bag despite Chase’s best efforts in channelling a fantasy horror driven by the hottest technological gadgets available around us.

Our protagonist, Oliver (Azhy Robertson) is a non-verbal autistic boy who relies on his handphone to communicate with others including his mother, Sarah (Gillian Jacobs) and father, Marty (John Gallagher Jr). Sarah is often seen stressed out by Oliver’s condition and she is also having some relationship issues with Marty as well consider the man of the household is pretty chill and unfazed most of the time.

When an eBook called “Misunderstood Monsters” mysteriously appeared on Oliver’s phone, he begins to experience flicking lights, noises and heavy footsteps after flipping a few creepy pages. And when he turned on the camera app, he notices something named Larry (probably Slender man’s cousin) is out to befriend him and take him back to Larry’s home.

Save for a couple of jump scares, Come Play offers little to minimal genuine horror tropes especially to seasoned horror fans. In fact, the horror element is almost non-existent that you can feel the sluggishness of the material. It’s obvious Chase needs a better co-worker to layout the frightening parts. Case in point, a supposedly suspenseful and scary sequence where Marty is attacked by the skeletal creature in his car park attendant booth ended up being ineptly handled and anti-climax.

Still, you can’t fault the enthusiasm of Chase’s idea which read deeper maybe an metaphor for something creepier than a mere imagined fantasy creature consider the dangers of exposing young children to electronic devices. There’s also a subplot of Oliver’s being bullied by his peers because of his condition that is more effective than Larry.

While Larry is realized by both CGI and Jim Henson’s Creature shop, there’s too little we see of him in the entire duration although ironically we must admit the clever use of Larry being invisible and moving around via electric current. Featuring solid performances from Azhy Robertson and Gillian Jacobs, Come Play is a commendable effort from first time director Jacob Chase. However, the near missing scares and thrills makes this a less than memorable watch.

MOVIE RATING:

Review by Linus Tee

Genre: Drama/Sports
Director: Michael B. Jordan
Cast: Michael B. Jordan, Tessa Thompson, Phylicia Rashad, Jonathan Majors
Runtime: 1 hr 56 mins
Rating: PG13 (Some Violence and Coarse Language)
Released By: Warner Bros
Official Website: 

Opening Day: 2 March 2023

Synopsis: After dominating the boxing world, Adonis Creed (Michael B. Jordan) has been thriving in both his career and family life. When a childhood friend and former boxing prodigy, Damian (Jonathan Majors), resurfaces after serving a long sentence in prison, he is eager to prove that he deserves his shot in the ring. The face-off between former friends is more than just a fight. To settle the score, Adonis must put his future on the line to battle Damian - a fighter who has nothing to lose.

Movie Review:

Who would have thought a 1976 movie about a poor, working class club fighter who becomes a world heavyweight champion will evolve into a successful sports drama franchise? The boxing career of Sylvester Stallone’s Rocky Balboa has become a cultural phenomenon, and it has spawned nine movies in the series.

If you need a quick recap, a spin off was released after the sixth movie to tell the story of Adonis Creed (Michael B Jordan), the illegitimate son of the franchise’s antagonist Apollo Creed. Creed (2015) was a hit and Jordan’s performance received widespread acclaim. Creed II (2018) was well received too, and Jordan was handed the responsibility of directing the sequel.

And this is a notable title because it is the first time Stallone isn’t appearing in the movie. How do things hold up without the popular character’s presence?

After fighting the odds in the first two movies, Adonis seems to finally have it all. He is running a boxing academy and is leading a happy family life with his wife (Tessa Thompson) and daughter (Mila Davis Kent). Adonis’ childhood friend Damian Anderson (Jonathan Majors) appears and we learn that he has just been released from prison and the angry man is full of grudge. We also begin realising Adonis has something to hide, and the guilt is consuming him slowly but surely.

You know how this will go. The two men will not succeed sorting out their differences in a cordial manner, and they will come face to face in a grueling boxing match. The adrenaline and testosterone levels are going to be high, and there will be lots of blood and sweat. This is the essence of such sports dramas.

The story by Ryan Coogler, Keenan Coogler and Zach Baylin is a solid drama and there are no gimmicky twists and turns. It tells the story of a man who seems to be finally able to enjoy the success he worked so hard for, but something from the past has returned to shake things up. And he has to come clean with his loved ones and stop running away from a less than glorious past.

Jordan does a fine job playing a conflicted man, and we see Adonis dressed in crisp tailored shirts quite a bit in this movie – guess that’s the way the filmmakers indicate that he is moving into the next phase of his life. Not to worry, there is still a training montage where we see the character get ready for the ultimate showdown. Such sequences make us feel that if we bothered, we can become as fit as the character on screen.

Then there is Majors, who is a total menace on screen. After seeing the actor portray Kang in Marvel’s blockbuster Ant-Man and the Wasp: Quantumania, the 33 year old actor is even more intense as Damian in this movie. Behind his scowling and vengeful expression, we can tell there is someone who is very hurt and is seeking justice. We think the actor has lots of potential in showbiz and will be cast in complicated roles.

Naturally, the final match between Adonis and Damian is the highlight of the movie. You empathise with both characters, but you know there can be only one champion. The ending is not unexpected, but it is a decent closure that the characters deserve.

Movie Rating:

(The on-screen tension between Michael B Jordan and Jonathan Majors makes this solid sports drama a worthy watch, and the final showdown between the two men is a grueling and sweaty affair)

Review by John Li

SYNOPSIS: Finding a ghost named Ernest haunting their new home turns Kevin's family into overnight social media sensations. But when Kevin and Ernest go rogue to investigate the mystery of Ernest's past, they become a target of the CIA.

MOVIE REVIEW:

If David Harbour is playing the live-action, older version of Casper the friendly ghost, then We Have A Ghost might be a much wackier, more entertaining flick than the current version.

The Presleys (Anthony Mackie playing the dad’s role) has just moved into their new home in Chicago looking for a fresh start. Shortly after, their younger son, Kevin (Jahi Winston) witnessed and film a ghost living in their attic, Ernest (Harbour). However, Ernest is as mentioned a friendly ghost who has somehow forgotten his past and also unable to speak.

Hoping to cash on the paranormal activity, dad went on to post the video on YouTube which results in a surge on social media and the attraction of the public and the CIA. Kevin on the other hand is dead against his dad’s entrepreneurship. Together with Joy, his next-door neighbor, all Kevin wants is to help Ernest uncover his past and reunites him with his long-lost daughter.

What ensues in the end is a series of gags that apparently fails to work up much energy among the characters or steer the plot ahead. There’s the obvious tension, communicative issues between father and son being Kevin is kind of tired of his dad’s constant enthusiasm about trying something new. Kevin’s newfound friendship with his equally quirky classmate and Asian neighbor Joy and the awkward Ernest trying to be scary and funny at the same time.

Then there is a subplot involving the CIA which for no reason has a project in nabbing the supernatural, something like the Ghostbusters led by Dr. Leslie Monroe (Tig Notaro) and Deputy Director Arnold (Steve Coulter). Adding to the mayhem is a prolonged car chase that never really adds much to the entire affair.

With the exception of an absolutely funny sequence whereby Ernest scares the hell out of a television medium played by Jennifer Coollidge, Christopher Landon known for his violent, hilarious Happy Death Day, Freaky wrote and directed We Have A Ghost although his trademark brand of horror comedy seems to be sorely missing right here.

We Have A Ghost has a heartfelt, poignant ending to it despite being too bloated at nearly two hours. It’s a forgettable PG13 flick that tries to be both scary, funny and ambitious something along the line of another Netflix production, The Curse of Bridge Hollow. Maybe Harbour should seriously consider playing Casper next time. 

MOVIE RATING:

Review by Linus Tee

Genre: Horror/Thriller
Director: Matt Bettinelli-Olpin, Tyler Gillett
Cast: Melissa Barrera, Jenna Ortega, Jasmin Savoy Brown, Mason Gooding, Hayden Panettiere, Jack Champion, Liana Liberato, Tony Revolori, Samara Weaving, Henry Czerny, Devyn Nekoda, Josh Segarra, Dermot Mulroney, Courteney Cox
Runtime: 2 hrs 2 mins
Rating: M18 (Violence and Coarse Language)
Released By: UIP
Official Website: 

Opening Day: 9 March 2023

Synopsis: In the next installment, the survivors of the Ghostface killings leave Woodsboro behind and start a fresh chapter in New York City.

Movie Review:

It’s more of the same, really. We are introduced to a group of friends (usually teenagers), and you tick off the stereotypes in the group. There’s the lead (usually the girl with the brains), her best friend (the loyal one), some random guys (you can have a mix of dim witted hunks or quick witted nerds). Sometimes, you also get siblings in the mix. Then, a masked slasher appears and begins terrorising the group, and they are killed off one by one. Everyone is a suspect, and the person behind the mask is usually someone who has been traumatised by a past wrongful action. Bonus points are given if the scriptwriter weaves in how the killings are tied to a special occasion or anniversary that inspires the killer.

Did we just sum up the plot of the latest Scream movie? Basically, yes. And if aren’t already aware, the premise has been similar for the past five instalments of the series. But yet, audiences keep coming back for more and it’s likely that this sequel that takes place in New Yorkis going to bring in big bucks – which means you can expect Scream VIIin the near future.

A follow up from last year’s Scream which was branded as a relaunch of the series, we see Sam (Melissa Barrera) and her half sister Tara (Jenna Ortega) trying to start a new life in The Big Apple. We don’t blame them, because what they went through in the fictional town of Woodsborowas pretty intense. If you forgot or didn’t watch the last movie, the killers were fans of the Stab movies, the franchise set within the Scream universe.

Back to the latest title - a new masked killer shows up (fans would know him as Ghostface), and things get bloody again as the body count begins to rise. Sam and Tara, together with their friends, can only start wondering who the next victim is. Amidst the scary thought, they must also race against time to stay alive and find out who the bad guy is.

Not a terribly exciting premise, we hear you say. But trust us, the moment the killings begin, you’d be hooked and start guessing which of these characters is responsible for the murderous rampage. Could it be Tara(played by Ortega), whom reminds us of the cold hearted Wednesday in the recent hit TV series? Or could it be Sam herself, who has since become a cold blooded killer like her father (Skeet Ulrich appears in a cameo appearance, reprising the killer character from 1996’s first Scream movie). Or could it be any of the disposable supporting characters? What about nosey talk show host Gale Weathers (Courtney Cox) or special agent Kirby Reed (Hayden Panettiere), characters from past instalments? Someone’s gotta give us a clue soon.

Matt Bettinelli-Olpin and Tyler Gillett return to direct this 122 minute movie, and it’s got enough thrills and spills to keep you at the edge of your seat. There are some truly nail biting sequences that are executed in a gleefully anxious way that will have you wishing you’d never be put in such a situation in your life. The movie’s gotten bigger, and features more slashing and blood. All these point to a sign that Scream is officially a franchise.

Movie Rating:

(WIth bigger setups with a generous amount of blood and gore, Scream is officially a franchise and it's here to stay)

Review by John Li

Genre: CG Animation
Director: Makoto Shinkai
Cast: Nanoka Hara, Hokuto Matsumura, Eri Fukatsu 
Runtime: 2 hr 2 mins
Rating: PG
Released By: Encore Films
Official Website: 

Opening Day: 9 March 2023

Synopsis:  A coming-of-age story for the 17-year-old protagonist, Suzume, set in various disaster-stricken locations across Japan, where she must close the doors causing devastation. Suzume’s journey begins in a quiet town in Kyushu when she encounters a young man who tells her, “I’m looking for a door.” What Suzume finds is a single weathered door standing upright in the midst of ruins as though it was shielded from whatever catastrophe struck. Seemingly drawn by its power, Suzume reaches for the knob… Doors begin to open one after another all across Japan, unleashing destruction upon any who are near. Suzume must close these portals to prevent further disaster.

Movie Review:

Suzume comes three years after Makoto Shinkai's Weathering with You (2019). The concept of this film was conceived just before the global pandemic hit, and had most of its production planned and done when the world was experiencing lots of fears and uncertainties. Yet, there’s no stopping in producing a work that’s not just beautiful, but painfully poignant.

The film opens by following an ordinary girl named Suzume, who lives in a small town at Miyazaki in Kyushu. She had a brief encounter with a mysterious man named Sota, who was looking for abandoned places. Fuelled by curiosity, she went looking for him, only to encounter a door which seemingly brings her into an eerily familiar dimension. While the man she was looking for was nowhere to be found, she attempted to get into the other dimension through the door but it was to no avail. That’s when a stone which she accidentally misplaced sprung into life, transforming into the form of a white cat. Subsequently, she realised the door was linked to the tremors felt on the ground, that the column in the sky, a “worm”, was what stemmed out from the door and will cause disaster to befall at places. She later learned that Sota was there to close the doors, to keep people safe. But in a twist of events, he was cursed and his entire being was sealed into a child’s chair, and Suzume journeyed with him (a chair) to hunt down the keystone (the white cat).

The journey of Suzume traveling up north from Japan’s Miyazaki was nothing but a great visual treat. The people she encountered and sights through Ehime, getting on the bullet train to Tokyo, then even to the car ride to Tohoku. Each place has its own flavour and colour, which are all so pretty it inspires traveling. The adventure Suzume embarked on with a “chair” was nothing short of entertaining too. Imagine watching a girl having to chase after a chair running after a cat… just that scene alone should give you an idea of how comical it was. Just a small trivia about a scene at Suzume’s bullet train ride. If you’ve ever taken it to Tokyo from the south, you’d also know that there is only a very brief part where one could view Mount Fuji (and you have to sit on the correct side!). That moment when Suzume missed Mount Fuji was an incredibly relatable moment for this reviewer because the exact same thing (including checking Google Maps) happened. That’s how accurate it is!

As with Makoto Shinkai’s previous two works, they all make loose connections with natural disasters but it’s possibly the first time when it’s being referenced more obviously. Though it might evoke negative emotions from people who remember the 3.11 Tohoku Earthquake, it was the director’s intention to painfully remind viewers of what happened; and not have it forgotten or diluted by the ongoing pandemic. Having a being sealed into a chair, seemingly also reflects on the real struggles and helplessness of how one felt in having to exercise restraint and cope with all the restrictions to curb the spread of the disease.

In terms of sound, both the music and voice acting are commendable efforts. It’s the third time Makoto Shinkai has teamed up with RADWIMPS to create the music for the movie. In addition, there’s also composer Kazuma Jinnoichi, a seasoned composer for film and game music, along with a fresh voice, Toaka - a TikTok singer - to give a mystical touch to the title track, “Suzume”, giving the overall film music a solid punch. The voices of Suzume and Sota were also carefully selected through auditions. In particular, Matsumura Hokuto, who voiced Sota, was such a natural you wouldn’t believe that his regular job is being a member of an idol group called SixTONES. For fans of Makoto Shinkai films, you’d also notice a familiar voice - which is none other than Kamiki Ryunosuke, who voiced Tachibana Taki in Your Name (2016). He played a character named Serizawa Tomoya, who is quite a key character in the latter half of the film.

All in all, Suzume is a film that is very characteristically Makoto Shinkai, in terms of art, storytelling and themes. It’s a leveled up film that has proven its potential with its box office revenue result exceeding past records and current blockbusters. While the overarching themes of adventure and self-discovery may sound all too cliched, they complemented the work well. The film has also inspired a once disaster stricken town in Iwate to set up “door”, to “let visitors make memories here, and experience the town’s good sides”. Perhaps its influence is not as groundbreaking as a movement like the Renaissance, but one could not deny the cultural impact the film has on society: to remember and to recover. We are more agile and resilient than we think.

Movie Rating:

(In director Makoto Shinkai’s own words, it’s a “theatrical music experience” — delectable, packed with adventure and meaning)

Review by Tho Shu Ling

Genre: Mystery/Thriller
Director: Glenn Chan
Cast: Stephy Tang, Philip Keung, Tse Kwan Ho, Ben Yuen, Justin Cheung, Ling Man Lung, Jennifer Yu, Babyjohn Choi.
Runtime: 1 hr 35 mins
Rating: NC16 (Some Disturbing Scenes and Violence)
Released By: mm2 Entertainment
Official Website: 

Opening Day: 2 March 2023

Synopsis:  A gruesome yet bizarre murder has occurred in Hong Kong where a social worker surrendered himself after brutally murdering his family. Forensic psychiatrist Xu Xiao Jing (Stephy Tang) finds a linked case through her ability to “see” into people’s unconscious and suspects that another psychiatrist, Ren Chong Guang (Tse Kwan Ho), instigated the murder. Along with police inspector Ah-Fa (Philip Keung), Jing investigates the murders and chances upon yet another cruel murder – where the victims are elderly folks who had their skin flayed and hung up. As the investigation comes to a dead end, Jing too becomes a suspect. 'Shadows' aim to explore the question if "People are born good, or born bad but just acting good?" 

Movie Review:

There are many thought provoking movies about the human mind, and this one directed by local filmmaker Glenn Chan has the honour of being one of the better ones we have come across.

One of the co productions between FOX Networks Group Asia and MM2 Entertainment, this thriller had its roots as a concept by Chan and writer Chan Kai Xiang. Production began all the way back in 2018, before the movie's world premiere at the Hong Kong International Film Festival in 2020. No thanks to the pandemic, the title was put on hold for a wide release. Finally, the wait is over and viewers will have the opportunity to explore a darker side of human nature - one that might have been hiding in our own shadows all this while.

The protagonist of the story is Xiao Jing (Stephy Tang), a psychiatrist who has a supernatural power (don't ask) to enter her patients' minds to experience their traumatic memories. A tragic murder case happens and she is called upon by police inspector Ah Fa (Philip Keung) to assist with the investigations. The murderer is a social worker who killed his family members. Xiao Jing ventures into the murderer's subconscious and discovers a sad story, and begins suspecting that Dr Yan, the psychiatrist the murderer has been seeing (Tse Kwan Ho) might be up to no good.

Along the way, we see other cases unfold. They involve characters who exist in our midst. There is a woman who is abused by her husband, a school teacher who is constantly under the pressure of nagging parents, and a nursing home staff who feels that he should do something to alleviate the pain of his helpless patients. Each of these tales will end dreadfully, and while you are shocked, you'll also realise you may have read real life news similar to such cases before.

The movie is well shot and features an atmospheric soundscape that complements the foreboding mood. The scenes where Xiao Jing goes into her patients’ minds are what nightmares are made of, and imaginatively created by the filmmakers. Watch out for a sequence with a cult like setting that makes good use of colours to bring out the creepiness.

The movie gets points for its capable actors as well. Tang delivers a commendable performance as a psychiatrist who has to bear the burden of her patients, while Keung is expectedly good in his role. Tse is menacing without speaking, and the supporting characters are competently played by familiar faces in Hong Kong showbiz. The limited screen time does not stop cast members like Ben Yuen, Justin Cheung, Ling Man Lung, Jennifer Yu and Babyjohn Choi from shining in their roles.

The solid screenplay has you guessing throughout the 95 minute movie. Who is the ultimate villain in this story? Are humans selfish by nature? How wicked is the personality that lies beneath the good front that humans are constantly putting up? Is this supposedly unkind behaviour justified? And when the movie ends on a seemingly abrupt but effective sequence, you are left wondering how much of what you've seen on screen is a reflection of your inner self.

Movie Rating:

(Well-acted and thought-provoking, this atmospheric thriller will have you questioning how the human mind truly works in the face of evil)

Review by John Li

SYNOPSIS: All Quiet on the Western Front tells the gripping story of a young German soldier on the Western Front of World War I. Paul and his comrades experience first-hand how the initial euphoria of war turns into desperation and fear as they fight for their lives, and each other, in the trenches.

MOVIE REVIEW:

While the Sam Mendes’ helmed WWI epic, 1917 boasts a budget close to $100 million, on the contrary, the German made, Netflix funded Oscar-winning All Quiet On The Western Front only costs a quarter of the former and it looks equally amazing in terms of production values.

An adaptation of the classic German anti-war novel by Erich Maria Remarque, this marks the third but very first German film version. Four idealistic young men, Paul Baumer (Felix Kammerer), Albert Kropp (Aaron Hilmer), Franz Muller (Moritz Klaus) and Ludwig Behm (Adrian Grunewald) excitingly signed up to join the war to fight against the French and their allies in Northern France.

However, ideals, dreams and soaring speeches are seldom associate with the cruelty and horrors on the battlefield as Paul and his friends soon find out. All Quiet On The Western Front mainly follows our main protagonist, Paul as he navigate friendship, the brutality of war through countless battlefields, trenches while at the same time, slowly succumbs to the tragic realities surrounding him.

Relatively unknown German director and screenwriter Edward Berger and cinematographer James Friend surprisingly managed to pull off a powerful, touching war story that screams epicness and beauty in every frame captured. Kudos to the production designer and costume designer as well especially in the beginning where the scene depicts the collection of uniforms from dead soldiers being collected, repair and distribute back to new recruits.

Newcomer Felix Kammerer perfectly captures the vulnerability of a young soldier being thrown right into a vicious environment not knowing if he is going to survive the next bombing or the next round of merciless bullets. His friendship with a fellow veteran soldier, Kat (Albrecht Schuch) added poignancy and realism to the entire grim affair as they support and encourages each other along the way.

Adding to the storyline is German official Matthias Erzberger (played by MCU alumnus Daniel Bruhl) and his delegation who attempts to begin armistice talks with the allies while a certain General Friedrichs who opposed the surrender decides to stir up one last fight against the French. You know there will always be some shit stirrers who can’t stand a moment of peace.

Yet all-time fans of war movies might find All Quiet On The Western Front somewhat familiar or frankly, a tad too unspectacular in terms of plotting and themes. Indeed, Paul is shown disillusioned and frustrated in the third act as most of his friends are dead at this point and his guilt and loss at what to do after the war continues to haunt him. Like many other wars prior or after, it’s a conflict that is not worth the death of millions and Berger’s movie once again enforced that message.

That said, All Quiet On The Western Front remains a satisfying and immersing watch despite running close to 150 minutes. It’s a movie that is never going to get old. The messages seemingly immortal. Take a look at what is happening between Russia and Ukraine now and you probably learnt that there won’t be a true winner whatever the outcome may be.

MOVIE RATING:

Review by Linus Tee

Genre: Drama
Director: Jason Kim
Cast: Yoo Yeon-seok, Cha Tae-hyun, Jung In-sun, Kang Shin-il, Park Jin-joo
Runtime: 1 hr 53 mins
Rating: PG
Released By: Golden Village Pictures
Official Website: 

Opening Day: 30 March 2023

Synopsis:  Min-soo (Yoo Yeon-seok) is an ordinary office worker who dreams of a perfect family. He has a dog, Rooney, whom he treats as a younger brother. Unexpected circumstances arises in Min-soo's life, when he can no longer live with Rooney ahead of his marriage with his fiancée who is allergic to dogs. Together with his cousin, Jin-guk (Cha Tae-hyun) who owns a cafe that went bankrupt, Min-soo decides to find a new family for Rooney. On their journey that starts in Seoul and continues to Jeju Island to find the perfect owner, the two encounter the heart-breaking reality of abandoned pets.

Movie Review:

Director Jason Kim has tackled everything from action comedy to supernatural horror to now, a heartfelt canine drama starring Yoo Yeon-seok (New Year Blues) and Cha Tae-hyun (My Sassy Girl).

Dog-lover Min-su (Yoo) is about to marry this long-time girlfriend only to realise that she is actually allergic to dogs. Thus he has no choice but to find a new owner for his beloved loyal companion, a golden retriever named Rooney. With the company of his cousin/buddy, Jin-guk (Cha), the two guys embark on a long journey that takes them across Seoul to Jeju on a mission to find the perfect home for their canine or canines in this case.

The narrative is simple enough yet Yoo and Cha oozes enough chemistry to keep you invest in it throughout the nearly two hours duration. From a mother with a newborn baby to a teenager who recently lost his pet dog, the first hour follows Min-su and Jin-guk meeting a few potential dog owners from Instagram that results in a few laugh-out moments.

But while there are laughs, there are certainly heart tugging moments as well as the story tackles topics of dog abandonment and cruelty midway though Kim is more concerned about our protagonists getting cute and cuddly with the canines than providing any meaningful insight or messages on the hot button issues. A meetup with a seemingly dog lover on Jeju also feels like a lost opportunity to tell a story from another perspective.

Mostly, My Puppy attempts to tell a tale of how a man’s best four-legged friend gave purpose and meaning to his owner’s life but instead it’s our two human friends that are more interesting in the end. Min-su is still traumatised by the death of his mother that he left his childhood house shortly after her passing. Jin-guk on the other hand is tired of his life as a gym instructor after the closure of his café business even if he still holds on to his dream of making his much loved pour over coffee.

Again, the stellar performances of Yoo and Cha are particularly worth noting making this an exception where the movie never drags for a second when the humans are onscreen. Of course, the variety of furry friends including Jin-guk’s bulldog affectionately nicknamed Thor is a major attraction for dog lovers or those who can’t actually afford to rear a dog in real-life. The ongoing gag of Min-su and Jin-guk adopting more pets along the way also makes the whole journey comical and endearing.

Fortunately, there’s no dogs that die in the movie sparing you the need for unnecessary manipulative emotions. In a grand departure from the usual Hollywood canine titles, this Hallyuwood canine flick comes with much more purpose and definitely a worthy light journey to go on.

Movie Rating:

(A mixture of warmth and slapstick makes this dog flick an above average family-friendly affair)

Review by Linus Tee