Genre: Thriller/Crime
Director: Chung Ji-young
Cast: Sol Kyung-gu, Jin Kyung, Yoo Jun-sang, Heo Sung-tae, Yeom Hye-ran
Runtime: 2 hrs 4 mins
Rating: NC16 (Some Drug Use and Coarse Language)
Released By: Shaw Organisation
Official Website: 

Opening Day: 23 November 2023

Synopsis: Year 1999, a murder case occurred at Nara-Supermarket where three burglars murdered an old lady and threatened her daughter, Yoon Mi-sook. The detective in charge, Choi Woo-sung, arrested three teenagers who live nearby and closed the case. However, Director Hwang received a report that the actual criminals were not arrested. He tried to exonerate the falsely accused suspects but to no avail. 15 years later, the three suspects and Yoon Mi-sook came to Director Hwang asking for help with a retrial...

Movie Review:

The premise of this movie is based on a true story that took place in South Korea’s Wanju Country in 1999. Three robbers broke into a local supermarket in the middle of the night to steal money, and the incident ended on a tragic note with an elderly woman choking to death on duct tape. The local police was fast to take action and it wasn’t long before they identified three boys as the culprits of the crime. But is the truth what it appears to be? This movie asks the question of whether there is something shady behind the criminal justice system.

It turns out that director Chung Ji-young is no stranger to exploring controversial topics in his works. He made Unbowed (2011) to criticise the corruption in the judicial system, and also National Security (2012) which dramatised the a politically sensitive true life story of a democracy activist who was kidnapped and tortured in the National Police Headquarters. The 77 year old filmmaker has been vocally against direct distribution of foreign movies in his home country, and has voiced his opinion against the signing of the free trade agreement between South Korea and the United States.

In comparison, Chung’s latest work seems safe and probably won’t cause too much of a stir. Besides depicting a story where the authorities may have abused their power, the movie is essentially a human drama. The three boys who were convicted of the crime aren’t high flyers (one of them is slightly intellectually challenged), and the sympathetic story quickly reveals that there were coerced into admitting that they were responsible for the terrible incident. They were promptly put in a jail, and the police was lauded for their work. Soon, another man comes along and confessed that he committed the crime with two other men. What happens next is a series of attempts by Hwang Jun-cheol, a new police investigator in town (a terrific Sol Kyung-gu) to uncover the truth.

This story spans more than 15 years and is told through flashbacks. Although the boys have been released from prison, circumstances have resulted a possible retrial. When Hwang learns about this, he goes all the way out to make sure that the boys innocence is proven this time.

Hwang is captivatingly played by Sol, and the character has the personality of a bulldog. He pushes his way through to question the initial investigation’s credibility. Kudos to the actor for expressing the world weary side of the righteous investigator, and throwing him back on track to do what is right. There are scenes of him with the boys while they were kids in prison, and also with them when they have become teenagers after their release. These sequences are nicely played out, and you feel Hwang’s sheer determination to bring the truth to light. Yoo Jun-sang portrays the antagonist, while Jin Kyung plays the daughter of the deceased victim. Heo Sung-tae provides some comic relief Hwang’s colleague assisting in the investigation.

Even when the 124 movie turns into a melodrama towards the end when the court proceedings begin, you are engaged in the story and will cheer when the boys finally break their silence to shout: “We are not murderers!”

Movie Rating:

(Featuring a terrific Sol Kyung-gu, this engaging thriller is a reminder how power may be abused in the hands of those with authority)

Review by John Li

Genre: Drama/Crime
Director: Goh Pei Chiek
Cast: Philip Keung, Hui Siu Hung, Raymond Wong, Samantha Ko, Yumi Wong, Chen Puie Kong, Tan Lin, Thomas Kok
Runtime: 1 hr 35 mins
Rating: NC16 (Some Violence)
Released By: mm2 Entertainment
Official Website: 

Opening Day: 23 November 2023

Synopsis: A peculiar disappearance case leaves Uncle Shan (Hui Siu Hung) mourning the loss of his beloved wife, Aunty Shan. It also results in Chong Yi Jing (Samantha Ko) growing up without a mother's love. Uncle Shan was a locksmith, running a shop called 'Integrity.' However, due to an unexpected incident, he developed dementia. He later takes on a devoted apprentice, Cheng Ho-Yan (Philip Keung). Ho-Yan inherits Uncle Shan's exceptional locksmithing skills, becoming a master at opening locks, even surpassing his mentor. Because of his remarkable abilities, he's frequently called upon by the police, and this leads to a friendship with Detective Lau Yip-Sun (Raymond Wong). To this day, there hasn't been a lock that Ho-Yan couldn't open. However, during one locksmithing job, he reunites with an old friend, Lee Chuen-Hoi (Chen Puie Kong), whom he hasn't seen in years. From that moment onwards, a series of strange events unfolds. While returning home, Ho-Yan unintentionally hears his new neighbour, Miss Kuan (Yumi Wong), playing a harmonica with hauntingly familiar melody. Despite never having met Miss Kuan, Ho-Yan becomes curious and secretly observes her. Simultaneously, through Yi Jing, he learns that the mysterious case surrounding Aunty Shan's disappearance is far from straightforward and likely connected to Miss Kuan's appearance. As a result, Ho-Yan stumbles upon a murder case during one of his locksmithing jobs, making him the prime suspect in Lau Sir's eyes. What is Ho-Yan hiding? Has he encountered a lock he can't crack? What's the chilling harmonica melody about, and how does Chuen-Hoi fit into the puzzle? With Aunty Shan's death, how many people are entangled behind this unbreakable lock? Can Lau Sir help his friend clear his name? Could it be that everyone carries a lock within their hearts, with countless unknown stories waiting behind each door...

Movie Review:

This Malaysia and Louis Koo’s One Cool Film funded production doesn’t boast any A-listers and yes even the prolific Koo is missing here. Instead we have the equally tanned Philip Keung as the leading man- the titular character, locksmith Cheng.

Set in Penang, the story revolves around Cheng, an introverted man whose only friends are police officer, Lau (Raymond Wong) and his mentor, Uncle Shan (Hui Siu Hung), the owner of a locksmith shop. Shortly, Uncle Shan’s only daughter, Yi Jing (Samantha Ko) returns to Penang from Hong Kong and plans to open a claypot chicken restaurant (product endorsement by the way) and also making up to his dementia-stricken father for lost time due to covid travelling restrictions.

Just when you are wondering where The Locksmith is going with all the mundane happenings in Cheng’s life, a past associate of him, Lee (Chen Puie Kong) appears to ask Cheng for a loan or join him for a crime spree especially given Cheng’s talent for lock picking. Of course, Cheng turned him down until all hell breaks loose when Lee continues to threaten the latter by harassing his friends.

At the same time, Cheng begins to hallucinate and feeling disturbed when a strange girl, Miss Kuan (Yumi Wong) becomes his neighbour and begins playing a familiar haunting tune on her harmonica. It seems Cheng’s past is coming back to haunt him and it’s time for him to open the biggest lock he ever faced- his heart!

The Locksmith is not a horror mystery or a psychological drama by a long shot. The story is more interested to explore Cheng’s inner struggles and guilt than going for some cheap shock value. Director Goh Pei Chiek aims to tell a meaningful story with “lock” as a recurring theme for the main character but he fails short to turn the narrative into a more captivating experience. There’s frequent throwback to Cheng’s past after the halfway mark and the story desperately tries to create some diversion by constantly making the character of Miss Kuan as sort of a red herring.

But the problem of casting a far well-known actress such as Samantha Ko and the early reveal of the cause of her mom’s death in an arson case (not a spoiler since its obviously linked to Cheng) underwhelmed the final twist. Still, there’s a decent closure in the end but not likely a worthy complex study to the whole proceedings.

Philip Keung who has been cast in supporting characters for the past decades is an underrated actor. His probably second foray as a leading man (after the acclaimed Tracey) doesn’t disappoint given his convincing portrayal of a man ridden with guilt. Ex-TVB regulars Raymond Wong and Samantha Ko unfortunately isn’t given much to do especially Wong who has been relegated to a forgettable minor role. Those following MediaCorp dramas will find Chen Puie Kong very familiar as once again, he plays a detestable thug for the umpteenth time.

Despite the flaws, The Locksmith is a decently shot atmospheric drama not to mention some very loud sound effects and soundtrack. If you plan for a date with the locksmith on a weekday night, you will still uncover some satisfaction in Director Goh’s effort and Keung’s performance.

Movie Rating:

(Decent not extraordinary crime thriller largely anchored by Philip Keung’s performance)

Review by Linus Tee

Genre: Horror/Thriller
Director: Eli Roth
Cast: Patrick Dempsey, Addison Rae, Milo Manheim, Jalen Thomas Brooks, Nell Verlaque, Rick Hoffman, Gina Gershon
Runtime: 1 hr 45 mins
Rating: R21 (Violence and Gore)
Released By: Sony Pictures
Official Website:

Opening Day: 30 November 2023

Synopsis: After a Black Friday riot ends in tragedy, a mysterious Thanksgiving-inspired killer terrorizes Plymouth, Massachusetts – the birthplace of the holiday. Picking off residents one by one, what begins as random revenge killings are soon revealed to be part of a larger, sinister holiday plan. Will the town uncover the killer and survive the holidays…or become guests at his twisted holiday dinner table?

Movie Review:

Imagine a dreamy-looking single guy who knows his way around the oven, and that too in a sheriff's uniform, showing up at your door with a potluck dish on Thanksgiving. Wouldn’t you be thrilled to death?

Set in Plymouth, Massachusetts, the birthplace of both Thanksgiving and Black Friday, the 16-year-old Grindhouse trailer which is finally developed into a full-fledged movie opens with Patrick Dempsey dropping by at an acquaintance’s residence for dinner before rushing off to a crowd-control situation. And distress ensues, masterfully giving birth to another excuse to have a longer Halloween mayhem.

Setting the tone for the killing spree, John Carver House, the town’s historical monument is ransacked, vandalised and a certain someone steals the axe on display. The killer on the prowl sets the table of blood-soaked memorabilia of the slain at the horror buffet with their remains and invites a few that are still breathing, as he sticks by the adage that revenge are best served cold. The axe-wielding murderer who dresses for the occasion by donning a John Carver mask, hat and a bizarre pilgrim coat also deserves a nod of respect for calming ruffled nerves of feline lovers, as he ensures that one of his victim’s cat is fed amidst the chaotic calm. It’s at this very point that the audience makes peace with the fact that the antagonist in question has a legit motive behind the carnages.

Prancing along the edges of social satire, this I-know-what-you-did-last-Thanksgiving film is surprisingly a quick-paced thriller. With events that question social consciousness propelling the plot forward, what’s even hair-raising is, these do happen in waking life where crowds go bonkers for the best deals and bargains. And Thanksgiving goes a notch above by instilling a message of blatant greed and capitalism that throws a dark shroud over the American holiday, which is meant to be well-spent with loved ones. Pivoting on revenge, the 106 minutes of death galore cleverly ties a spectre of colonialism and the darker side of Thanksgiving to sinisterism.

Nell Verlaque, Rick Hoffman, Addison Rae and, of course, the latest People's Sexiest Man Alive are part of the ensemble. There's enough star power on board for Thanksgiving to cater to multi generations. Based on a whodunnit theme, this slasher sub-genre, boasts a couple of scenes that will be etched into our memory long into time while checking all the boxes of a supremely gory number. Roth has once again proved that he is the one and only Eli Roth with this elevated horror. Thanks to the writer duo of Thanksgiving to have thrown in enough disturbing twists to keep everyone second guessing. Given the sequence and pain-o-metre of deaths, one could somewhat gauge the victim’s role in the aggressor’s life. Staples of Thanksgiving, such as oven, corncob holder and turkey glaze were ingeniously introduced. Corncob holder in place of cotton swab? Ouch!

Sony Pictures certainly did a remarkable job in gatekeeping some of the best scenes in the trailer that will be remembered, referenced and even parodied far into the future. The oven death scene, which was yet another act to prove that Roth rarely disappoints is just too harrowing to watch; let alone imagine it.

Although the narrative doesn't invest much on its characters (not long enough for us to care about their sad fates), the routine kills that punctuate the plot retain the pleasant pace of the film. The murder mystery effortlessly embodies the crassness and shock value of a classic slasher flick. The goofy murders which are a stark contrast to the graveness of the matter at hand might pilfer the charm of this gut-wrencher. But then again, the plot needs something to offset the grimness of the R-rated number that features a torn scalp, ruptured jugular vein and intestines pouring out. The dialogues that are embellished with cheesy one-liners do in fact, add to the allure of this holiday-themed flick. Although the suspense-filled thriller presented varsity letterman jackets, parades against an obscure weather as the backdrop, crowded diner with booths screaming nostalgia rather tastefully, the original Grindhouse aesthetic could have been preserved. Speaking of retro elements, there’s even a narrated teaser trailer that whisks us back to fuzzy yesteryears.

Scouting for strength of plot and immaculate characterisations in an Eli Roth page-turner is analogous to having a snowball’s chance in hell, One would have countless reasons to relish Thanksgiving. And one of which would be the fact that, it delivers on its promise with brutal kills and ridiculous humour and a 17th century axe used in the most creative yet ruthless fashion. And since it’s Thanksgiving, let us all be grateful for a holiday-themed slasher gem that doesn’t end on an unresolved cliffhanger. Let the horror feast begin with a kudos to the team that came up with a brand new definition of “leaving no crumbs behind.”

Movie Rating:

(You are cordially invited to the sanguinary Thanksgiving horror buffet. Help yourself to the gorefest cooked up by Eli Roth, the man himself)

Review by Asha Gizelle Mariadas

SYNOPSIS: Eddie Garrick (Chris “Ludacris” Bridges) is a good-hearted man who has turned his back on Christmas due to a traumatic childhood experience. At the request of his wife Allison Garrick (Teyonah Parris), from whom he is separated, Eddie takes his 8-year-old daughter Charlotte (Madison Skye Validum) out with him on Christmas Eve, where they meet a mysterious man in a red suit named Nick (Lil Rel Howery). Eddie, who is a social worker, thinks the man is delusional and needs professional help, but when he evokes the wrath of a local politician (Oscar Nuñez), he and his daughter are taken on a magical adventure that just might restore his faith in Christmas. 

MOVIE REVIEW:

You know it’s that time of the year when a forgettable Christmas theme holiday movie comes streaming on the small screen. And this time round, it’s Ludacris (Fast & Furious franchise) and Lil Rey Howery (Vacation Friends) taking the stage as the sceptical Eddie Garrick and Santa Claus respectively.

Due to a childhood trauma involving a bad mall Santa and his parents’ divorce, Eddie (Ludacris) isn’t a big fan of the festive season although his increasing estranged wife, Allison (Teyonah Parris) wants him to spend Christmas eve with their daughter, Charlotte (Madison Skye Validum). Soon, he encounters a man dressed as Santa (Howery) breaking into his neighbour’s house. The man claims he is Santa as he jabbers non-stop about reindeers, elves and Mrs Claus.

As a responsible social worker, Eddie thinks the man is very much in need of help not knowing a bunch of henchmen from the local congressman is after Santa who mistakenly took his iPad containing data on his bribe money.

Dashing Through the Snow is an absolutely atrocious, low-budget movie that it’s sacrilegious to even think that the Disney branding is behind it. Ludacris and Lil Rey Howery spends the entire movie trading unfunny jokes, getting themselves into predictable gags and running away from the three henchmen. We know this is a wholesome family movie but that doesn’t mean we need repeat offerings of a cinnamon fart joke.

Other than pointlessly chasing after Eddie, Santa and Charlotte in a SUV around Atlanta city, there isn’t any physical comedy gags coming from the baddies as well. At least Home Alone scores a A+ in this department. And talking about some Santa magic, you will be surprise that there isn’t any visual effects at all except the finale which features some uninspiring and cut rate CGI reindeers. The lame excuse is that Santa needs Eddie to believe in the holiday spirit in order for the magic to work.

Coming from director Tim Story (Barbershop, Ride Along) and screenwriter Scott Rosenberg (Venom, Jumanji: Welcome to the Jungle), Dashing Through the Snow wastes the premise of a black man playing St Nick. There’s no care or the slightest effort being put into the whole endeavour. I doubt families are going to find any joy and festive cheer here because it’s more like dashing to the exit.

MOVIE RATING:

Review by Linus Tee

SYNOPSIS: Five years after the Civil War, a freedwoman and ex-Buffalo Soldier posing as a man travels west to lay claim to a gold mine but after a failed stagecoach holdup, she is forced to stand guard over the gang leader until the law can arrive to arrest him.

MOVIE REVIEW:

Disguised as a man to fight in the civil war, former soldier Mo Washington (Letitia Wright) returns to civilian life to secure a gold mine in Colorado using a land deed she has somehow possessed. To get there, she bought a ticket on a stagecoach but the journey is soon waylaid by a bunch of crooks led by notorious bank robber, Tommy Walsh (Jamie Bell).

A fight ensues and Tommy is captured by Mo. While a lawman named Wheeler (Jeffrey Donovan) has to escort a fellow injured passenger to the doctor, Mo is tasked by Wheeler to guard Tommy till backup arrives. What follows is a series of mind games between Tommy and Mo and the mystery whereabouts of Tommy’s hidden loot.

Surrounded wastes no time in setting up the premise and the mood. Like an old-school Western, the hero and villain are established shortly after the opening. In this case, Mo is the heroine, a woman of color who fought her way to stay alive in a treacherous world where Blacks are sold as slaves and mercilessly slaughtered. In the grand tradition of “Mulan”, she passed herself off as a man or a young teenager at least. She has no qualms killing any men that crossed her path, her greatest desire is not murder but freedom.

Letitia Wright is excellent in the role, far more convincing and heart-wrenching than her part in Wakanda Forever. Her character though strong-willed is a tad too skilful at some point. Playing opposite her for the entire run is Jamie Bell who equally puts in a solid performance as the crafty famed robber. Watching the character of Tommy trying to break down Mo is equal parts engaging, deadly and dynamic. The late Michael K. Williams appears in one scene-stealing scene as a reminder that no one is what they say or seem in the Wild West.

As a western, director Anthony Mandler concocts a series of competent gun-slinging fights across the harsh terrain of sand and occasionally snow. There’s nothing like some cool old-fashioned brutal gunfights to save the day and you probably be amazed by the breath-taking cinematography of New Mexico as well. The story written by Andrew Pagana and Justin Thomas fills the narrative with a perfect balance of action and themes of survival, racial tensions, trauma without being all too stifling.

In short, Surrounded features a well-meaningful story and top-notch performances from two leading British actors cast ironically in an American western.

MOVIE RATING:

Review by Linus Tee

Genre: Drama/Comedy
Director: Atta Hemwadee
Cast: Anthony “Tony” Buisseret, Pisitpol “Jump” Ekaphongpisit, Thitiya “Baipor” Jirapornsilp, Tanakorn Tiyanont, Natticha Chantaravareelekha
Runtime: 2 hrs 10 mins
Rating: PG13 (Some Sexual References)
Released By: Golden Village Pictures
Official Website:

Opening Day: 30 November 2023

Synopsis: Have you ever had a close friend whom you still think about all these years later? ‘Pae’, a twelfth grader facing parental pressure to take the entrance exam for admission to a prestigious university. When he learns that a renowned university offers a direct submission option, requiring students to create and submit a short film for consideration, inspiration strikes. Pae decides to craft a short film centered around ‘Joe’, his late deskmate who tragically passed away in an accident. His hope is that a poignant tale of a lost friend will resonate with and impress the university admission committees. However, it isn't as easy as Pae initially thought, since he doesn't have any knowledge about filmmaking at all. Moreover, he faces another challenge in the form of ‘Bokeh’, Joe's true friend, who volunteers to help him with the short film. And so, the filmmaking mission begins with Pae's future at stake, aided by a group of nerds from the audiovisual club. Eventually, the short film project gains recognition across the entire school, and Pae finds himself under pressure from Joe's family to deliver a satisfactory film about their beloved son. However, this project leads them to uncover a secret that Joe had hidden from them, a revelation that threatens to change their perspective on their dear departed friend forever.

Movie Review:

Thoughts: What would it take for you to achieve your goals? How does one value friendships and relationships? And how far would you go?

Not Friends is about Pae, who decided to create a short film based on his late friend’s life as a way to get a direct entry to an acclaimed university amidst parental pressure, only to realise that not only does he not know much about his friend, but also face the pressure of his late friend’s actual best friend, the school’s excitement over the short film, and a secret that would change the course of things.

Reading up on the synopsis got me really curious about the film, the storyline and how it will all play out. The fact that the creative team of Bad Genius came up with this made me even more excited to know more, since the predecessor was a box office hit and an amazingly well-crafted film.

Upon watching the film, I felt a little perplexed about where I stand, as I was not sure if I liked the film or not.

The plot of the film seem to be simplistic and possibly straightforward, yet you are taken into a much, much deeper world. Yet, it felt like the director and producers were also not fully on board and made the viewing process a little choppy at times.

There were multiple twists in the plot and although a few of the twists were plausibly familiar and similar to other films of similar genre, they seem to blend in quite well with the storyline and was rather impactful in the storytelling. Themes like the notion and definition of friendship, character, relationships and life and death are explored to quite an extent and boosted the storyline a little.

The cast did well with their convincing performance that included a repertoire of humour, drama and action, while churning out believable and steady character development. The music choice for the film is appropriate and outstanding.

Yet, even with such nuances, the film still did not have the impact that it was intending to make and somehow it felt a little short of expectations. It felt like somehow, there was a void within and it feels like it is nor completely filled.

While the film generally was pleasant and enjoyable, it lack a certain kind of ‘X Factor’ that other films of similar genre have. Combined with several questionable gaps in the storyline and unrealistic, the struggle (of direction) between comedy and drama is real. It could be that it was meant to be fun and light-hearted, but it strangely also wanted to be slightly serious.

Overall, Not Friends seems to be a youthful trip down memory lane and it tries hard to relate and tap into your younger self, but does not fully come on board and leaves you feeling bittersweet and slightly emotional, yet a little slightly unsatisfied.

Movie Rating:

(An easygoing film with unexpected deep themes, but with a slight lack of proper conclusion and direction. You might want to consider this for the weekday instead)

Review by Ron Tan

Genre: Animation
Director: Hayao Miyazaki
Cast: Soma Santoki, Masaki Suda, Aimyon, Yoshino Kimura, Shōhei Hino, Ko Shibasaki, Takuya Kimura
Runtime: 2 hrs 4 mins
Rating: PG13 (Some Disturbing Scenes)
Released By: Encore Films and Golden Village Pictures
Official Website:

Opening Day: 30 November 2023

Synopsis: After the disappearance of his mother in a fire, Mahito, an 11-year-old boy, has to leave Tokyo to live in the countryside in his mother’s hometown. They move with his father into an old mansion on a large estate where he meets a grey heron who progressively becomes his guide and helps him through his discoveries and questions to understand the world around him and unravel the mysteries of life. 

Movie Review:

Every time a Studio Ghibli animated feature film directed by Hayao Miyazaki is released, one wishes that the filmmaker wouldn’t retire. But it is inevitable that the 82 year old co founder of Studio Ghibli will eventually exit the industry one day. Fans all over the world were dismayed after Miyazaki announced his retirement from feature films after the release of The Wind Rises (2013), but heaved a sigh of relief when this decision was reversed when it was reported that he would be writing and directing his 12th feature.

And so here it is, the long waited movie that we have been waiting for. The international title suggests that the story is about the friendship between a boy and a heron, but the Japanese title “How Do You Live?” actually means much more, taking reference from the 1937 novel of the same name by Genzaburō Yoshino.

However, the plot is not adapted from the novel and is an original story. The less one knows about the film before watching it, the better. This is because like most Miyazaki films, there is much to explore and discover as you sit in the theatre, enjoying the visuals on the big screen. Without saying too much, this fantasy film follows the journey of a young boy who has just lost his mother. As he chances upon an abandoned tower in the countryside, a series of unexpected events take place. Besides the titular talking heron, there are also parakeets, pelicans and adorable floating spirits. It’s all very magical indeed.

Viewers can expect weird and wonderful things to happen during the 124 minute film. Going into details in a written review wouldn’t do the masters behind this highly recommended animated feature. The traditional hand drawn style of animation is much missed in this day and age where CG animation is probably more efficient to produce. The signature Studio Ghibli style is lovingly felt in this movie, as characters travel between different realms and the wide eyed wonderment from the protagonist reflects the similar sentiments from the viewers. Miyazaki’s long time collaborator Joe Hisaishi also spoils viewers with a thoughtful, reflective and sometimes melancholic score for the film.

We are also thankful that we got to watch the film in its original Japanese soundtrack which features a voice cast that includes Soma Santoki, Masaki Suda, Aimyon, Yoshino Kimura and Takuya Kimura. Although the international version showcases a star studded lineup with big names like Robert Pattinson, Christian Bale, Mark Hamill, Gemma Chan and Florence Pugh, it is just different watching a Miyazaki film with dubbed dialogues.

Technical excellence aside, this film explores some profound themes. The movie is supposedly semi autobiographical, and is based on Miyazaki’s evacuation from the city to the countryside during the war. Viewers experience loss, grief, emptiness, awe, joy, acceptance and closure at different junctures of the story, and there is never a dull moment. As the film ends on a quietly poignant note, one wonders what the world will be like without Miyazaki’s masterful storytelling and creativity.

Movie Rating:

(You'll be in awe with Hayao Miyazaki's masterful storytelling in this reflective film that is a perfect swan song for the celebrated filmmaker)

Review by John Li

Genre: Action/War
Director: Ridley Scott
Cast: Joaquin Phoenix, Vanessa Kirby, Ben Miles, Tahar Rahim, Ludivine Sagnier, Ian McNeice 
Runtime: 2 hrs 38 mins
Rating: M18 (Sexual Scenes & Violence)
Released By: 
Official Website: 

Opening Day: 23 December 2023

Synopsis: "Napoleon" is a spectacle-filled action epic that details the checkered rise and fall of the iconic French Emperor Napoleon Bonaparte, played by Oscar winner Joaquin Phoenix. Against a stunning backdrop of large-scale filmmaking orchestrated by legendary director Ridley Scott, the film captures Bonaparte's relentless journey to power through the prism of his addictive, volatile relationship with his one true love, Josephine, showcasing his visionary military and political tactics against some of the most dynamic practical battle sequences ever filmed.

Movie Review:

How do you tell the tale of the legendary military leader and French emperor Napoleon Bonaporte in a feature film? That is the very fundamental challenge confronting Sir Ridley Scott, who despite his best efforts, stumbles at wrangling a coherent, let alone compelling, portrait of his subject within two and a half hours. Sure, it has the sweep and swagger of Scott’s historical epics (think ‘Gladiator’ or ‘Kingdom of Heaven’), but anyone hoping for a better understanding of what drove him or what he was really like will likely be disappointed.

Notwithstanding the intertitles establishing Napoleon as a Corsican gunner when we first meet him, as well as to mark the pivotal battles of his storied legacy, you’d do well to at least have a basic understanding of his fortunes and fates. That includes the Siege of Toulon, his defeat of the royalist insurrection at Tuileries Palace (a la ‘13 Vendémiaire), his Egyptian expedition, the coup d’etat he engineered that led to his appointment as first consul, his coronation as emperor, the Battle of Austerlitz, the invasion of Russia, the wars of the Sixth and Seventh Coalition, and last but not least his exile to St Helena where he died at the age of 51.

It is a lot of ground to cover (pun not intended), which probably explains why there is a four-hour cut that will be streamed on AppleTV+ sometime next year; as this theatrical cut stands though, there is too little said and too much left unexplained, especially in the last act. Oh yes, the events leading up to Napoleon’s invasion of Russia are given short shrift, so too the Battle at Borodino that led to the occupation of Moscow and the subsequent deteoriation of the Grande Armee; the same can also be said of Napoleon’s return to Paris during the Congress of Vienna, and the culmination of the war that led to the Battle at Waterloo.

Priority has obviously been given to his battles to justify the big-screen experience, and to his credit, Scott stages each of these with pomp and pageantry. Balancing between the intimate and the expansive, Scott pays faultless attention to strategic detail and loss to both human and equine life. The carnage is as well-choreographed as you have ever seen from Scott, though we wish that Scott had paused from time to time to also illuminate Napoleon’s military genius, and in particular his battlefield strategy which has been studied by many generations of historians for both its brilliance and follies.

The need to trim to a theatrically friendly runtime also diminishes the emotional heft of the relationship between Napoleon and Josephine (Vanessa Kirby), which was intended as the backbone of the story. Despite a first hour meticulously building up the cockeyed romance between them, the next hour and so hardly does the complexities of their marriage and subsequent dissolution justice; in particular, we wish that the movie had given greater poignancy to how Napoleon had decided to annul their marriage after it was clear Josephine would not be able to bear him a heir, as well as how he had continued to love her even after marrying Marie Louise of Austria.

Much has been said of Phoenix’s portrayal of Napoleon, but it would do well to first recognise that Scott’s intention is to expose the hollowness of his subject’s lust for power, and in fact to treat this Corsican outsider’s ascent into the upper echelons of French politics as a spectacularly bad joke. It is why he has Phoenix throw out such lines as ‘destiny has brought me to this lamb chop!’ when Napoleon is accused by Josephine of being fat, or whine to the English ‘you think you’re so great just because you have boats’ when negotiating with them. Oh yes, Scott intends to puncture his subject’s mystique, and in this respect, his casting of Phoenix is entirely intentional to turn Napoleon into a subject of his own absurdist comedy.

We can’t say if we would have enjoyed it more if Scott had chosen someone like Russell Crowe to play the role with the right commanding temperament, but to what Scott had intended to accomplish, we can say that Phoenix’s sly, intentionally self-absorbed portrayal is funny and well-played. Thankfully, Kirby too is in on the joke, casting a mesmerising spell as the glittering-eyed widow who is all too familiar with the sadomasochistic desire and overweening ego which Napoleon embodies. Theirs is a perfect one-two complement, not in the way that some would have expected certainly, but definitely in what Scott had intended.

To Scott’s credit therefore, ‘Napoleon’ isn’t intended as a hagiography of its subject, but a deconstruction of his intense desire for dominion, conquest and a permanent place in history, whether on the battlefield or in the bedroom. Yet that vision is somewhat lost amidst both narrative and storytelling disjoints in this condensed theatrical edit, which emphasises spectacle over both character- and world-building. It is certainly still a fine piece of filmmaking as a grim and grimy sword-and-scandals epic, but there is little more you will learn or take away about the man (or for that matter, woman) at its centre.

Movie Rating:

(Ridley Scott’s eye for spectacle is just as breath-taking, but in all other respects, this biography lacks a coherent and compelling portrait of the man at its centre)

Review by Gabriel Chong

Genre: Fantasy/Comics
Director: James Wan
Cast: Jason Momoa, Patrick Wilson, Amber Heard, Yahya Abdul-Mateen II, Nicole Kidman, Dolph Lundgren, Randall Park
Runtime: 2 hrs 4 mins
Rating: PG13 (Some Violence)
Released By: Warner Bros
Official Website: https://www.aquaman.com.sg

Opening Day: 20 December 2023

Synopsis: Having failed to defeat Aquaman the first time, Black Manta, still driven by the need to avenge his father’s death, will stop at nothing to take Aquaman down once and for all. This time Black Manta is more formidable than ever before, wielding the power of the mythic Black Trident, which unleashes an ancient and malevolent force. To defeat him, Aquaman will turn to his imprisoned brother Orm, the former King of Atlantis, to forge an unlikely alliance. Together, they must set aside their differences in order to protect their kingdom and save Aquaman’s family, and the world, from irreversible destruction.

Movie Review:

How do we even start talking about the DC Extended Universe? The grand plans to bring together various DC Comics superheroes have met several roadblocks along the way, and the biggest surprise came in 2022 with the restructuring of DC Studios and the appointment of James Gunn and Peter Safran. It was announced that this sequel to James Wan’s Aquaman (2018) will conclude the universe on 22 December 2023, and a reboot of the franchise will follow. This piece of news definitely hurt the box office of several titles like Black Adam (2022), Shazam! Fury of the Gods (2023), The Flash (2023) and Blue Beetle (2023). It feels like a business venture gone wrong.

But let it be known that Wan’s superhero flick that introduced Jason Momoa as Aquaman to audiences worldwide is the highest grossing DCEU movie, the highest grossing film based on a DC Comics character and the 20th highest grossing film of all time. Maybe this is a comforting sign for the sequel that will end an era.

Wan returns together with the ensemble cast as Momoa’s Arthur Curry aka Aquaman adjusts to life as the King of Atlantis. The responsibilities don’t stop at having boring (but important) political meetings and battling sea monsters – the half Atlantean and half human is now a father, which means he has to spend time taking care of a baby. Trouble arises when David Kane aka Black Manta (Yahya Abdul-Mateen II) returns and is hell bent on seeking revenge on Arthur. And presto, the world is in danger and it is up to Aquaman to save the day with other returning characters like Orm Marius (Patrick Wilson), Mera (Amber Heard), Atlanna (Nicole Kidman) and Nereus (Dolph Lundgren).

If you remember, Arthur killed David’s father in the first movie. But does that really matter? Not really, because this 124 minute does not require you to focus too much on backstories and connected universes. It almost feels like Wan’s focus is making sure everyone has fun making the movie.

There’s Momoa just being himself, and the result is a DC superhero oozing with gruff charisma – you’d want to have beer with the man at a bar. This time, the movie pairs him up with Wilson’s uptight Orm (you just need to know that Orm is Aquaman’s brother who was a defeated antagonist in the first movie) and the two men go on what feels like a buddy adventure, complete with bickering and bantering along the way.

Abdul-Mateen’s on screen presence as the bad guy works, and the cold stare in his eyes makes you believe he is out for world destruction. There’s also Randall Park’s Dr Stephen Shin, who finds himself in a tight situation in this movie. The rest of the cast don’t have much to do, but they look happy just to go along for the ride. Given the negative surrounding Heard, we are surprised with the amount of screen time she has.

Above all, the movie is a CGI fest for Wan to create wondrous underwater worlds with outrageously colourful creatures. There is much to feast your eyes on (especially if you are watching this on an IMAX screen), and you would forget the fact that this movie is part of a media franchise that has faced one struggle after another. 

Movie Rating:

(Disregard the DCEU's troubled history and enjoy this fun and stress-free superhero flick that banks on Jason Momoa and Patrick Wilson's chemistry)

Review by John Li

Genre: Drama
Director: Kelvin Tong
Cast: Peter Yu, Tan Tiow Im, Mandy Chen, Naomi Yeo
Runtime: 1 hr 28 mins
Rating: PG
Released By: mm2 Entertainment
Official Website:

Opening Day: 7 December 2023

Synopsis: Set in Singapore in 1979, A Year Of No Significance chronicles the gradual disintegration of a middle-aged architect as changes rock the 45th year of his life. Sidelined in the office because of his inability to speak English, Lim Cheng Soon is cut further adrift when his wife leaves him inexplicably one day. His elderly father moves in, forcing him to confront the fact that the former has always preferred his younger brother. Robbed of his identities as architect, husband and son, Cheng Soon struggles in the dusk of his life, raging against the dying light.

Movie Review:

Local filmmaker Kelvin Tong has two films released this year. The first was Confinement, a psychological thriller about the horror experienced by a pregnant woman in a big, scary house. The movie received extensive media coverage, especially with its leading lady Rebecca Lim being pregnant in real life. Tong’s other offering is a less commercial film, and the serious drama may not be as widely publicised.

But this is the one that it worth your time, thanks to a heavy handed story that takes viewers back to Singapore in 1979. You can also trust Tong and his team to recreate Singapore’s past with sights and sounds that some of us may remember. By shooting the film in Malaysia. This was a time when people who were Chinese educated faced a very challenging situation while the nation seemingly favoured those who spoke English. For most of us, this is a situation we may not be able to relate to, because it seems almost natural that we can effortlessly communicate in English to get on with our daily lives.

This is obviously not the case for the film’s protagonist Lim Cheng Soon, a middle aged man who has absolutely nothing to be happy about in his life. Despite his architecture background, he is sidelined in his office where younger English speaking colleagues are getting the opportunities to go for external meetings to present proposals. His days are spent in a construction site making sure that everything is in order, and also in office churning out English reports by painfully referring to the dictionary.

Things aren’t going well at home for Cheng Soon as well. His wife leaves him, while his father favours his younger brother who is educated in English and has a happy family. The situation gets ugly when Cheng Soon’s brother is caught having an affair, and their father assures the younger son that Cheng Soon will help him.

No wonder Cheng Soon is sullen throughout the 88 minute film.

The character is played by the very hardworking Peter Yu (the actor has five movies at this year’s Singapore International Film Festival), and this is a performance that we hope he will get more recognition for. With his dark rimmed glasses, Yu’s Cheng Soon drifts from one location to another, struggling to keep afloat while life treats him unfairly. He does not seem to have any friends – he eats alone in his car, and he lives alone in a drab apartment.

When his father moves in due to ill health, Cheng Soon has an added responsibility as the eldest son in the family to take care of the grumpy old man. But he does it quietly and takes in the unkind comments. You wonder whether this will lead towards an explosive moment when Cheng Soon finally lets it all out and all hell breaks loose. You fear the dire consequences, but you also care about the poor man’s sanity.

The supporting cast includes Tan Tiow Im as Cheng Soon’s stubborn father and Johnson Choo as his luckier younger brother. But the spotlight is definitely on Yu, who effortlessly shows the pain and struggles the character is going through in an environment that is leaving individuals like him behind in the name of progress. 

Movie Rating:

(This moody drama may not offer any glimpse of hope, but it is a worthy watch, thanks to Kelvin Tong's sure-handed direction and Peter Yu's engrossing performance)

Review by John Li