SYNOPSIS: Academy Award winning filmmaker Emerald Fennell (Promising Young Woman) brings us a beautifully wicked tale of privilege and desire. Struggling to find his place at Oxford University, student Oliver Quick (Barry Keoghan) finds himself drawn into the world of the charming and aristocratic Felix Catton (Jacob Elordi), who invites him to Saltburn, his eccentric family’s sprawling estate, for a summer never to be forgotten. 

MOVIE REVIEW:

Saltburn is one of the most talked-about movies in 2023 likely because of its various provocative scenes involving kinky sex and nudity.

Directed and written by Academy Award winner Emerald Fennell (Young Promising Woman), the supposedly drama or dark comedy tells the story of Oliver Quick (Barry Keoghan), a nerdy scholarship student who struggles to fit into the upper class of University of Oxford. Soon he befriends the popular, handsome and rich Felix Catton (Jacob Elordi) and the latter invites him to stay at his family’s huge castle, Saltburn.

There Oliver gets to know Felix’s eccentric parents, Sir James (Richard E. Grant) and Lady Elspeth (Rosamund Pike), her sister Venetia (Alison Oliver) and their cousin, Farleigh (Archie Madekwe) who happens to be their classmate as well.

What seems to be an ordinary story of social class, the rich and their zany eccentric ways soon turn into a nasty, dark attempt by Oliver’s sinister means and moral depravity to “take control” of the Cattons and Saltburn.

Takeaway all the controversies, Saltburn reminds one of The Talented Mr. Ripley (1999) which in turn was adapted from a Patricia Highsmith novel. While Matt Damon was pretty boyish, innocent looking at that time, Keoghan simply has that shifty feel despite a likeable presence. Thus it’s not a surprise when things start to go south as jealousy and envy starts to seep into the character of Oliver.

Indeed, Oliver Quick is not a conman as compared to Tom Ripley but nevertheless, he is equally brutal in his methods. He is probably queer, incredibly brilliant, disturbed and Barry Keoghan puts on a stunning performance as a sly as fox, working class character.

Perhaps Fennell’s intention is to drive a satirical story about all the absurdness of the wealthy elites, there’s nothing rich or profound in the end product. Thanks to the amazing Richard E. Grant and Pike, there’s a standout scene whereby the main characters gather together for lunch pretending everything is normal despite the death of a main character in the maze garden. It’s a wickedly tragic yet funny scene and you wish there were more of these happening in Saltburn instead of watching Oliver’s slurping Felix’s bathwater.

The cinematography by Linus Sangren is certainly gorgeous even though you might questioned the narrative. All in all, Saltburn is a fascinating watch, genuinely entertaining, lurid at times and never boring. Just don’t expect it to be a masterpiece.

MOVIE RATING:

Review by Linus Tee

Genre: Drama/Romance
Director: Michihito Fujii
Cast: Greg Hsu, Kaya Kiyohara, Joseph Chang, Shunsuke Michieda, Haru Kuroki, Yutaka Matsushige, Hitomi Kuroki
Runtime: 2 hr 4 mins
Rating: PG
Released By: Golden Village Pictures
Official Website: 

Opening Day: 10 April 2024

Synopsis: The story centres on Jimmy (Hsu), a young man in Taiwan who meets Ami (Kiyohara), a backpacker from Japan, and the two grow close during a summer working together. But as Jimmy struggles to commit to the relationship, Ami returns home. Some 18 years later, he makes the journey to Japan in a bid to see his first love again, recalling memories of those days and meeting a variety of people on his trip.

Movie Review:

From its main leads to the various picturesque backdrops, this romance drama is a very pretty movie to look at. As this reviewer witnessed the male protagonist travelling through Japan and reliving his past through flashbacks, he wished that he had a love story as bittersweet as this – until he remembered that he looks nothing like Greg Hsu.

Hsu, who is currently one of Taiwan’s most popular actors, has made hearts flutter with his roles in TV series like Someday or One Day (2019 – 2020) and movies like My Love (2021) and Marry My Dead Body (2023). The 33 year old actor has been blessed with good looks, and this is probably one huge advantage in his career. His past roles have charmed countless viewers, and his latest performance is likely to have the same effect.

Hsu plays a man named Jimmy in this movie directed by Michihito Fujii. When we first see him, he looks like someone who has achieved quite a lot in his career. He loses his cool in his office, and the next thing we know, he is embarking on a journey to Japan, complete with a backpack. It looks like one of those long soul searching trips where you will find your inner peace. In this writer’s opinion, this is something done by people who are relatively well to do and have no other obligations. But we’re watching a movie, so let’s just go along for the ride.

As the movie progresses, we get glimpses into Jimmy’s past. He was a slacker who loved playing video games and watching anime. He held a part time job in a rundown karaoke joint where he got to meet Ami, a backpacker from Japan who was travelling through Taiwan. Of course, the female protagonist has to be played by someone sweet and endearing, and the actress given this duty is Kaya Kiyohara. While we may not be familiar with her, she was the lead of One Second Ahead, One Second Behind (2023), the Japanese remake of Taiwan’s My Missing Valentine (2020).

And expectedly, Jimmy and Ami grew close to each other. There are pleasant sequences where you see the two hang out in a cinema happily, and the one that stands out sees the couple heading to a retro theatre to watch Shunji Iwai’s Love Letter (1995). There's also one encounter where the two head to Taiwan's Shifen to release sky lanterns. It’s all very lovey dovey, we all know there something isn’t right. Jimmy wanted to express his feelings to Ami, but overheard her having what seemed like an argument over the phone. Was that the boyfriend back in Japan whom she had mentioned before? Of course, Ami eventually left Taiwan, but why did she tell Jimmy to realise his dreams before they can meet again? You kinda know where this story is headed.

Throughout the flashbacks, we are also occasionally brought back to the present where Jimmy meets other travellers, including one played by Joseph Chang. The scenes that depict the present are so picture perfect (especially the ones shot in a snowy landscape), the Japanese tourism board should consider using them to attract tourists.

There is nothing extraordinary about the storytelling or acting in this 124 minute movie, but it does do a decent job of making you reminisce about the past if there were any notable episodes with your loved ones. And also, if life allows you to take a break from the daily hustle and bustle, the movie may inspire you to take a trip to find yourself.

Movie Rating:

(A postcard-perfect movie that features good-looking leads and picturesque landscapes) 

Review by John Li

SYNOPSIS: In this adrenaline-fueled reimagining of the 80s cult classic, ex-UFC fighter Dalton (Jake Gyllenhaal) takes a job as a bouncer at a Florida Keys roadhouse, only to discover that this paradise is not all it seems. 

MOVIE REVIEW:

This remake of the 1989’s Patrick Swayze starrer was mired with a series of controversies even before its release on Amazon Prime. Google it if you have the time. Despite the complications, it’s a simplistic action vehicle made for action fans and the masses.

After starring as a ripped boxer in Southpaw, Jake Gyllenhaal returns with his abs portraying a former UFC fighter, Elwood Dalton who is being hired by the owner of a roadhouse in Florida Keys as a bouncer to rid the place of troublemakers.

While taking out a local goon named Dell and his followers, Dalton finds time to romance a doctor (Daniela Melchoir) and also incur the wrath of a powerful mafia boss, Ben Brandt (Billy Magnussen) who has plans to turn the land in which the roadhouse resides on into a massive casino resort.

Doug Liman who never receive enough credit for starting the ultra-successful Bourne Identity franchise helmed this remake. And while Liman has his fair share of onscreen hits and misses fortunately knows how not to take the material too seriously as Road House (2024) delivers with a good balance of cartoonish violence and masculine energy, a hallmark of 80’s action movies.

Gyllenhaal is absolutely dashing as the cool as cucumber Dalton. He is the “sifu” to the younger bouncers. He is a drifter or mercenary with a heart of gold. And yes he has a tragic, dark past and a penchant to turn violent and aggressive but Road House doesn’t reserved enough screen time to indulge viewers on that.

Speaking about violent and aggressiveness, real-life UFC fighter Conor McGregor making his official movie debut here as a hired fighter, Knox. Knox is an outrageous, colourful character and we wonder if McGregor is really acting or that is his usual trash-talking persona on the screen which actually requires little to no acting skill.

There are plenty of fight and hand-to-hand combat sequences littered throughout, some imitating but mostly undermined by quick, flashy cuts and shaky cam. Even the CGI involving a truck collision and the finale chase involving speedboats look questionable on TV let alone on the big screen.

Despite the obvious flaws and an excessive runtime of slightly over two hours, Road House (2024) is that kind of loud, undeniable testosterone-filled action movie that is best watched with a group of male buddies and a bucket of cold beer. Mild, forgettable and definitely won’t leave you with a hangover.

MOVIE RATING:

Review by Linus Tee

Genre: Action/Thriller
Director: Alex Garland
Cast: Kirsten Dunst, Wagner Moura, Cailee Spaeny, Stephen McKinley Henderson, Sonoya Mizuno, Nick Offerman
Runtime: 1 hr 49 mins
Rating: NC16 (Coarse Language and Violence)
Released By: Shaw Organisation
Official Website: 

Opening Day: 10 April 2024

Synopsis: An adrenaline-fueled thrill ride through a near-future fractured America balanced on the razor’s edge.

Movie Review:

The national flag of the United States we are familiar with has 50 stars, representing the 50 US states. But the American flag we see in this dystopian movie only has two stars. It is a jarring sight, and this poignantly sets the premise of this movie that may be more heart pounding than any other action flick you’ll see this year.

Directed and written by Alex Garland (Ex Machina, Annihilation), we are introduced to a United States that is engulfed by an ugly civil war. The country is under the dictatorship of its President (Nick Offerman), whom we see practising his lines for a public broadcast when the movie first starts.

Enter a veteran photojournalist Lee Smith (Kirsten Dunst) and her journalist colleague Joel (Wagner Moura), who plan to drive across the country to Washington in their press vehicle to interview the President before the rebel troops make their advance into the capital. They are joined by a young photographer Jessie (Cailee Spaeny), as well as Lee and Joel’s senior mentor Sammy (Stephen McKinley Henderson).

It sounds like a road trip filled with drama and action, especially with Lee disapproving of Jessie’s presence. Maybe the hardened photojournalist thinks that the rookie isn’t ready for the cruelties of war, or perhaps she is just looking out for a fellow human being. The dynamics between the two female characters are handled sensitively by Garland, and it doesn’t feel like an obligatory part of the story. Lee and Jessie progressively build a bond that’s believably earnest.

Garland, who explored other agonisingly relevant themes as a writer in thrillers like The Beach (2000) and 28 Days Later (2002), has painted a terrifying picture in his latest work. With an efficient runtime of 109 minutes, the movie demands you to be on the ball like its protagonists as they stop at different locations along their journey. What they experience are shocking, bloody and even terrifying. The movie makes you feel like you are dodging bullets with the characters as they are put right smack in the middle of the action with ear deafening explosions and gun shots. Watching it on an IMAX screen will definitely enhance the experience.

Seeing the protagonists in action makes you think about the role of war photographers and journalists. Are their roles limited to documenting the war amidst the casualties and fatalities? What does it take to capture a moment before a solider gets shot in the head, and what does it cost to write an article detailing the horror of war? These unsettling questions are not new, and Garland’s movie makes you look at the chaos and terror close up, while you formulate your own opinions.

The finale of the movie sees the characters making it to the White House, and the sequence is surrealistically intense. Viewers with high blood pressure may want to get yourselves mentally prepared for the pulsating climax.

The American Civil War took place over four years from 1861 to 1865. Is the movie foreshadowing what the world will be forced to face in the near future? It is a shuddering yet important thought, as we continue to grapple with the realities happening outside the cinema.

Movie Rating:

(Alex Garland's brutally unsettling dystopian thriller puts you right smack in the middle of the war action, and leaves you pondering about some really bleak issues)

Review by John Li

Genre: Action/Thriller
Director: Dev Patel
Cast: Dev Patel, Sharlto Copley, Pitobash, Vipin Sharma, Sikandar Kher, Sobhita Dhulipala, Ashwini Kalsekar, Adithi Kalkunte, Makarand Deshpande
Runtime: 2 hrs 1 min
Rating: R21 (Sexual Scenes and Violence)
Released By: UIP
Official Website: 

Opening Day: 4 April 2024

Synopsis: Oscar ®  nominee Dev Patel (Lion, Slumdog Millionaire) achieves an astonishing, tour-de- force feature directing debut with an action thriller about one man’s quest for vengeance against the corrupt leaders who murdered his mother and continue to systemically victimize the poor and powerless. Inspired by the legend of Hanuman, an icon embodying strength and courage, Monkey Man stars Patel as Kid, an anonymous young man who ekes out a meager living in an underground fight club where, night after night, wearing a gorilla mask, he is beaten bloody by more popular fighters for cash. After years of suppressed rage, Kid discovers a way to infiltrate the enclave of the city’s sinister elite. As his childhood trauma boils over, his mysteriously scarred hands unleash an explosive campaign of retribution to settle the score with the men who took everything from him.

Movie Review:

Dev Patel is no longer the scrawny and optimistic Jamal Malik we know from Danny Boyle’s Slumdog Millionaire (2008). The breakthrough role for Patel was one that allowed his character to be compassionate and driven by love, despite being born in the slums of Mumbai. Fast forward almost 15 years later, the British actor is helming his directorial debut, and taking on the lead role as a young man filled with rage and revenge. You won’t want to mess around with this guy.

Simply known as Kid, the protagonist of this movie is giving John Wick a good run for his money. After a short introduction about the Hindu monkey god Hanuman told by a mother to her child, we are introduced to Kid, who earns his keep by pulling punches in illegal fight club. He wears a monkey mask and things understandably get very bloody. But this is just the beginning with the kind of violence you will be experiencing in this 121 minute action drama.

After a ingeniously edited pickpocketing sequence, we see Kid getting a job in a big company  a kitchen assistant. This establishment is into shady dealings like providing drugs and prostitutes to rich people, so you know things are going to turn ugly. Soon, we understand why Kid wants to get himself employed at the company, and see him executing a revenge plan which, of course, involves more violence and blood. Things are only going to get bonkier from here.

After Kid gets seriously hurt in a brawl, there is a substantial segment of the movie dedicated to his healing experience in a temple managed by a community of hijra, a group of transgender people who, in South Asian context, face social stigma and discrimination due to their gender identity. This portion of the movie allows you to catch your breath, and there is a standout sequence where Kid trains with a sack of rice while the hijra cheer him on. And there is also a weird but somewhat enlightening scene with Patel tears his singlet, his chest rips open, and we as viewers are guided by a flash of bright light into his body where we learn about his painful past. The unique approach of featuring a flashback will make you sit up and pay full attention.

After starring in heartwarming comedies like The Best Exotic Marigold Hotel (2011) and its 2015 sequel, serious dramas like Lion (2016) and Hotel Mumbai (2018), as well as the artistically ambitious The Green Knight (2021), Patel has proven that he can be a brooding action hero as well. While he isn’t buff and doesn’t have the build of your usual Hollywood action movie star, Patel has a lean figure and impresses with his nimbleness and agility. Watching him fight off the antagonists in various locations like a kitchen, a tight corridor, a brothel and a lavish dining event hall makes you want cheer the man on, although you can only imagine the pain and injuries sustained from all those punches and kicks. Oh, objects are freely used to pierce through human skin too, so get your stomach ready for that.

Movie Rating:

(Dev Patel directs and stars in this gutsy action flick, and he oozes charisma as a brooding and rage-filled protagonist) 

Review by John Li

Genre: Horror/Thriller
Director: Jeff Wadlow
Cast: DeWanda Wise, Tom Payne, Taegan Burns, Pyper Braun, Veronica Falcon, Betty Buckley
Runtime: 1 hr 44 mins
Rating: PG13 (Horror and Some Drug References)
Released By: Encore Films
Official Website: 

Opening Day: 28 March 2024

Synopsis:  When Jessica (DeWanda Wise) moves back into her childhood home with her family, her youngest stepdaughter Alice (Pyper Braun) develops an eerie attachment to a stuffed bear named Chauncey she finds in the basement. Alice starts playing games with Chauncey that begin playful and become increasingly sinister. As Alice’s behavior becomes more and more concerning, Jessica intervenes only to realize Chauncey is much more than the stuffed toy bear she believed him to be. 

Movie Review:

Given Blumhouse’s extraordinary box-office records in 2023 especially with the success of M3gan, the artificial intelligence doll and creepy animatronic mascots that come to live in Five Nights At Freddy’s, Blumhouse looks set to ignite our imagination with yet another creepy horror pic for the new year. Unfortunately, Imaginary for a lack of better word is purely unimaginative and totally déjà vu.

The first quarter of the movie introduces us to Jessica (DeWanda Wise from Jurassic World Dominion), a children’s book author and stepmother to teenager Taylor (Taegen Burns) and younger sister Alice (Pyper Braun). Their whole family has just shifted into Jessica’s childhood home and before long, Jessica’s musician husband Max (Tom Payne) left for tour and we laughingly never sees him again. Meanwhile, Alice befriends a teddy bear in the basement named Chauncey (sounds like an expensive champagne but it’s not) and becomes attached to him.

Expectedly creepy, nasty things happened and it has something to do with a young Jessica and her dad who has somehow went mad. There’s also a mysterious old woman named Gloria (Betty Buckley) who conveniently happens to be Jessica’s former babysitter and of course she knows things. There’s the girl’s mentally-ill mother and Taylor’s dorky boyfriend appearing briefly for one scene respectively. Both characters sadly contributing nothing significant to the end product. Lastly, there’s a Never Ever world realm that reminisces of a cross between Insidious and Labyrinth.

Apparently there are none to too little shock value that are deemed worthy to a seasoned horror fan. We can honestly declare the first hour is quite a drag consider there’s a whole lot of talk among the characters than anything shocking or terrifying being displayed on the screen. Ok fine, there’s a handful of mild jump scares littered throughout that are poorly staged just to be clear.

Doing a movie about a possessed imaginary friend seems like a good idea for a horror movie. I mean most of us have an imaginary friend when we were young. However, director and co-writer Jeff Wadlow (Fantasy Island, Truth or Dare) has trouble conceiving one that convincingly link up elements liked repressed memories, possessed spirit, creepy illustrations and alternative haunted dimension into one coherent entertaining horror.

While we applaud Wadlow’s enthusiasm in showcasing physical effects, the creature which resembles a eight-legged monstrous bear ended up looking like a cheap Blumhouse prop. Honestly, the CGI rendered bear in Cocaine Bear is far more gory and scarier than this mishap.

Indeed, DeWanda Wise and the two young actresses did their best mouthing dreadful dialogue and screaming their lungs out while confronting the evil creature but all their efforts are wasted in this uninspired and weak horror outing.

Movie Rating:

(Another month, another “unimaginative” Blumhouse horror. You won’t miss much if you plan to skip this)

Review by Linus Tee

Genre: Drama
Director: Zhang Yimou
Cast: Lei Jiayin, Ma Li, Zhang Yi, Zhao Liying, Liu Yaowen, Gao Ye
Runtime: 2 hrs 21 mins
Rating: PG13 (Some Violence & Disturbing Scenes)
Released By: Golden Village Pictures
Official Website: 

Opening Day: 4 April 2024

Synopsis: In a year where every challenge seems insurmountable, Han Ming’s story unfolds. Han Ming (Lei Jiayin) is a seconded prosecutor whose life is a whirlwind of complications following his transfer to the municipal prosecutor’s office. His son, Han Yuchen (Liu Yaowen), ignites a firestorm by clashing with dean’s (Zhang Yi) son and adamantly refuses to apologise. His wife, Li Maojuan (Ma Li), fiercely intervenes, further escalating the situation. At work, Han Ming navigates a minefield of professional challenges, especially his strained partnership with Lv Ling Ling (Gao Ye) which results in deadlock in their cases. Amidst these chaos, the desperate plight of Hao Xiuping (Zhao Liying) in a critical case confronts Han Ming with the harsh realities of legal and emotional conflict. With his career and family hanging in the balance, Han Ming decides to gamble everything on his quest for justice and fairness in his own way…

Movie Review:

Chinese director Zhang Yimou is known for making films which boast breathtaking cinematography and rich colours. From his early works like Red Sorghum (1988) and Raise the Red Lantern (1991) to more recent titles like Shadow (2018) and One Second (2020), the accomplished filmmaker’s projects have been nothing short of stunning. Even this reviewer’s least favourite Zhang Yimou movie The Great Wall (2016) was a visual treat, only to be unfortunately marred by its white saviour narrative.

Zhang’s latest movie, which was released during the Lunar New Year period in China, may be the least visually arresting production of his career. Yet, it manages to captivate our hearts and succeeds in making us empathise with almost every character in this 141 minute movie that features a few storylines.

The protagonist is Han Ming (Lei Jianyin), a disillusioned prosecutor who is facing increasing pressure at home and at work. His son had injured the school bully, and the kid’s father (who happens to be the school dean) is demanding for an apology after making a police report. Han Ming’s wife (Ma Ling) does not agree, and instead questions the system which seems to be siding the oppressor.

Elsewhere, there is an ongoing case where a man is accused of murdering a local loan shark who raped his deaf mute wife. The dead man’s father and other unruly village gangsters are not pleased and try to take things into their own hands. Han Ming is put in charge of the case after his work partner (and gasp, former girlfriend) Ling Ling (Gao Ye) becomes too vocal for the bosses’ comfort. Given the complex circumstances of the case, it is no wonder Han Ming is beginning to feel the strain. Oh, and he has a back problem that won’t go away too, adding to the pain the poor man has endure.

While the plot has all the potential to make the movie a serious drama, trust the filmmakers to incorporate some of the best comedic moments we’ve ever seen. Thanks to Lei and Ma’s perfect on screen chemistry, there is never a boring moment when they bicker through all of life’s big and small matters. Watching their fiery yet somewhat heartwarming exchange reminds you what family is all about. We also chuckled at the meta moment where Han Ming sees a scene from Zhang’s Full River Red (2023) on a TV screen, where Lei’s Qin Hui was giving a speech.

This legal drama is based on various real life incidents, where justifiable self defense have landed people in trouble. The movie’s title refers to Article 20 of Criminal Law of the People's Republic of China which permits an individual to take action to prevent harm to themselves or others without facing punishment. The film is exploring a righteous theme, and Zhang knows exactly how to tug at our heartstrings through his storytelling. This is exemplified through another storyline which sees a bus driver beating up two bullies for harassing a female passenger. There is also the grand and rousing speech Han Ming delivers during the film’s finale, which cynics may find too idealistic.

Another highlight of this highly recommended movie is its star studded cast. Besides Lei and Ma, there are other faces you may have seen from other Chinese productions. Zhang Yi (Home Coming) shows up as the no nonsense dean, Fan Wei (My People, My Homeland) plays the inconsolable father of the murdered thug, Zhao Liying (The Monkey King 3) delivers a heartbreaking performance as the deaf mute woman who is seeking justice for her husband, while Wang Xiao (Endless Journey) portrays another prosecutor with a thankless job of maintaining order. The stellar cast will keep you engaged for more than two hours as you become emotionally involved in the unfolding human drama.

Movie Rating:

(Even without his signature stunning cinematography, Zhang Yimou's latest film is a rousing and heartfelt human drama that boasts an impressive stellar cast) 

Review by John Li

SYNOPSIS: In this adrenaline-fueled reimagining of the 80s cult classic, ex-UFC fighter Dalton (Jake Gyllenhaal) takes a job as a bouncer at a Florida Keys roadhouse, only to discover that this paradise is not all it seems. 

MOVIE REVIEW:

George Clooney loves to tackle either politics or history in his directorial movies. There are a few exceptions of course and this time, he dabbles again in a sports theme after the football comedy, Leatherheads (2008).

Based on a best-selling book by Daniel James Brown and adapted to the screen by Mark L. Smith (The Revenant, The Midnight Sky), The Boys in the Boat tells the story of a young Joe Rantz (Callum Turner from the Fantastic Beasts franchise) and how he made it to the varsity rowing team at the University of Washington.

Joe Rantz by the way is not a born sportsman or rower. He joined the team out of necessity and survival. His father has abandoned him when he was 14, he lives in a dilapidated car, has no money for food and has trouble paying for his tuition fees. At least food, lodging and money is provided if he qualifies for the team who basically needs only 8 rowers. Rantz managed to get into the team together with his friend, Roger Morris (Sam Strike) despite never touching an oar before.

On the other side of the spectrum, Coach Al UIbrickson (Joel Edgerton) and assistant coach Tom Bowles (James Wolk) has to make sure the Juniors are worthy of competing at the Poughkeepsie Regatta and the chance to compete in the 1936 Olympics in Berlin.

The Boys in the Boat is the classic, old-fashioned underdog sports drama that requires little from the audiences other than to root for Rantz and his teammates. Unfortunately even with a small team of eight rowers, most are not given the spotlight except the introverted yet talented Don Hume (Jack Mulhern) and the mischievous Bobby Moch (Luke Slattery). Turner has the most screen time as the troubled Rantz thus standing out as the most distinguishable, rounded character of all.

Australian actor Edgerton is solid as coach UIbrickson though he is not granted a more significant presence other than mouthing a few ham-fisted motivational speeches. English actor Peter Guinness plays a boat builder who turned up as sort of a spiritual guidance to Rantz.

Rather than a bombastic score to highlight the intensity of the races, the music composed by award-winning Alexandre Desplat has that jazzy, lightweight feel. The cinematography by Martin Ruhe is impressive. Juggling between the dynamics of the crew rowing and the backdrop of the story which is set in the Great Depression and also the Olympic Games which gamely featured a notorious historical figure, the splendid visuals can be far more enticing than the storytelling.

While not exactly a low effort by Clooney, the narrative doesn’t really allow the whole historical context to flow naturally. At times, it feels more like a fictional sports drama about fictional sports figures. Nevertheless, The Boys in the Boat is enjoyable and well-meaning for what it is.

MOVIE RATING:

Review by Linus Tee

Genre: Action/Crime
Director: Sam Wong Ming Sing
Cast: Nick Cheung, Patrick Tam, Niki Chow, Zhang Yishan, Liang Yong Qi, Michael Tong, Sammy Hung
Runtime: 1 hr 34 mins
Rating: PG13 (Some Violence & Disturbing Scenes)
Released By: Golden Village Pictures
Official Website: 

Opening Day: 18 April 2024

Synopsis: Guo Wenbin, a former policeman who suffers from hyperthymesia finds himself entangled in a twisted game orchestrated by a brilliant killer who challenged justice in a hypnotic murder case. The society is in a state of panic as the suspect advocated punishing criminals on behalf of the law, eliminating violence by bizarre means, and openly challenging the judiciary. With lives at stake and the public trust wavering, Guo's exceptional memory becomes the key to unravelling the complex scheme. At the moment of the final showdown, Guo faces a hypnotic battle against his own inner darkness, a persona known as “Suspect Zero”, this is not just a fight against the killer, but also the darkest impulses within himself. Guo must resist the urge for vengeance, uphold the law, and expose the truth behind the murders and the hidden tragedy that fueled them. Ultimately, he must rely on his own strength to bring the true culprit to justice.

Movie Review:

With all due respect to Nick Cheung, ‘Suspect’ is downright atrocious. We’re not sure what exactly Cheung signed up for when he accepted the lead role in this serial killer thriller, but we’re quite sure seeing how little effort the award-winning actor puts into playing idiosyncratic detective Guo Wenbin that he probably realised on the set that it just wasn’t worth it.

The fault, we suspect, lies squarely with writer-director Wong Ming-sing, whose previous triad feature ‘Man on the Edge’ was similarly incoherent despite boasting a star-studded line-up. A former leading member of the Jackie Chan stunt team, Wong clearly overextends himself struggling to put together a story involving such weighty subjects as hyperthymesia, hypnosis and even multiple-personality syndrome.

Set in an unnamed city that looks like a clumsy cross between Hong Kong and some Southeast Asian capital, ‘Suspect’ has Cheung’s former policeman entangled in the crosshairs of a killer who appears to have supernatural powers. That killer is ostensibly the enigmatic beauty May Chou (Zhang Yishang), who turns herself in at the police station the night of the brutal murder of a South Asian male who happens to be the disgraced CEO of a PR company.

Subsequent murders follow despite May being held in custody, and Guo’s pursuits to try to stop these other killings lead him to suspect that there is more than meets the eye. That is however taken too literally by writer-director Wong, who not only has Guo being able to remember every single detail of a crime scene (owing to his hyperthymesia) but also do battle with various personas inside his brain for no rhyme or reason.

What could be a tight thriller therefore never ever coalesces into anything intriguing, no thanks to Wong’s kitchen-sink approach at throwing every single trick in the genre playbook into his eventually overstuffed yet underdeveloped movie. Indeed, it isn’t hard to guess that someone is manipulating May, or that the ultimate killer is a master of hypnosis, but the build-up to that reveal is non-existent, even while we get eccentric scenes of multiple Cheungs taunting one another.

That ‘Suspect’ was made on a shoestring budget – it was meant for the iQiyi streaming platform, after all – is patently obvious, but that is no excuse for how illogical and downright idiotic the plot is. We cannot even say that there was ambition on the screen, just perhaps not the budget to execute it; rather, this is unfortunately the case of a completely inept filmmaker who has bungled the execution from start to finish.

Is Cheung nonetheless watchable? Of course he is. But that doesn’t mean the movie is. ‘Suspect’ is one of the early contenders for the worst film of the year, which considering its cast of veterans like Cheung, Patrick Tam, Niki Chow and Michael Tong, should say enough about just how bad it is. We’re not sure what each of these actors think they owe Wong favours for, but they are doing absolutely no favours for their career or for their reputation being a part of such utter drivel.

Movie Rating:

(Not even Nick Cheung can save this film from being utter drivel, and a surefire contender for worst film of the year) 

Review by Gabriel Chong

Genre: Drama
Director: Daniel Yam
Cast: Julie Tan, Tosh Rock, Andie Chen, Aster Yeow, Shane Pow, Yang Shi Bin, Teo Ser Lee
Runtime: 1 hr 33 mins
Rating: NC16 (Some Drug Use and Disturbing Scene)
Released By: mm2 Entertainment
Official Website: 

Opening Day: 28 March 2024

Synopsis: Good Goodbye is an emotionally charged anthology film, interweaving three powerful narratives that revolve around the theme of palliative care. These stories explore profound themes such as love, resilience, and the art of letting go. In the first story, "The Last Kiss," the characters of Zheng and Cindy find love, healing, and closure in a world where compassion knows no bounds. They help patients fulfill their final wishes and say their goodbyes, ultimately discovering that love is the ultimate healer. In "The Last Joke," the characters of Betty and Tai showcase the resilience of the human spirit in the face of life's toughest decisions. Betty's dream to become a stand-up comedian becomes a symbol of hope and determination as she battles a life-altering illness. It's a poignant exploration of the sacrifices we make for our dreams and loved ones. Lastly, in "The Last Meal," the characters of Seng and Wei embark on a journey of redemption. Seng, a wise 70-year-old, aims to save his grandson, Wei, from addiction by teaching him to cook fried rice. Their story is a testament to the enduring strength of family bonds and the hope of breaking free from the chains of addiction. "Good Goodbye" carries a message that transcends the limitations of time and illness, emphasising the significance of love, the pursuit of dreams, and the beauty of letting go. Each character's journey resonates with viewers, inspiring them to find meaning and hope in the face of life's most challenging moments. 

Movie Review:

There have been movies about palliative care, and notable ones that come to mind include Alejandro Amenábar’s The Sea Inside (2004), Michael Haneke’s Amour (2012) and Lulu Wang’s The Farewell (2019). The first title was based on the real-life story of Ramón Sampedro, a Spanish quadriplegic who fought for his right to die with dignity. The second one shone the spotlight on a French elderly couple’s love and devotion in the face of a terminal illness. The third example sees a Chinese-American woman making a trip to China with her family to visit her terminally ill grandmother.

These finely made and critically acclaimed films probably made viewers sniff and tear quite a bit. How does local filmmaker Daniel Yam’s latest work compare with the abovementioned movies, which have explored the poignant complexities of palliative care, end of life decision making and the human experiences surrounding death and dying? We are happy to report that it is a sincere and admirable effort that brings across a well intended message.

There are three interwoven stories in this 93 minute movie. One of them features Tosh Zhang and Julie Tan as a nurse and a medical social worker who take care of patients in a hospice where dying is not uncommon. Zhang delivers an earnest performance and is believable as a healthcare worker who is competent in his job but feels burdened by the heaviness it brings along. This personality is nicely contrasted with Tan’s chirpy individual who is positive and upbeat all the time. She’s the sort of employee every organisation wishes to have – someone who stays back after work to go the extra mile (she fulfils her patient’s dream to see the northern lights). No thanks to media coverage on Tan’s shaven head, we know something unfortunate will happen.

Elsewhere, Andie Chen plays an overprotective father who is trying every possible method to find a cure for his cancer stricken daughter portrayed by Aster Yeow. What’s interesting here is that the girl aspires to be a stand up comedian, and as expected, her dreams to give a performance is going shattered by her condition. The movie knows that featuring sick kids will tug at heartstrings, and this storyline is genuinely heartbreaking.

Besides children, the theme of palliative care naturally involves the elderly. Yang Shi Bin takes on the role of a good hearted hawker who has a strained relationship with his grandson played by Shane Pow. The young man has just been released from prison for drug related offences, and he doesn’t sober up before we see the poor grandfather literally vomit blood due to his late stage lung cancer. You’ll be cold hearted if you do not shed a tear by this pair’ story.

It is also interesting to note that this production is supported by MOH Holdings, a holding company of Singapore’s public healthcare institutions. This explains the various themes exemplified through the three stories. The movie does a fine job not over preaching the messages, and we are also impressed by the ensemble cast’s heartfelt performances. There are some scenes with product placements, but you will be willing to overlook them and be moved by the wholehearted stories about living life to the fullest, no matter the length.

Movie Rating:

(This sincere movie features heartfelt performances by its ensemble cast and more importantly, a well-intended message about living life to the fullest)

Review by John Li