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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

Genre: Drama
Director: Nick Cheuk
Cast: Lo Chun Yip, Ronald Cheng, Hanna Chan, Rosa Maria Velasco, Sean Wong
Runtime: 1 hr 35 mins
Rating: PG13 (Some Sexual References)
Released By: mm2 Entertainment
Official Website:

Opening Day: 11 April 2024

Synopsis: High school teacher Cheng looks back to his repressed childhood memories, as he finds an anonymous suicide note in the classroom. He strives hard to prevent another tragedy from happening, meanwhile facing a series of family problems, his wife is divorcing him, and his father is dying.

Movie Review:

Time still turns the pages, although that doesn’t mean we get to write a new chapter of our life, especially if we don’t deal with the traumas of our past. That is the long and short of Nick Cheuk’s critically acclaimed drama, which intertwines two stories in the past and present to tell of how we can be prisoners of our own guilt.

The film opens with a 10-year-old boy jumping off the roof of his apartment building, before emerging seconds later standing up on a ledge shouting at the top of his voice that he will get into Hong Kong University. That boy, we later learn, is Eli (Sean Wong), the older but not quite as bright son of a stern and occasionally abusive father (Ronald Cheng) and a long-suffering mother (Rosa Maria Velasco). His younger brother Vincent (Curtis Ho) is better not only at grades but also at piano, and is not surprisingly the more favoured child among his parents.

It should also not come as a surprise that Eli will at some point really commit suicide, and over the course of the first two acts of the film, Eli’s spiral from a quietly motivated kid to an utterly demoralised individual is therefore expected but no less devastating to watch. Not for lack of trying, Eli doesn’t do well enough to be promoted to the next grade, and ends up being in the same class as Vincent. His parents change out his piano teacher, thinking that she is too lenient with him. And in perhaps the most significant blow, he hears on the TV one day that his favourite manga artist had killed himself.

Eli’s story unfolds in parallel with that of high-school teacher Mr Cheng (Lo Chun-yip) in present day, who is unusually troubled when he is alerted to a suicide note discovered by the school janitor in his classroom’s rubbish bin. Mr Cheng goes to lengths to try to identify the student at risk, all the while suspecting that it could be the angst-ridden Vincent (Hennick Chou) who is picked on by his schoolmates and given the derogatory nickname ‘Van Gogh’ due to his hearing issues.

If there was any doubt, it soon becomes clear this is in fact Mr Cheng’s story, with the episode triggering not only memories from his childhood past but also of his recent separation with his wife Sherry (Hanna Chan). To say more would give away the third-act reveal, of who Mr Cheng is in relation to the first story as well as why his marriage had disintegrated right after Sherry had told him that she was pregnant with his child.

While seemingly disjointed, the two stories in fact fit hand in glove with each other, but it does require that you sit through two deliberately paced acts before the heartbreaking reveal. Indeed, those expecting a gripping time may come off frustrated by how Cheuk takes his time throughout the first hour to focus on the minutiae of his characters’ lives and predicaments, but rest assured that your patience will be rewarded by how beautifully Cheuk connects the various threads together.

For this reviewer, what is particularly poignant is how the film exemplifies how indelible our formative experiences in childhood prove to be in our adult life, and no matter how we choose to deny our past, there will be inflexion points which force us to come to terms with how we have been shaped by our upbringing. We will add too that Eli’s circumstance will probably resonate with many who have endured similar patriarchal behaviour, some of whom may even have contemplated what Eli resorted to after falling into depression.

It isn’t perfect – for one, the pacing could be tighter – but ‘Time Still Turns the Pages’ is a great example of the new wave of social dramas that a new generation of Hong Kong filmmakers are finding their voice in. Subtle, heartfelt and sincere to the bone, this examination of how our past reverberates through our present hits the right notes by most counts, save perhaps for a number of contrivances that Eli is put through. That said, it is incredibly restrained and keenly observed, and for a first-time feature film, a remarkably assured debut of grace, equanimity and purpose.

Movie Rating:

(Subtle, heartfelt and sincere to the bone, this examination of how our past reverberates through our present brims with grace, equanimity and purpose)

Review by Gabriel Chong

Genre: Drama/Comedy
Director: Jia Ling
Cast: Jia Ling, Lei Jiayin, Zhang Xiaofei, Zhao Haiyan, Zhang Qi, Xu Jun Cong, Bu Yu, Zhu Tianfu, Liu Honglu
Runtime: 2 hr 9 mins
Rating: PG13 (Some Violence and Coarse Language)
Released By: Sony Pictures
Official Website:

Opening Day: 28 March 2024

Synopsis: Le Ying (played by Jia Ling) has been staying at home for many years, doing nothing in particular . After graduating from college and working for a while, Le Ying chooses to withdraw from society, closing herself off from social circles, which she believes is the best way to "reconcile" with herself. One day, after several twists of fate, she decides to live life in a different way. In cautiously venturing into the outside world, Le Ying meets boxing coach Hao Kun (played by Lei Jia Yin). Just when she thinks life is about to take a positive turn, the challenges that follow far exceed her imagination, and her vibrant life is just beginning...

Movie Review:

After the huge success of Hi, Mom!, director and writer Jia Ling returns to the big screen with the adaptation of a Japanese film called “100 Yen Love” (2014).

Despite being marketed as sort of a boxing comedy, YOLO is far engaging than the usual underdog sports drama. In fact, it has so little boxing for a two hours movie that it will make Rocky weep. Still, the inspiring, bittersweet movie of how a plus-size woman turned her life around more than suffices.

The chubby Du Leying (Jia Ling) has been lazing around at home, sleeping and eating since quitting her short-stint job after college. Her boyfriend (Qiao Shan) has hooked up with her best friend and they are getting married. Her cousin, Doudou (Yang Zi) wants her to participate in a reality show so that she can join the station as a full-time employee. Leying’s sister (Zhang Xiaofei) wants her to transfer the house deed in which the latter inherit from her grandma over to her so that her own daughter can get into a government school.

After a fight with her sister, Leying decides to move out. She got a job as a waitress in a restaurant that's near a boxing club and she gets involved in a relationship with a boxing coach, Hao Kun (Lei Jiaying). Just when you expect things to turn out predictably as what other sports drama do, YOLO flips the conventional narrative.

It turns out that Leying, the always soft-spoken, kind-hearted chubby woman who always give in to all the horrible people surrounding her has never for once fight for herself. The betrayal of the initial upright Hao Kun and loving Doudou signals a change in her mentality. She needs to change her life by transforming from a loser to a fighter. Nothing can stop her from stepping into the ring.

For the first half, YOLO is filled with some intentional comedy from Leying’s dispute with her sister to her meetup with her boyfriend to her lecherous boss. As the narrative progresses, the poignant relationship with her coach/love interest Hao Kun slowly turned it into a melodrama. All thanks to the excellent performance of Jia Ling, the gradual change in tone largely remains grounded in all aspects with the audiences feeling all of Leying’s disappointment and heartache by the end of the second act.

The reason why audiences feel relatable to Leying is how the movie fleshes out the various characters in her life. The boyfriend who betrayed her. The selfish family member who takes things for granted. That pretentious one friend or cousin who needs a favour from you or the partner who never practice what he/she always preaches.

Instead of pleasing the lives of others, Leying choses to live for herself even if it means perhaps dying in the ring fighting opposite a veteran boxing champion. The final scene of Leying running towards the sunset after her defeat only demonstrates the determination and direction she is going in future.

YOLO as a movie has lots of messages packed into it. It’s definitely well-executed by Jia Ling and her filmmaking team in terms of story and production values. Of course, the ending credits showed us the brutal side of it, Jia Ling losing 50kg in a span of a year. The beautiful swan has emerged not that Ling needs to do so to prove her worth.

Movie Rating:

(An inspiring tale packed with with laughs, sweat and tears)

Review by Linus Tee

Genre: Action/Crime
Director: Soi Cheang
Cast: Louis Koo, Sammo Hung, Richie Jen, Raymond Lam, Terrance Lau, Kenny Wong, Philip Ng, Tony Wu, German Cheung, Fish Liew, Aaron Kwok
Runtime: 2 hrs 5 mins
Rating: NC16 (Violence and Some Drug Use)
Released By: Shaw Organisation
Official Website:

Opening Day: 17 May 2024

Synopsis: Set in the eighties inside the dangerous and enigmatic Kowloon Walled City, which was a de jure Chinese enclave within British colonial Hong Kong, Twilight of the Warriors: Walled In follows troubled youth Chan Lok-kwun (Raymond Lam) as he accidentally enters the Walled City, discovers the order amidst its chaos, and learns important life lessons along the way. In the Walled City, he becomes close friends with Shin, Twelfth Master and AV. Under the leadership of Tornado (Louis Koo), they resist against the invasion of villain Mr. Big (Sammo Hung) in a series of fierce battles. Together, they vow to protect the safe haven that is Kowloon Walled City.

Movie Review:

Twilight of the Warriors: Walled In could very well describe the twilight of the Hong Kong martial arts genre, which in recent years has struggled to not just find new blood to succeed such icons as Jackie Chan, Jet Li and Sammo Hung, but also re-define its appeal amidst evolving audience habits. And yet for those nostalgic of what the subgenre used to represent – specifically, hard-hitting fights and stunts done with minimal CGI – then this throwback from director Soi Cheang hits all the right notes.

Based on the graphic novel ‘City of Darkness’ by Andy Seto, it recreates the infamous Kowloon Walled City to tell the story of a young immigrant Chan Lok-kwun (Raymond Lam) who stumbles into the neighbourhood one evening after fleeing feared gang leader Mr Big (Sammo Hung) and ends up caught in the rivalry between Mr Big and Tornado (Louis Koo). That longstanding rivalry also involves Ritchie Jen’s vengeful landlord, whom Tornado works for, and Kenny Wong’s one-eyed mobster, who rounds up the trio that had many years ago defeated a legendary assassin Killer (Aaron Kwok).

As much as we’ve preferred to find out through the movie for ourselves, it has been revealed that Killer is in fact Lok-kwun’s biological father, and it should come as no surprise that his parentage will precipitate a series of conflicts amongst these elders, culminating in an epic battle that will pit Lok-kwun and his buddies against Philip Ng’s maniacal villain. Oh yes, this is ultimately a story of brotherhood, forged within the walls of the City that is recreated here faithfully and even painstakingly.

Though co-written by such veterans as Au Kin-yee (from Johnnie To’s Milkyway stable), Chan Tai-lee (of the ‘Ip Man’ franchise) and Shum Kwan-sin (of Cheang’s previous ‘Limbo’), the plotting is probably the weakest element in an otherwise impressive production. How much of that is due to the source material is unclear, but the midway twist – that Lok-kwun is in fact Killer’s biological son – is too much of a coincidence to be believed; ditto the extent to which Jen’s landlord is blinded by a desire to avenge his family’s death at the hands of Killer by ending the latter’s bloodline at all costs.

Once you get past these narrative weaknesses though, Twilight of the Warriors: Walled In is an absolute blast. Working with action director Kenji Tanigaki, Cheang stages a couple of exhilarating sequences that you’ll want to revisit a few times over just to appreciate the sheer brilliance behind the choreography and execution – that includes the opening scene on board a double-decker bus along Nathan Road, an extended chase within the corridors of the City when Lok-kwun first stumbles in and is mistaken for a troublemaker, a parlour fight between Lok-kwun and Jen’s landlord, a street fight that sees Tornado take on both Mr Big and Yung’s villain, and last but not least a rooftop brawl that is intended as a fist-pumpingly satisfying comeuppance.

Each of the above is meticulously staged and performed, thanks to Tanigaki and his team, as well as the commitment of the entire ensemble to ensure every bit of the bone-crunching violence is as real as it gets. Though Koo, Hung and Jen get top billing, it is Lam who truly wows from start to finish, being front and centre in every one of the aforementioned sequences. Rounding up the relative list of newcomers who also impress in their respective supporting parts is Terrance Lau, Tony Wu and German Cheung, who form a gratifying quartet against Yung. There is no doubt this is a passing of baton of sorts to a new generation of Hong Kong actors, and in that regard, each of these players acquits himself beautifully.

Just as outstanding are the technical elements of the film – from its art direction, to costume and production design, to its soundtrack (by Kenji Kawai, who also scored the ‘Ip Man’ films), no expense has been spared to ensure the authenticity of the Kowloon Walled City as well as ‘80s Hong Kong, not just as backdrop to the action but also as a tribute to simpler but also messier times when there was a strong sense of local community amidst rampant gang and criminal activity. Indeed, for better and for worse, this was the Hong Kong of the past, and is sure to inspire a deep sense of nostalgia amongst those who lived through the era.

All this would not have been possible without the peerless direction of Cheang, who recently won Best Director at the Hong Kong Film Awards for his offbeat detective thriller Mad Fate. Over the years, Cheang has proven his versatility moving between commercially driven and arthouse fare, and his latest represents an intoxicating blend of both, combining the primal edge of the latter with the crowd-pleasing qualities of the former. In particular, Cheang also deserves credit for successfully rescuing this film from development hell, and turning it into a labour of love for Hong Kong cinema as well as a new generation of action stars.

So even though it could do with a stronger narrative, Twilight of the Warriors: Walled In is still one of the very best we’ve seen of the Hong Kong martial arts genre in a very long time. The action is breathtaking, the mise-en-scene is one of a kind, and the themes of brotherhood and loyalty utterly befitting of what the genre used to represent. Far from being a twilight of the industry, if this is what a new generation can offer, it is in fact the dawning of a potential resurgence for Hong Kong action cinema.

Movie Rating:

(An exhilarating showcase of the best of the Hong Kong martial arts genre, this classic story of brotherhood and loyalty is also a faithful recreation of the infamous Kowloon Walled City and '80s Hong Kong)

Review by Gabriel Chong

Genre: Drama
Director: Jon Gunn
Cast: Hilary Swank, Alan Ritchson, Amy Acker, Emily Mitchell, Nancy Travis, Tamala Jones, Drew Powell, Nancy Sorel
Runtime: 1 hr 58 mins
Rating: PG (Some Disturbing Scenes)
Released By: Golden Village Pictures
Official Website:

Opening Day: 4 April 2024

Synopsis: Inspired by the incredible true story of a hairdresser who single-handedly rallies an entire community to help a widowed father save the life of his critically ill young daughter.

Movie Review:

Alan Ritchson, certainly not a name to be associated with a faith-based drama given his records with television series liked Reacher, Legends of Tomorrow and Fast X. The 1.9m actor might be the next hottest action hero yet he is stretching his acting muscles for a change in Ordinary Angels.

Actually Hilary Swank is the real star here but we will get to her shortly. Set in the 1990s and based on a real-life event, Swank plays an alcoholic hairdresser, Sharon who somehow walked into the life of Ed (Ritchson), a man who just lost his wife and his younger daughter, Michelle is critically ill. Sharon is a drunk, a broken woman, has an estranged son. The list goes on. She is basically the last person on earth that Ed will expect help from.

Miraculously, Sharon manages to turn things around for the stubborn as a mule Ed. She starts a fundraising, turns Michelle’s piling hospital bills around and went around looking for a private jet when the doc says when a donor is found, the operation at the nearest hospital is miles away.

Like we were saying prior, Swank delivers a solid, captivating performance as the troubled Sharon. While some might mistake her as Elizabeth Banks, she remains an acting powerhouse since her award-winning days in Million Dollar Baby. Ritchson is fine in case you are wondering if he can convincingly pull off a subtle, nuanced performance as the doting, helpless dad.

Ordinary Angels springs no surprises in terms of narrative. However for a faith-based drama or Christianity film, it is pretty restraint for the most part. There’s no heavy preaching nor sermons to be found. There’s the occasional times when Ed questioned the existence of God and his unwillingness to accept Sharon as an angel, destined to guide him and the girls. While grief and the struggles with their inner demons played a big part in both Sharon and Ed, the direction of the story offers a great deal of intimacy without being too saccharin and awkward.

The third act focused on a heart-pounding sequence whereby Ed and Michelle are stuck in a blizzard of the century as they tried to rush to the hospital for the transplant. The entire community and Sharon chipped in to help as much as possible to clear the snowy ground at the local church car park lot for the helicopter to land. Sounds like an exaggerated Hollywood affair though the end credits told us it indeed happened in real-life.

This particular religion movie wins on the fact that it doesn’t tout Christianity in an “in-your-face” manner. It also features a standout performance from Swank and Ritchson. Most of all, a compelling story which occasionally leaves you teary-eye and the intensity which hardly feels it’s a nearly two hour feature.

Movie Rating:

(Believe in the Good Lord, sometimes miracles happened)

Review by Linus Tee

SYNOPSIS: Based on the international anime sensation, Knights of the Zodiac brings the Saint Seiya saga to the big screen in live-action for the first time. Seiya (Mackenyu), a headstrong street teen, spends his time fighting for cash while he searches for his abducted sister. When one of his fights unwittingly taps into mystical powers he never knew he had, Seiya finds himself thrust into a world of warring saints, ancient magical training and a reincarnated goddess who needs his protection. If he’s to survive, he will need to embrace his destiny and sacrifice everything to take his rightful place among the Knights of the Zodiac.

MOVIE REVIEW:

While the word “force” is heavily used in the Star Wars series, the word “cosmo” is mentioned numerous times in Knights of Zodiac. This subpar live-action adaptation of the Masami Kurumada’s manga “Saint Seiya” fails no matter what kind of force or cosmo goes into it. It’s simply bad.

For those who has no idea about the beloved manga which ran from 1985 to 1990, it’s about five mystical warriors called the Saints who sworn to defend the Olympian goddess Athena in her battle against other Gods.

In a feeble attempt to make it accessible to both manga and non-manga audiences, the screenplay is given a condensed treatment and mainly focused on Seiya (Mackenyu), the young man destined to become Pegasus Knight and Sienna/Athena (Madison Iseman), daughter of rich businessman Alman Kidd (Sean Bean) and the evil Guraad (Franke Janssen).

With the exception of a prologue and a voice-over telling us the half-baked origin of the mythical characters, we are brought to present time whereby a street fighter Seiya is abducted by Kidd and his henchman, Mylock (Mark Dacascos) to his home where her daughter, the reincarnation of Athena lives. At the same time, Kidd’s ex-wife Guraad and her henchman, Nero (Diego Tinoco) is on the way to get Sienna and to prevent her from turning into the goddess of war and wisdom.

For convenience sake, Seiya is sent to learn magical kung-fu fighting from a lady in a mask while he ponders and thinks of her missing sister, Patricia at times. And then there is Nick Stahl (who returned to acting in recent years) playing a cyborg ninja, Cassios who apparently has a grudge against Seiya.

Beside the less than engaging plot, Knights of Zodiac is plagued by bad acting, wooden dialogue and dreaded CGI effects. Mackenyu and Iseman are too amateur to be the movie’s main leads thus worsening things. Veterans liked Bean and Janssen has too little to do in the entire fiasco. Dacascos deserved more screentime to flex his flashy moves and Stahl thinks he is playing an exaggerated version of a Shakespeare villain.

The entire outing is peppered with mostly bad CGI and green screen. For a movie that cost $60 million, the visual effects look cartoonish and honestly horrible for the most part. Andy Cheng, an ex-Jackie Chan stuntman who was responsible for the fights choreography probably gave up after looking at the lacklustre sets or if there’s any to begin with.

Knights of Zodiac is so bad and campy on the whole that it doesn’t even qualify as a pilot TV episode or a B-movie. It’s also way too long that I need to flip a supermarket magazine in-between the clunky happenings to kill the time.

MOVIE RATING:

Review by Linus Tee

Genre: Horror/Thriller
Director: Matt Bettinelli-Olpin, Tyler Gillett
Cast: Melissa Barrera, Dan Stevens, Alisha Weir, Kathryn Newton, William Catlett, Kevin Durand, Angus Cloud, Giancarlo Esposito
Runtime: 1 hr 49 mins
Rating: M18 (Gore and Coarse Language)
Released By: UIP
Official Website:

Opening Day: 18 April 2024

Synopsis: Children can be such monsters. After a group of would-be criminals kidnap the 12-year-old ballerina daughter of a powerful underworld figure, all they have to do to collect a $50 million ransom is watch the girl overnight. In an isolated mansion, the captors start to dwindle, one by one, and they discover, to their mounting horror, that they’re locked inside with no normal little girl.

Movie Review:

The supernatural horror unfurls in rich tones of pink, red and black with Abigail slowly gliding across the stage while incorporating relevés and pliés in her satiny pointe shoes. The scene then cuts from the unsuspecting adolescent pirouetting to Swan Lake to a stranger waiting in a dark alley, sucking on a lollipop. It’s time to sink our teeth in to figure out if the horror comedy holds up the hype it has been receiving or it’s just another effort in the reimagining of the 1936 Universal Classic Monsters film, Dracula’s Daughter.

With considerable solidarity within the group dynamic, it becomes apparent that it's an inside job to have them turned against one another. The modus operandi? To divide and conquer, of course! No weapons, stakes, crucifix and even garlic works to subdue the demonic ball of energy and with no names, no backstories and gadgets taken away, it becomes a question if they are ready to throw each other under the bus or if they would get innovative in their slaying.

Surprisingly, the page turner with a plot that hinges close to the margins of Don't Breathe film franchise takes after M3GAN's idiosyncrasy than the intensity of The Exorcist. And this makes us want to revisit the question, "Whatever happens to putting horror back in horror?"

The Irish actress and singer Alisha Weir who rose to stardom with her performance in the film, Matilda the Musical, plays the titular character in Abigail. The 14-year-old delivers an unrivalled performance with her witty dialogues and creepy mien while neatly sending chills down our backs all while proving that size doesn’t matter at all, even when it comes to draining souls. Speaking of top-tier cast, wouldn't it be great to see more of the Mexican thespian who is no stranger to slasher flicks (Scream 2022, Scream VI, Your Monster), Melissa Barrera, in light-hearted film genres instead of ominous thrillers? She pulls off a decent feat in holding the fort, quite literally, from start till the end in the haunted mansion with her meaty role.

And contributing to the brutal vampire action are Dan Stevens whom you may recall from Godzilla x Kong: The New Empire, Kevin Durand whom you will catch in the upcoming actioner, Kingdom of the Planet of the Apes, Kathryn Newton from Ant-Man and the Wasp: Quantumania and Will Catlett from Constellation. Last but foremost, we had Angus Cloud playing Dean, making Abigail a posthumous release for the Euphoria star who passed on last year (just a week after his dad's demise). It would have been great to have the 25-year-old play Mac Miller in a biopic, given their uncanny appearances. But Cloud had peaceably turned down the offer, responding that he wasn't too ready to play the legend.

On the downside, if you had been furtively resenting trailers these days where they almost give away the entire plot, we are with you. Sadly, the twists aren't shocking as they are supposed to be. It certainly robs the excitement when the trailer reveals who lives and who doesn't. On a personal note, it would have made a world of difference if Abigail’s identity as an impish predator wasn’t revealed in the trailer in the first place.

With highly predictable tropes of most undead creature films, it does get a little exhausting as Abigail's carnage is experienced in spades (also, it takes a whopping 30 to 40 minutes before the narrative matures into a full-fledged horror number). It felt much like a crime thriller taking a swerve into the alley of supernatural horror. Perhaps, that's what the makers were going for in order to make it work with the genre lovers of this age. And with dope music, savage kills and dark aesthetic, the gore dial was turned all the way up, thus setting the tone for the entire 109 minutes of toothy misadventure. To top it off, it was ridiculously hilarious to see grown semi-criminals wrestling a regular 12-year-old girl and that leads the knee- slapper fall gracefully into the worthy watch category rather than snaring the crown of being an OG Dracula caper. While striking a chord with the masses, given its theme and cinematic elements, it's still a tad too early for this diabolically brilliant Nosferatu spin-off that gives Y2K nostalgia, to be dubbed as the best horror of 2024.

Sucker for bloodsuckers that transcend time? Then this archetypal vamp flick is for keeps. It can't be denied that campy horror is much needed from time to time. While a sequel is highly sensed, Abigail shall be fondly remembered long into the future, since movies dedicated to twirling ballerinas that bare fangs are still recherché.

Movie Rating:

(Kick back and enjoy this bloody ballet that promises splattering gore and snarky lines with subversive humour unravelling in a cool premise)

Review by Asha Gizelle Mariadas

Genre: Horror/Thriller
Director: Han Dong-seok
Cast: Kim Yoon-hye, Song Yi-jae, Park Ji-hoon, Lee Sang-a
Runtime: 1 hr 43 mins
Rating: NC16 (Violence and Coarse Language)
Released By: Shaw Organisation
Official Website:

Opening Day: 18 April 2024

Synopsis: Si-young (Kim Yoon-hye) has been chosen to play the lead role in an experimental art film centered around her dance major. Along with her college friend Chae-yoon (Song Yi-jae), they performed geometric dance routines as part of a shamanic ceremony as directed by the film's director. However, their world is turned upside down when a production team member suddenly fell from the roof but his seemingly lifeless body began to move and come to life…

Movie Review:

We stepped into the cinema thinking that this Korean horror movie would be like one of the many others we’ve seen. The synopsis states that a young girl named Si-young (Kim Yoon-hye), together with her college friend Chae-yoon (Song Yi-jae), are cast in an experimental film. One sequence filmed at the rooftop of an abandoned building sees the two girls performing a dance as part of a religious ritual, and fans of horror flicks would know that this will end in disaster.

As expected, the situation spirals out of control and there is a generous spillage of blood. What we didn’t expect is how the story takes a turn and goes in different unexpected directions.

Early in the 103 minute movie, we see a female crew member heading to what looks like a storeroom to find a switch so that the filming can proceed smoothly. No prizes for guessing that she will be the first casualty of the scare fest, especially when we see her gaping in horror as she shines her torchlight on a wall full of red scribblings. We’re guessing that’s probably a curse for some sort of ritual.

When a crew member is missing from set for an extended time, you get another crew member to look for her. One poor guy is sent for the job, and we see him attacked viciously by the abovementioned victim. She goes for his neck, and the movie directed by Han Dong-seok is beginning to look like a zombie flick. Back at the rooftop, the rest of the cast and crew are also having sightings of what looks like the undead from afar.

As we settled ourselves in for a zombie movie with running, chasing and hiding, the storyline takes a turn and suggests that there is a group of humans (wearing full face masks, no less) who are seemingly controlling these monsters. Is the abandoned building located in an experiment site? Things get more confusing as flashbacks reveal more details about Kim’s Si-young, as we learn that she has an unexplained psychic power to cause some serious destruction.

The two female leads Kim and Song also do look uncannily alike, and you can bet there’s something suspicious going on. Elsewhere, there are supporting characters like Si-young’s mother and the aunt of Si-young’s childhood boyfriend who are seemingly important pieces of the puzzle.

With so many things going on, the filmmakers manage to keep viewers interested throughout the movie’s runtime, but the payoff isn’t as satisfying as we wished it would be. While the picture successfully creates a sinisterly cryptic atmostphere, we can’t root for any particular character, and the shift in tone and supposed plot twists are confusing instead of intriguing. It doesn’t help that when you thought the movie has ended, it asks you to stay in your seat for an extended sequence, where you’re introduced to another character related to the protagonist. Is this the setup for a sequel? We can’t be sure, but it only left us more muddle headed than anything.

Movie Rating:

(This horror movie may feel stuffed with too many storylines, but the foreboding atmostphere is one thing that grips you and doesn't let go)

Review by John Li