Genre: CG Animation
Director: Chris Sanders
Cast: Lupita Nyong’o, Pedro Pascal, Catherine O’Hara, Bill Nighy, Kit Connor, Stephanie Hsu, Mark Hamill, Matt Berry, Ving Rhames
Runtime: 1 hr 42 mins
Rating: PG
Released By: UIP
Official Website:
Opening Day: 26 September 2024
Synopsis: From DreamWorks Animation comes a new adaptation of a literary sensation, Peter Brown’s beloved, award-winning, #1 New York Times bestseller, The Wild Robot. The epic adventure follows the journey of a robot—ROZZUM unit 7134, “Roz” for short — that is shipwrecked on an uninhabited island and must learn to adapt to the harsh surroundings, gradually building relationships with the animals on the island and becoming the adoptive parent of an orphaned gosling.
Movie Review:
At a time when talk about Artificial Intelligence, and in particular Generative AI, is all the rage, ‘The Wild Robot’ is a timely, and we dare say timeless, story about the unexpected bond that develops between a robot and an orphaned gosling. That may sound bewildering for the uninitiated, but those familiar with the 2016 bestselling children’s book by Peter Brown on which the movie is based will tell you that it is a deeply heartwarming tale about many things.
Adapted by writer-director Chris Sanders (‘Lilo and Stitch’; ‘How to Train Your Dragon’), ‘The Wild Robot’ retains everything that makes the novel so beloved and more. It opens with Roz (voiced by Lupita Nyong’o) – short for Rozzum Unit 7134 – washing off a cargo ship in a storm and ashore on a remote island in the middle of nowhere, where she goes about zealously searching for a task and frightening the entire denizen of creatures on the island in the process, until she stumbles upon a newly hatched gosling who imprints on her.
Roz sets herself three tasks to do for the gosling she eventually names Brightbill (Kit Connor) – how to feed; how to swim; and how to fly. She gets some unexpected help from a wily fox named Fink (Pedro Pascal), who initially seeks to exploit Roz’s guilelessness for his own benefit but then over time grows a genuine affection for both Roz and Brightbill. As you may suspect, Roz too changes over time, so that instead of discharging these tasks mechanically, she develops a maternal instinct over not just Brightbill but also the rest of the animals on the island.
Without giving too much away, let’s just say the last third changes the otherwise breezy pace of the earlier acts, giving the proceedings surprisingly urgency with the arrival of a harsh winter that requires Brightbill to be able to demonstrate both the dexterity and tenacity of migration, as well as compels Roz to become a true hero of the wildlife of the island (and hence living up to her title as ‘the wild robot’). It is also in this final act that the relationships carefully cultivated over the course of the movie truly pay off, and we mean this not just for the bond between Roz and Brightbill but also the other animals such as a mother possum (Catherine O’Hara), a stoic falcon (Ving Rhames) a grizzly bear (Mark Hamill) and even a determined beaver (Matt Berry).
What really left an impression on us though is its treatment of the universal need of belonging, exemplified in how Roz, Brightbill and Fink come together. Just as he did with Lilo and Stitch and with Hiccup and Toothless, Sanders nurtures with poignancy how Roz’s detachment evolves into care, warmth and even love, empowering Brightbill to ultimately find his place amongst his own species. That sense of belonging is also reflected in how Fink’s self-centredness gives way to selflessness, first over Roz and Brightbill and then over the rest of the animals on the island.
Just as stirring is its portrayal of nature versus nurture – this is in how Roz overwrites her initial programming to develop a whole new set of code based on feelings and emotion; this is also in how Brightbill overcomes his physical shortcomings with sheer perseverance, even demonstrating leadership in the process; and this is also in how the animals overcome the natural pecking order of predators and prey to band together against the existential threats that could wipe all of them and their habitat out. To be sure, that doesn’t mean it candy-coats certain realities; in fact, unlike most family-targeted toons, it doesn’t get sentimental about death, and instead regards it as part and parcel of the circle of life.
Underlying these themes is careful attention and focus on character-building, and in this regard, both Sanders and Nyong’o creates a deeply immersive portrait of Roz. Comparisons with ‘The Iron Giant’ or ‘Wall-E’ are inevitable, but that doesn’t diminish their achievement in imbuing what is two spheres and four limbs with this much heart and wisdom. Just as significant is the visual design of the film, which aims less for verisimilitude than expressionism in its gorgeous rendering of nature, adding touches of wonder and whimsy to make the storytelling even more vivid.
Truth be told, we had not expected much about ‘The Wild Robot’, but thanks to both the artistic and creative licence that Sanders has taken with the material, this unassuming animation is quite possibly the best one you’ll see this year. Through its coming-of-age story of a domestic servant automaton, it takes you on an incredible journey about nature, nurture, and most importantly, discovering where and with whom you belong. We urge you to discover this movie for yourself and even to take your family to experience it together with you, because this leap of technology is one of the very few that can also boast will make your heart leap.
Movie Rating:
(Gorgeous, heartwarming and deeply moving, 'The Wild Robot' is one of the most transformative animations in a while, especially in its portrayal of belonging and nature versus nurture)
Review by Gabriel Chong
Genre: Drama/Crime
Director: Da Qing
Cast: Shen Teng, Zhang Yuqi, Jack Kao, Cai Wenjing, Qu Zheming, Wei Xiang, Liu Huan
Runtime: 1 hr 53 min
Rating: NC16 (Some Drug Use and Coarse Language)
Released By: Shaw Organisation
Official Website:
Opening Day: 19 September 2024
Synopsis: ZUN Fei (Shen Teng) brought a group of brothers and took refuge in HUANG Chaojing (Jack Kao), a rich merchant whose hands are in both legal and illegal business, becoming his trusted right-hand man and thriving in the “Golden City” – Macau. However, facing violence, power struggles in the underworld and complex human drama, Fei was torn between comradeship and righteousness. He was trapped in a deadly gamble set up against him with his life at stake…
Movie Review:
Shen Teng (Successor, Pegasus) sheds off his usual comedic persona in this serious, we mean very serious crime drama named Untouchable.
Distributed by Hong Kong-based Mei Ah Entertainment and set in 90’s Macau, Shen stars as Zun Fei, a boxing champion-turned-lawyer-turned-henchman for local Kingpin, Boss Huang (resident Taiwanese bad guy Jack Kao). Leading his buddies comprising of right-hand man, Yaowu (Liu Huan) and newcomer, Xi Lai (Qu Zheming), Fei helps in the running of Huang’s lucrative but illegal casino ship business.
Despite the good amount of money coming in from the business, Fei plans to escape to Australia with Huang’s girl, Xiao Xiao (Kitty Zhang Yuqi) whom he has smitten with since they first met five years ago. Unfortunately or expectedly, fate has other plans for Fei as a series of betrayals, killings and the past start to haunt Fei just as he is about to go clean.
Untouchable’s story plot is like those “Jiang hu” or triad flicks from the 80’s and 90’s starring Andy Lau and Ekin Cheng except it’s set in Macau and stars Mainland A-list star Shen Teng. The brotherhood theme is explored but sketchy. Among the group of six Fei’s followers, only Yaowu and Xi Lai has the most screen time and ultimately has the most character development.
The screenplay by Shang Ke focused mostly on the power struggles between Huang, Xiao Xiao (who turns out to be more than just a foxy siren) and Fei. The villainous Huang makes use of Fei’s name to run the cruise ship while the latter hopes to make more money for his buddies and himself before running off with Xiao Xiao. Those who watched enough movies will know the “Romeo and Juliet” outcome of this pair of tragic lovers. And perhaps to please the censors, there’s a lack of sizzling sex scenes and worse, lack of chemistry between Shen and Kitty to justify their soap drama love entanglement.
Don’t get us wrong, Sheng is still serviceable as the suffering hero. His character is written as a fighter with brains, however the script doesn’t have much chances to showcase Fei’s wits and splashy moves making Fei more of a brooding hero. On the other hand, Jack Kao doesn’t disappoint as Boss Huang. At the age of 66, Kao continues to ignite the screen with his brand of outburst violence and his trademark Taiwanese Hokkien swear words making it a lively affair whenever he appears onscreen. Kitty Zhang remains as gorgeous as ever and luckily garnered a role that has more acting than all her appearances in Stephen Chow movies combined.
Though making a very decent amount at the box-office, Untouchable isn’t going to be a memorable movie down the road. But you can’t deny the production values such as the cinematography is top notch and the overall effort is enormously entertaining. As a crime thriller from China, the movie ends on a cautious, predictable note. The bad guys get their karma and we are told Macau is a much safer place after the 1999 handover. Maybe the authorities should visit certain European countries where even minor crimes are a common thing in public.
Movie Rating:
(For an average crime drama, Untouchable still delivers a compelling cinematic experience)
Review by Linus Tee
Genre: Horror/Thriller
Director: Alexandre Aja
Cast: Halle Berry, Percy Daggs IV, Anthony B. Jenkins, Stephanie Lavigne, Matthew Kevin Anderson, Christin Park
Runtime: 1 hr 41 mins
Rating: NC16 (Violence and Horror)
Released By: Encore Films
Official Website:
Opening Day: 19 September 2024
Synopsis: From visionary director Alexandre Aja (The Hills Have Eyes, Crawl) and producers of Stranger Things and Arrival comes NEVER LET GO. In this new psychological thriller, as an evil takes over the world beyond their front doorstep, the only protection for a mother, played by Academy Award® Winner Halle Berry (Actress in a Leading Role, 2001 – Monster’s Ball), and her twin sons is their house and their family’s protective bond. Needing to stay connected at all times – even tethering themselves with ropes – they cling to one another, urging each other to never let go. But when one of the boys questions if the evil is real, the ties that bind them together are severed, triggering a terrifying fight for survival.
Movie Review:
To its credit, ‘Never Let Go’ does start off intriguing. Deep in the dark, tangled woods lies a remote cabin where a woman known only as Momma (Halle Berry) lives with her sons, Samuel (Anthony B. Jenkins) and Nolan (Percy Daggs IV). According to Momma, the world around them has been infected by evil, and in order to stay not to let the evil touch them, they must tether themselves to the home with thick ropes when they leave the cabin to forage for food. Momma has also instituted a number of rituals when they return home – like reciting a prayer while putting their hands against an ornamental wood or shutting them in the door in the floor to have them experience coming out of the darkness – just so they can stay pure.
Right from the start, director Alexandre Aja makes it clear that whatever evil lies out there, only Momma is able to see – indeed, the manifestations we are shown are that of a hillbilly in a housedress (Kathryn Kirkpatrick) who drools ink and has a tongue like a snake, as well as the boys’ late father (William Catlett), both of whom are eager to have their revenge on Momma for ostensibly causing their deaths. So when Samuel slips during one of their trips out in the woods and breaks his ankle, and Nolan drops his leash to try to save him, Nolan returns home with doubt in his head when he doesn’t see any sign of the evil that Momma claims around him.
Is it all in Momma’s head? Or is there something truly menacing that only Momma can see? That is the fundamental question at the heart of Aja’s film, and depending on your level of patience, you may find yourself intrigued by the numerous twists and turns along the way or simply bored by the number of obvious red herrings. Less intense than slow-burn, Aja builds the story to an unexpected climax at the end of the second act, where a harsh winter that has killed off anything edible in their greenhouse leads Momma to make the desperate decision to kill their family dog for food; and without giving too much away, let’s just say it is at that juncture that Nolan’s doubts reach breaking point.
Unfortunately, despite an interesting third-act turn of events involving a passing hiker (Matthew Kevin Anderson), the plotting never manages to deliver a satisfying payoff. Notably, Aja cannot quite decide if this should be a psychological horror about the monsters within or a real-life terror with demonic visitations and even body horror. Without a smart, satiating ending, we are left wondering if all the ruminations on grief, sanity and rebellion were ultimately inflated, notwithstanding the strong atmospherics in the earlier acts thanks to Aja’s sure-handed direction; in fact, to less charitable viewers, it only reinforces how the earlier plot turns were nonsensical.
Despite its narrative shortcomings, Berry’s tour de performance is still a standout. Drained of glamour, and charged with fierceness, Berry both humanises and grounds the flawed mother figure at the centre of the movie, deftly blurring the lines between protective and paranoid. Both child performers are equally stalwart, displaying equal parts fear and acceptance of their predicament, while reinforcing a convincing sibling relationship that becomes all the more poignant in the last act. Aja has also assembled a top-notch production team, with special mention to the discordant synth-heavy score and deft editing that ensures a largely suspenseful and chilling watch most of the way through.
So though it is hardly the first cabin-in-the-woods horror (nor for that matter, will it be the last), ‘Never Let Go’ does live up to its name for the most part, drawing you into its tale of its parent-and-child relationship which gradually unravels as mistrust and misperceptions set in. What it fails to do however is stick the ending, and like we said, that’s a pity, not only because of its strong set-up, but also because it lets down the commitment of its performers, who to their credit, turn this three-hander into a solid showcase of parenthood and survival. It is also yet again an affirmation of Aja, who remains a genre specialist of intimate stories of people trapped in nightmarish situations, and whom we hope will one day find the strength of material to complement his talent.
Movie Rating:
(Though it lives up to its name for the most part with strong performances and an effectively chilling atmosphere, this psychological horror lacks a smart, satiating ending to stick the landing)
Review by Gabriel Chong
Genre: Thriller/Drama
Director: Todd Phillips
Cast: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, Zazie Beetz, Steve Coogan, Harry Lawtey, Leigh Gill, Ken Leung, Jacob Lofland, Bill Smitrovich, Sharon Washington
Runtime: 2 hrs 18 mins
Rating: NC16 (Violence & Coarse Language)
Released By: Warner Bros
Official Website: https://www.jokermovie.com.sg
Opening Day: 3 October 2024
Synopsis: Joker: Folie À Deux finds Arthur Fleck institutionalized at Arkham awaiting trial for his crimes as Joker. While struggling with his dual identity, Arthur not only stumbles upon true love, but also finds the music that's always been inside him.
Movie Review:
How can something so right go so wrong? That was the refrain many fans had stepping into the much anticipated, now-derided sequel to what was, in our opinion, one of the most mesmerizing portraits of the titular comic-book villain. And indeed, after seeing Todd Phillips’ unexpected follow-up to his 2019 vigilante extravaganza, that frustration is perfectly understandable – not only is ‘Joker: Folie A Deux’ an antithesis of what its predecessor was, it is also frankly pointless, which we think is its even greater folly.
Picking up two years after where we left off, the movie sets Arthur Fleck (Joaquin Phoenix) up as a shadow of his former self. Slumped, sad and alarmingly emaciated, Arthur dutifully goes through the routines at the maximum-security wing of Arkham State Hospital, while awaiting his trial for the five murders he committed previously. Not surprisingly, Arthur has to contend with a bunch of sadistic guards, and although it does build up to a brutal confrontation, those hoping that Arthur will do what he did with Robert DeNiro’s talk show host Murray Franklin in the last movie will be sorely disappointed.
Like we said, Phillips and his co-writer Scott Silver seem almost apologetic for their earlier nihilism here – that is the only reason we can fathom why they would make Arthur and us sit through successive courtroom scenes to have Arthur come face-to-face with those traumatised by his acts of terror, including his former neighbour Sophie Dumond (Zazie Beetz) and his former co-worker Gary Puddles (Leigh Gill). While the narrative does tease the enigma of whether Arthur suffers from dissociative identity disorder, neither Phillips nor Silver seem to muster the conviction to mount a suitably clever psychological tale.
What ‘Joker: Folie A Deux’ ends up being foolishly obsessed with is the unlikely romance between Arthur and fellow Arkham patient Lee Quinzel (Lady Gaga), sparking a series of musical numbers that never quite justify their existence. It is no secret that Lee will eventually become some version of the character in DC lore known as Harley Quinn, but there is neither enough to demonstrate her transformation through Arthur nor for that matter how Arthur discovers his conscience through his newfound genuine love for Lee.
It is not enough that we know Lee is in love not so much with Arthur as with his alter-ego; it is perhaps even more important that we feel their passion, disillusionment and ultimately despair when Arthur and Lee finally realise that they will not find happiness with each other. Unfortunately, much of that is lost amidst the lengthy courtroom drama, or amidst the improvised musical set-pieces that mostly come off flat and uninspiring. Both Phillips and the stars have gone on record to say how they wanted these numbers to feel less choreographed and more raw, but the outcome is enervating.
Just as lacklustre is the chemistry (or lack thereof) between Phoenix and Gaga – that is in part due to Phoenix deciding to swap his character’s underdog anger for a striking, wounded tenderness, and in part because Gaga doesn’t quite seem to know what to do with her underwritten part. As irresponsible as it sounds, we wish the movie had simply respected and preserved Arthur’s former anarchist persona, in order to make his team-up with Lee truly pop; that would at least have been more engaging to watch than their muted tryst and separation on display here.
As much as we’d like to give Phillips credit for taking a wild, stylistic swing with this sequel, it is sadly as much praise as this misfire deserves. There is no raison d’etre for Arthur’s conscience, and without that clarity of purpose, it simply comes across as being deliberately contemptuous of the fans who had made its predecessor such a runaway success in the first place. And likewise, as brilliant as it may have sounded to pair Phoenix and Gaga, whatever wisdom remains stuck in concept and not in execution, especially given their moribund relationship in the wake of Arthur’s desire to atone for his previous sins.
To be sure, ‘Joker: Folie A Deux’ isn’t as disastrous as some have made it out to be, but coming from a US$1 billion, Oscar-winning, international festival-favourite to this is upsetting in its own right, so even if not all the hate is justified, it is perfectly understandable. Indeed, when you turn all that love for ‘Joker’ and all that he stood for against society’s hypocrisies into a joke in and of itself, what else really could you expect from the audience?
Movie Rating:
(The antithesis of what 'Joker' stood for, 'Joker: Folie A Deux' rightfully deserves the hate and derision it has received from fans, and is worst of all, an utterly pointless endeavour)
Review by Gabriel Chong
Genre: Action/Comedy
Director: Zhang Luan
Cast: Jackie Chan, Wei Xiang, Ce Shi, Han Yanbo, Jia Bing
Runtime: 1 hr 39 mins
Rating: PG13 (Some Violence)
Released By: Shaw Organisation
Official Website:
Opening Day: 17 October 2024
Synopsis: Jackie Chan, the legendary Kung Fu star, is invited to adopt an adorable panda cub named Huhu. Known for his unique charm and distinctive mismatched eyes, Huhu catches the attention of a notorious international crime syndicate. Determined to capture the panda, they place a massive bounty on Huhu’s head. Faced with this sudden crisis, Jackie teams up with his savvy agent, David, and the fiercely dedicated panda caretaker, Xiaozhu. Together, this dynamic trio uses their skills and clever tactics to outsmart the villains and keep Huhu safe. Get ready for an unforgettable adventure filled with unexpected twists, plenty of laughs, and the ultimate battle for the cutest treasure in the zoo!
Movie Review:
For the record, Jackie Chan is 70 years old. He has been involved in many aspects of showbiz since he stepped into the entertainment industry in the 1960s. Many know him as an actor, martial artist and stuntman. Besides his screen kung fu persona which has won him many fans, Chan is also a director, writer and producer. The man has appeared in more than 150 movies throughout his career, and while his recent works (Ride On, A Legend) are nothing like classics such as Drunken Master (1978), Police Story (1985) and Amour of God (1986), you can feel his passion for making movies at this age.
So it is with this mindset that we are reviewing this lightweight action comedy that sees Chan playing a fictionalised version of himself. The Mainland Chinese production starts off with Chan fighting off terrorists, before revealing that he is on a film set. Things get meta when his assistant (Wei Xiang) checks in with him which public engagement he’d like to take up. It’s no surprise that he chooses to adopt a baby panda (it is Mainland Chinese production after all). We’re also told that this panda is rare because its eye patches are of different sizes – we aren’t sure whether that’s the best way to explain why baddies want to get their hands on the cutie.
Anyway, we next see Chan scooting off to a location named Noah Zoo (like the ark, get it?) and he receives a very warm welcome by guests and staff. Heck, there’s even a catchy song to go with this sequence. There are shots of Chan on a jeep as it passes by CGI generated animals. It is also at this point you realise that filmmaking is no longer like before.
The female protagonist of the movie is a panda caregiver (Ce Shi), and as you’d have it, she is a great fan of Chan. What naturally happens is next is a cat and mouse game where the bad guys come after the panda and Chan tries to fight them off. And yes, the panda is also created by CGI. To prepare you further, there is also a scene with CGI rhinoceroses which we felt could have been omitted.
The 99 minute movie is a fluffy affair, and it should adequately entertain the family. There are some fight sequences that remind you of Chan’s greatest moments in past action blockbusters. The way action is combined with slapstick humour can still be seen in these scenes, but they definitely are less intense given Chan’s age. Regardless, this formula still works because there were many moments where audiences broke out in laughter during the preview screening.
One particularly sweet moment in the movie sees Chan (the fictionalised version) talking about why he is still making after all these years. He mentions that he is like us mere mortals who feel fear and uncertainty, but the director’s “Action!” will make him an on screen superhero. You can feel that Chan (the actual one) is speaking from his heart during this scene.
As with most of Chan’s movies, this one directed by Zhang Luan ends on a happy note. Too bad we don’t get to see the NG takes, but we have to understand that the man has contributed more than half a century to entertaining audiences, and there are just some things which will never be the same anymore.
Movie Rating:
(Martial arts superstar Jackie Chan is 70 years old, and we applaud him for still starring in action comedies like this to entertain the masses)
Review by John Li
SYNOPSIS: Based upon recently declassified files of the British War Department and inspired by true events, THE MINISTRY OF UNGENTLEMANLY WARFARE is an action-comedy that tells the story of the first-ever special forces organization formed during WWII by UK Prime Minister Winston Churchill and a small group of military officials including author Ian Fleming. The top-secret combat unit, composed of a motley crew of rogues and mavericks, goes on a daring mission against the Nazis using entirely unconventional and utterly “ungentlemanly” fighting techniques. Ultimately their audacious approach changed the course of the war and laid the foundation for the British SAS and modern Black Ops warfare.
MOVIE REVIEW:
Not satisfying in directing a contemporary war movie in the form of Covenant starring Jake Gillenhaal, Guy Ritchie takes his firepower back to 1942 when the Nazis was planning to take over Britain.
Based on Churchill's Secret Warriors: The Explosive True Story of the Special Forces Desperadoes of WWII by Damien Lewis and retitled to the equally mouthful The Ministry of Ungentlemanly Warfare, the latest Ritchie’s big screen effort stars Henry Cavill as Major Gus March-Phillipps. Tasked by Prime Minister Winston Churchill, Gus must lead a ragtag crew of soldiers to destroy the German’s deadly U-boats on Fernando Po in a mission dubbed Operation Postmaster.
Besides Gus, the mission also consists of Anders Lassen (Alan Ritchson), Henry Hayes (Hero Fiennes Tiffin), Freddy Alvarez (Henry Golding), Geoffrey Appleyard (Alex Pettyfer), Marjorie Stewart (Eiza González) and Heron (Babs Olusanmokun). Like the Avengers, each possess a different skillset to destroy the Nazis in particular Heinrich Luhr (Germany’s most famous export Til Schweiger), the cunning SS Commander in charge.
In the grand tradition of a Guy Ritchie’s movie, The Ministry of Ungentlemanly Warfare flirts occasionally with the director’s style of stylized dialogue, fast-paced editing and visual style although we must admit his unique style of filmmaking has shrunk over the years compared to his early years. Still, the spy drama had a great time showcasing the killing of Nazis especially Ritchson’s character who is fond of taking the hearts out of his enemies and Gus putting on a naughty face before killing everyone in the room.
Both Ritchie and his cast members are having lots of fun obviously. González had a memorable, terrific song-and-dance segment not forgetting the massive body count and major explosions happening outside while the D&D is going on. However, the unfortunate part of being cast in an ensemble flick is that some actors are going to receive the shorter end of the stick notably Golding who played a bomb expert and Alex Pettyfer portraying an intelligence officer.
The writing is straightforward so don’t go in expecting an Inglourious Basterds outing despite González and Olusanmokun’s characters had a few genuinely delightful talky scenes which amounts little to the overall effort. As a result, it might seem unsatisfying to some but we guessed Ritchie’s foremost mission is to entertain the audiences and this is by far, a top-tier old school war flick. In this case, Ritchie has succeeded in his own personal mission and also about time for Cavill to take on more leading man roles.
MOVIE RATING:
Review by Linus Tee
Genre: Drama/Thriller
Director: Boss Naruebet Kuno
Cast: Jeff Satur, Engfa Waraha, Pongsakorn “Toey” Mettarikanon, Harit “Keng” Buayoi, Srida Puapimol
Runtime: 2 hrs 11 mins
Rating: R21 (Homosexual Theme)
Released By: Golden Village Pictures
Official Website:
Opening Day: 10 October 2024
Synopsis: 'Thongkam' and 'Sek', a devoted gay couple, have worked tirelessly to build a life together, including owning a house and a durian orchard in Mae Hong Son. Tragedy strikes when Sek dies suddenly in an accident, revealing that they were never legally married in Thailand, leaving Thongkam with no rights to their assets. The house and orchard now belong to Sek's mother, who moves in with her adopted daughter 'Mo' and gardener 'Jingna'. Thongkam must now fight to reclaim the fruits of his love and labor.
Movie Review:
We should have seen it coming – for a drama that takes place on a durian orchard, it almost seemed appropriate that the king of fruits is used as an assault weapon. Without giving away too much, the is a sequence towards the end of the movie that sees a character hitting a nemesis with a durian. And we kid you not, the reaction from the audience during the preview screening of this Thai movie was unanimous. We might have been comfortably seated in the cinema, but man, seeing someone on screen hit by a durian is psychologically excruciating.
But that’s not the only highlight of the movie, which we thought was a heartwarming drama, considering that it is from Thai film studio GDH, known for feel good flicks like Thitipong Kerdthongtawee’s OMG! Oh My Girl (2022) Atta Hemwadee’s Not Friends (2023) and most recently, Pat Boonnitipat’s How to Make Millions Before Grandma Dies (2024).
We were expecting a warm and fuzzy tale, especially when the 132 minute movie starts with Thongkam (Jeff Satur) and Sek (Pongsakorn “Toey” Mettarikanon), two men who are deeply in love (hence the R21 rating), talking about their shared future on a durian orchard. The view is breathtaking, and the characters are romantically linked. Who would have thought that the movie is going to take a very dramatic turn?
When Sek dies from an accident involving a durian tree (don’t laugh), Thongkam sees Sek’s eldery mother Saeng (Srida Puapimol) moving into the house with her adopted daughter Mo (Engfa Waraha). Later in the story, Mo’s brother Jingna (Harit “Keng” Buayoi) would show up as well. This complication arises from the fact that Thongkam and Sek never sorted out the legal matters as a gay couple, and the film is probably making a statement about that in the current state of things in the country.
When we first see Saeng mourning for her dead son, it is natural to feel sad for the poor lady. But things become a little fishy when she keeps Sek’s wedding ring, and demands to sleep on the bed that he was sharing with Thongkam. You know that a soap opera is brewing, and there will be tension in the picturesque countryside backdrop.
Then we have Mo, who suddenly skips with joy when she learns that she is staying for good in the house. The scene is wickedly sinister, and sets the tone for the drama that is about to unfold. It is clear that the rest of the film will see Thongkam trying to outwit the two women, and another gay romance develops with Jingna’s appearance on the durian orchard.
Directed by Boss Naruebet Kuno, the movie showcases wonderful performances from its ensemble cast, and is melodramatically shows the desperate measures humans are capable of to achieve their selfish means. You can expect lots of shouting between characters, and all these dramatic showdowns take place in a charming backdrop. The effect on audiences is a tension filled viewing experience where you can’t be sure who to side with, as each character has his or her own sad story to tell. If put in their shoes, your ugly side will surface as well.
Movie Rating:
(An intense melodrama that exposes the dark side of human nature contrasted against the charming backdrop of a durian orchard)
Review by John Li
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MAGGIE SMITH (1938 - 2024)Posted on 28 Sep 2024 |
Genre: Horror/Thriller
Director: Colm McCarthy
Cast: Sam Claflin, Antonia Thomas, Sharon D Clarke, Steven Cree, William Hope, Adelle Leonce, Peter McDonald, Henry Pettigrew, Caréll Rhoden
Runtime: 1 hr 33 mins
Rating: NC16 (Some Coarse Language and Violence)
Released By: Shaw Organisation
Official Website:
Opening Day: 17 October 2024
Synopsis: For centuries and across cultures, parents have warned their children of the legendary Bagman, who snatches innocent children and stuffs them into his vile, rotting bag-never to be seen again. Patrick McKee (Sam Claflin) narrowly escaped such an encounter as a boy, which left him with lasting scars throughout his adulthood. Now, Patrick's childhood tormentor has returned, threatening the safety of his wife Karina (Antonia Thomas) and son Jake (Caréll Rhoden).
Movie Review:
We don’t really understand why anyone would want to live in a big house in the middle of nowhere surrounded by lush greenery. Maybe it’s the vast space it offers or the quietness of things. While we do not have a clear answer to that, the premise does provides a solid location for a horror story.
Along with his wife Karina (Antonia Thomas) and toddler son Jake (Carnell Vincent Rhodes), Patrick McKee (Sam Claflin) has to move back to his childhood home and work for his brother Liam (Steven Cree) at their family lumber yard due to some financial problems.
It’s not just the lack of money that is haunting Patrick. Someone or something sinister is making loud noises at his yard. Light starts to flicker on and off in his house and his long lost childhood carved wooden owl somehow appears in his room. Even a creepy doll is found. Patrick suspects it’s the “bagman” that is coming after Jake. The evil entity that feeds on good kids in which Patrick himself encountered when he was young is back haunting him and his family.
Bagman is portrayed as an evil folklore horror figure in the vein of The Curse of the Weeping Woman and The Babadook. Though it’s barely seen in the entire movie, it’s basically a dark hooded figure with a set of really bad teeth and carries a sack. Since Patrick’s father and the grandfathers that came before him attest to it, we believe bagman did exist even if three quarters of the movie is set in the dark.
However the movie’s biggest shortcoming is that the whole movie plays like a cheap home invasion thriller. Majority of the happenings took place in the prior said house. Loud strange noises. Flickering lights. Police being called numerous times. Patrick getting pissed. There isn’t much Sam Claflin and Antonia Thomas can do with the cliched and limited script despite the two being far more capable actors than merely putting on some shock and frustrated expressions throughout. In this aspect, the house at least performs better.
Perhaps lacking a significant budget, the “bagman” is surprisingly humanlike, sprinting to his lair with a bag on his back like an evil Santa Claus. The monster is even portrayed like a psychopath breaking and entering a premise to kidnap Jake in a truly laughable sequence. Simply put, it’s not a particularly impressive and chilling way to justify a mysterious evil entity in this manner.
Largely devoid of true scares, little creativity to the story and character development, Bagman should have relegated straight to streaming. The mythology is too basic for any horror fans to latch on even the idea seems to be an interesting one.
Movie Rating:
(Bag this into your streaming list instead)
Review by Linus Tee
Genre: Crime/Comedy
Director: Potsy Ponciroli
Cast: Himesh Patel, Lily James, Joseph Gordon-Levitt, Tim Blake Nelson, Uzo Aduba, Simon Rex, Nina Arianda, Jim Gaffigan, Joey Lauren Adams, José María Yazpik
Runtime: 1 hr 53 mins
Rating: M18 (Sexual Scene)
Released By: Shaw Organisation
Official Website:
Opening Day: 10 October 2024
Synopsis: When the eclectic residents of a small, picturesque island town must navigate a sensational murder and the discovery of a million dollars, a series of increasingly bad decisions upend the once peaceful community.
Movie Review:
Director Potsy Ponciroli and writer Mike Vukadinovich’s Greedy People is marketed as sort of a Coen brothers’ dark comedy. It has the characters, the premise and the motive. Still it lacks a certain spark to make it a memorable effort.
Will Shelley (Himesh Patel) has just relocated to a seaside town with his pregnant wife, Paige (Lily James). Working as a local cop, he’s paired up with an uncouth partner Terry Brogan (Joseph Gordon-Levitt). On his first day on the job, Will accidentally kills the wife of a local seafood entrepreneur, Wallace (Tim Blake Nelson). Terry suggests they staged the crime scene as a break-in and takes the million dollars that is lying on the floor.
Things it seem is not that simple after all. In fact, Wallace has earlier engaged the service of a hitman dubbed the Columbian to kill his wife and the money is meant for him. Apparently, no one is that decent in this small town and that includes Paige who harbours her own intention on what to do with the dirty loot.
We can’t deny the first half of Greedy People is ridiculously fun and absurd. Terry having a quickie during office hours with a married Chinese woman, watching the two cops fumbling over the crime scene. So far so good. The narrative is decent enough and it makes you curious as to what these two goons are going to do next. Hide the money and blame the crime onto Wallace who is also having an affair with his secretary before things go out of control? Maybe but maybe not.
Yet the goofy comedy elements are hampered by half a dozen characters coming to play. Let’s see. In addition to the Columbian, there’s a himbo masseuse (Simon Rex) and another low-rent hitman dubbed The Irishman (Jim Gaffigan) thrown into the frenzy. Ultimately, the only decent person in the whole movie is the town’s police chief, Murphy (Uzo Aduba).
If the first half of the movie is a comedy then the second half is well, dark. The situation soon turns unexpectedly unhinged. We are not going to spoil it for you but the onscreen nastiness might be a shock to you consider the light-hearted first half. Still, we did enjoyed the darker aspects of it despite the shift in tone. At least the filmmakers stayed true to the title. Greed after all is a dangerous thing. A couple of wrong decisions can lead to something far more deadly than you can imagined and that’s what happened to Will, Terry and Paige in the end.
Joseph Gordon-Levitt continues to be a shining beacon onscreen. He is clearly having fun playing the “bad” guy and he easily outshone his co-star Himesh Patel who is sort of muted even it marks his second pairing with Lily James after Yesterday. Honestly, Greedy People did has its fair amount of flaws with the crime and comedy elements mostly lopsided. Yet it’s overall a genuinely enjoyable effort.
Movie Rating:
(A crime dark comedy that comes much darker than expected)
Review by Linus Tee
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