Genre: Drama
Director: Christine Molloy and Joe Lawlor
Cast: Imogen Poots, Tom Vaughan-Lawlor, Lewis Brophy, Jack Meade
Runtime: 1 hr 38 mins
Rating: PG13 (Some Coarse Language and Disturbing Scenes)
Released By: Shaw Organisation
Official Website: 

Opening Day: 7 November 2024

Synopsis: BALTIMORE is based on actual events that took place on the 26 April 1974 when Rose Dugdale and three comrades carried out an armed raid on Russborough House, Wicklow, in which 19 masterpieces were stolen in an effort to support the IRA’s armed struggle. The film plays out over the course of the days following the raid, when Rose is in hiding in a remote cottage.

Movie Review:

In order to support the IRA’s armed struggle, heiress turned IRA sympathiser, Bridget Rose Dugdale and her comrades barged into the house of a Lord and swiftly round up 19 art masterpieces including a much sought after Vermeer in one of the largest art heist in history.

On paper, this sounds like an exciting gun toting affair. Besides that, the main character, Rose Dugdale is also a colourful one. A rich Oxford University graduate who also rob her own parents in order to finance her own beliefs and causes. In reality however, Baltimore also known more appropriately as Rose’s War is less of a mainstream effort if you are familiar with the works of Irish filmmakers, Christine Molloy & Joe Lawlor.

For the uninitiated, the Irish Republican Army’s (IRA) motive is to end British rule in Northern Ireland in order to create a united Ireland by using violence. Some labelled them as terrorists while others named them as freedom fighters. But whatever it is, Baltimore is primarily more of a personal account of Dugdale and even so, isn’t a fascinating account of the subject matter.

The drama jumps back and forth in time starting with the heist and taking audiences back to Dugdale’s privileged childhood, her days at Oxford and hiding in a safe house. Since the treatment is not shown in chronological order, it’s hard to keep track of the various happenings or feel emotionally invested with the jarring sequences. Despite the danger on-hand like a shopkeeper getting suspicious of Dugdale, the tension is quickly dissipated with the frequent time jump.

Baltimore deals in a lot of heavy social issues for example wealth, class and social inequality. Relevant themes that make a good story in which this crime drama is especially interested in but however lacks the proper narrative to pull it off. To worsen matters, you are not likely to know more about Rose Dugdale before or after the movie. What is the motivating factor for her to join the IRA? How did an educated, smart lady turns to violence to get what she wants? And who exactly is fellow armed revolutionary Eddie, Rose’s supposedly love interest?

The drama unfortunately leaves you with more questions than ever. Perhaps you need to check out Sean O’Driscoll's biography of Dugdale in order to get a satisfying answer. Still, Imogen Poots deserved much praise portraying the tortured activist. At times intimating, at times vulnerable. Poots is a tour de force though the movie overall could never do justice to her performance. It lacks the narrative and depth to give audiences a full picture of Rose Dugdale, her upbringing, her vision of a better world for her unborn child. Ultimately, it’s largely an unsatisfying affair.

Movie Rating:

(A disappointing artsy treatment of IRA activist Rose Dugdale)

Review by Linus Tee

Genre: Comedy
Director: Kim Chang-ju
Cast: Ryu Seung-ryong, Jin Sun-kyu, Igor Rafael Pedroso, Luan Brum De Abreu E Lima, J.B Joao Batista Gomes De Oliveira, Yeom Hye-ran, Go Kyoung-pyo
Runtime: 1 hr 53 mins
Rating: PG (Some Violence)
Released By: Golden Village Pictures
Official Website: 

Opening Day: 14 November 2024

Synopsis: Welcome! First time in the Amazon? Once an Olympic medalist in archery but now the top target for restructuring, Jin-bong (RYU Seung-ryong) heads to the Amazon to seize one last chance offered by his company. After barely surviving a life-threatening ordeal, Jin-bong arrives in the Amazon, where he meets three warriors with god-given archery skills: Sika, Eeba, and Walbu! Believing he has found a way to save himself, Jin-bong teams up with Bbang-sik (JIN Sun-kyu), a Korean-Bolédorian interpreter, and brings the three archery masters to Korea… Now, Jin-bong’s comeback depends entirely on the Amazon trio!

Movie Review:

Amazon Bullseye marks the reunion of stars Ryu Seung-ryong, Jin Sun-kyu and screenwriter Bae Se-yeong after their ultra-successful Extreme Job. Though it’s far from being a big hit when it was released earlier last month in its native Korea, local audiences will still find a lot to love about this feel-good comedy.

Jo Jin-bong (Ryu) is a former national team archer and is now working as a lowly office worker in an international company. With a wife and three young kids to support, Jo has to endure the antics of his arrogant young boss or faced being restructured or worse, ending up working in a chicken shop, an obvious reference to Extreme Job. Thus his latest assignment is to fly to a fictional South America continent, Boledor to train the national archery team in exchange for its lucrative gold-mining rights.

However an unexpected helicopter crash leads Jo to a village whereby he meets three Amazon tribespeople with natural talent in archery. With the help of a local translator, Bbang-sik (Jin), Jo decides to train the trio to be members of the archery team. Basically at this juncture, you know Amazon Bullseye is going to be an underdog sports comedy.

And indeed it is.

Don’t get us wrong though. The pacing of Amazon Bullseye is relentless that you probably won’t feel the 113 minutes runtime to be much of a stretch. Bae piles the narrative with endless jokes that each scene has it’s very own distinctive gag. The first half involves mainly some fish-out-of-water humour and cultural clashes. First among many being one of the natives being caught for fishing in Cheonggyecheon River in Seoul city and the guys roasting a chicken in Jo’s apartment. There’s this sense of goofiness and innocence from the Amazonian warriors that helps things light and enjoyable including a lovable scene where they help tame a charging wild boar in a forested camping area.

Jin likely steals every scenes he is in with his portrayal of a second-generation Korean living in Boledor. His comic timing is almost flawless and his attempt to ham things up with all the slapstick body movements only makes things funnier. Ryu on the other hand simply needs to put on a straight face followed by some fainting antics and its enough to draw in the laughs. Credit must also go to Yeom Hye-ran for playing Ryu’s onscreen domineering wife who chips in some rowdy humour. The Brazilian actors are brilliant in their chemistry with Ryu and Jin as well.

While the comedy consists of some serious messages of persevering the presence of natives and their homeland and also an extended detour of the warriors being kidnapped, it’s also the weakest link in this comedy. Even archery as a sports is constantly shown onscreen, the hilarious antics of the characters easily outshone it. Instead, Amazon Bullseye will likely be remembered for the cast solid comic performances and chaotic humour. Forgettable but very entertaining for movie-goers expecting a fun time at the cinemas.

Movie Rating:

(Definitely hits the bullseye when it comes to comedy, just don’t go in expecting anything else)

Review by Linus Tee

Genre: Drama
Director: Chan Mou Yin, Anselm
Cast: Dayo Wong, Michael Hui, Michelle Wai, Catherine Chau, Tommy Chu, Paul Chun, Elaine Jin, Rosa Maria Velasco, Rachel Leung, Michael Ning, Chung Suet Ying
Runtime: 2 hrs 6 mins
Rating: NC16 (Sexual Scene and Some Mature Content)
Released By: Golden Village Pictures
Official Website: 

Opening Day: 28 November 2024

Synopsis: Despite the pandemic sending most industries into recession, debt-ridden wedding planner Dominic (Dayo WONG) gets a miraculous chance to turn things around when a funeral planner retires and passes the baton to him. His creative gimmicks for funerals help his business find unexpected success, but Dominic’s biggest obstacle is winning the approval of respected and sternly traditional Taoist priest, Master Man (Michael HUI).

Movie Review: 

This Hong Kong drama has broken the local single day box office record, and it is not difficult to understand why. While the movie title refers to a common ritual in Hong Kong funerals where a Taoist priest frees souls of the dead and help them reincarnate, the film actually tells a universal story about family bonds that speaks to audiences, and that’s probably why people are heading to the theatres to watch something they can relate to.

Directed by Anselm Chan, the movie earned HKD 6 million on its opening day, breaking the record for the highest opening day gross for any Hong Kong movie. Thanks to rave reviews and word of mouth, the box office is expected to soar even higher.

And the movie is worthy of the hype, also largely because of its two leading men Dayo Wong and Michael Hui. Known also for their comedy roles, Wong and Hui are playing more serious characters in this drama.

Wong, who made a mark with A Guilty Conscience last year with its HKD 115 million box office earnings, continues his streak here by taking on the role of a man who switches from being a wedding planner to a funeral planner. Hui, who was recently crowned Best Supporting Actor at the 2023 Hong Kong Film Awards for his performance in Philip Yung’s Where the Wind Blows, is going to wow critics with his portrayal as a stubborn Taoist priest.

The two men’s paths cross when Dominic (Wong) becomes a partner in the funeral business and has to manage the expectations of Master Man (Hui), who is a firm believer that traditions shouldn’t be compromised. For example, he frowns upon the possibility of females performing funeral rituals because menstruation makes them unclean. This is something we may joke about in real life, but there are probably old timers who refuse to adjust their beliefs.

Things get interesting when Dominic’s modern approach of event planning clashes with Master Man’s traditional way of handling more delicate matters. It is also an opportunity for the screenplay to feature individual stories which bring different emotions to the viewers. There is a mourning mother (Rosa Maria Velasco) who wants to mummify her dead son, with the hope that advancements in technology may bring the child back to life. There is also a husband (Michael Ning) who prioritises his business over making the arrangements for his deceased wife, while the dead woman’s female soulmate (Rachel Leung) is desperately yearning for closure. These stories, some of which are inspired by real life incidents, will easily move you.

What’s also especially poignant are Dominic and Master Man’s stories. Dominic is a man who isn’t ready to commit to a family unit with kids, which affects his relationship with his girlfriend (Catherine Chau). Elsewhere, there is growing tension in Master Man’s family as his son (Tommy Chu) and daughter (Michelle Wai) face problems at home and outside the seemingly cosy unit they stay in.

As the 126 minute movie progresses, it successfully tugs at your heartstrings and makes you think about the things about your family that you hold dearest to your heart.

Movie Rating:

(Boasting compelling performances from Dayo Wong and Michael Hui, this poignant drama invites you to reflect on the value of family and what truly matters in life)

Review by John Li 

Genre: Drama/Biography
Director: Thomas Napper
Cast: Haley Bennett, Tom Sturridge, Sam Riley, Natasha O'Keeffe, Ben Miles, Paul Rhys, Anson Boon, Cecily Cleeve
Runtime: 1 hr 31 mins
Rating: M18 (Sexual Scene and Some Nudity)
Released By: Shaw Organisation
Official Website: 

Opening Day: 14 November 2024

Synopsis: After her husband's untimely death, Barbe-Nicole Ponsardin Clicquot flouts convention by assuming the reins of the fledgling wine business they had nurtured together. Steering the company through dizzying political and financial reversals, she defies her critics and revolutionizes the champagne industry to become one of the world's first great businesswomen.

Movie Review:

Unless you enjoy the finer things in life, you probably never heard of Veuve Clicquot (Veuve means widow by the way), one of the finest champagne houses from France. Second unit director turned director Thomas Napper helmed this biography about the founder, Barbe-Nicole Ponsardin in which the story is adapted from “The Widow Clicquot: The Story of a Champagne Empire and the Woman Who Ruled It” by Tilar J. Mazzeo.

At the age of 27, Barbe-Nicole Ponsardin Clicquot (Haley Bennett) took over the champagne business after the death of her husband, Francois (Tom Sturridge). Francois’ father, Philippe (Ben Miles) on the other hand wants to sell the vines to fellow competitor, Moët but Barbe-Nicole refuses, insisting that the business is willed to her by her late husband. At the end she is given a year to prove herself.

The champagne house is in financial hardship and the Napoleonic embargoes make things even harder. However, Barbe-Nicole has an alliance in the form of wine distributor, Louis Bohne (Sam Riley). With her new technique in creating a new line of champagne and Bohne’s witty salesmanship, there might be hope for Barbe-Nicole to revive the flagging business after all.

Told in a non-linear fashion, Widow Clicquot gears towards the portrayal of a strong woman who withstands an oppressive society to become the Grande Dame of Champagne. Haley Bennett is stunning, commanding the screen with an equal amount of determination, beauty and eloquence since she is in practically every scene of this drama. The movie skilfully showcases the capability of a woman in late 1700s France with the men surrounding her liked hungry vultures awaiting for their share of the meat.

Instead of solely focusing the story on Barbe-Nicole rise in the industry, the drama relies heavily on repeated flashbacks detailing Francois’ romanticism and his slow descend into madness which resulted in his death possibly from suicide although it was listed officially as typhoid. The champagne business is definitely an interesting one. It’s a pity that Napper and screenwriter Erin Dignam choses to ignore the technical aspects of it and simply gives audiences a mere glimpse into the production process.

Besides Bennett, there’s also Sam Riley who turns in a fine performance as Francois’ best friend and Barbe-Nicole’s secret lover in the later part of their business relationship. There isn’t much of a payoff in their romance noting that it’s scandalicious at that time for a widow to be acquitted with a man. An abrupt court scene involving Barbe-Nicole being accused of being unfit to run the business comes across more as a filler to end the movie on a high note.

For all its flaws, Widow Clicquot is a beautiful biography to sit through. There’s a mix of feminism, romance, tragedy and fine period elements thrown in. If it’s giving you some Joe Wright vibes, yes indeed it’s produced by Wright and Bennett happens to be his partner off-screen as well. Clearly, this is a movie that deserved more screen time given the brief 88 minutes runtime feels unsatisfactory to a certain extent. Perhaps the filmmakers are hinting us to go out and try out some yellow-label Veuve Clicquo.

Movie Rating:

(Widow Clicquot is not exactly sparkling material but it’s fizzy enough to quench your thirst)

Review by Linus Tee

Genre: Action/Fantasy
Director: Brian Taylor
Cast: Jack Kesy, Adeline Rudolph, Jefferson White, Leah McNamara, Joseph Marcell, Hannah Margetson, Martin Bassindale
Runtime: 1 hr 39 mins
Rating: NC16 (Violence and Some Nudity)
Released By: Shaw Organisation
Official Website: 

Opening Day: 12 December 2024

Synopsis: From the visionary director, writer, and producer Brian Taylor (Crank, Happy!), this film brings a chilling tale of survival against the forces of darkness. Set in the 1950s, rookie BPRD agent Bobbie Jo Song finds herself in a dire situation when tasked with delivering a spider to the Bureau of Paranormal Research and Defense. She must enlist the help of Hellboy to confront the malevolent Crooked Man, who has returned to Earth to harvest souls for the devil.

Movie Review:

Despite the mediocre box-office returns, director Guillermo del Toro gave us the best live-action adaptations of Mike Mignola’s creation, Hellboy. A total of two except the largely forgotten third one which starred David Harbour.

Enlisting the help of Mignola, our favourite half-demon returns for the fourth time in an outing that costs a meagre US$20 million to produce considering the first two easily costs three times as much.

Brian Taylor who is famous for the Crank series and the sequel to Ghost Rider took on directing duties. Not a good choice by any standard. Anyway, Hellboy: The Crooked Man opens with a frenetic action sequence with Hellboy (Jack Kesy) and his colleague Bobbie Jo Song (Adeline Rudolph) tracking down a supernatural, shapeshifting spider after it escaped from a crate. The opening sequence is impressive and at least, it gets your hopes up high for a while.

Unfortunately, the low-budget affair soon turned into an overlong exposition involving a man named Tom Ferrell (Jefferson White from Yellowstone) who is apparently some sort of man witch and our two Bureau for Paranormal Research and Defense agents have to assist him in getting rid of his curse, dealing with the crooked man (Martin Bassindale) who trades souls to the devil and his bunch of annoying sidekicks, the witches.

On paper, there are enough things to keep Hellboy as busy as a bee. But for a 90 minutes or so movie, there’s little to no story developments that keep audiences invested. We are not going to pretend we have read Mignola’s original works but when you compare this to the del Toro’s versions, The Crooked Man is a complete snoozefest. There’s a prolonged scene that takes place in a house where Hellboy, Jo and Tom just go on and on about some witchcraft stuff. The stillness is only interrupted by the appearance of Effie Kolb (Leah McNamara), a witch and Tom’s dead ex-girlfriend, Cora (Hannah Margetson) suddenly comes to life in a terrifying way.

If we are pampered by del Toro’s generous introductions to various colourful creatures and monsters lurking in Hellboy’s world, we are afraid the limited budget means even the main villain looks like a generic creepy devil from any other generic horror movies and there’s nothing else on the plate to deliver the imagination and magical which the originals delivered.

To replace the lavish CGI and creature effects, Taylor makes use of traditional horror tactics such as loud music cues and cheap jump scares to justify for the ticket price. There’s frequent usage of traumatic and threatening visions in the finale which feels increasingly lethargic to the extend that this version of Big Red seems less powerful in the hands of Taylor and Mignola.

To be fair, Jake Kesy is fine in the role of Hellboy. The story is set in 1959 and it’s more appropriate to cast a younger lead. Well in the end, it all boils down to the script. The narrative here works better if it is a 45 minutes feature. There are also no Abe Sapien nor Johann Krauss to liven up things and mostly, the entire outing looks drab and dreary without an ounce of fun. It’s a good try just not one that Hellboy fans are looking for.

Movie Rating:

(Witness the dullest Hellboy outing ever)

Review by Linus Tee

A Very Short Review on HOUGANG THE DOCUMENTARY Posted on 05 Nov 2024 Disclaimer: This is not an endorsement of any political party. As a former Hougang resident, I must say Hougang the Documentary is a well-shot, well-defined documentary on the rich history of Hougang. Of course, the journey of how The Workers’ Party makes its mark on the political scene with the winning of Hougang SMC by Mr. Low Thia Khiang in the 1991 General Elections is also a hig ... more

Genre: Sci-Fi/Fantasy
Director:  S.K. Dale
Cast: Megan Fox, Michele Morrone, Madeline Zima, Matilda Firth, Andrew Whipp, Atanas Srebrev, Manal El-Feitury
Runtime: 1 hr 51 mins
Rating: R21 (Sexual Scenes)
Released By: Shaw Organisation
Official Website: 

Opening Day: 28 November 2024

Synopsis: With his wife in the hospital, a struggling father purchases a domestic AI to help simplify his home. But as the lifelike robot grows attached to her new owner, boundaries are crossed. Soon she becomes determined to eliminate what she perceives as the true threat to his happiness: his family.

Movie Review:

AI going rogue? Yah we have seen them in I, Robot, Ex Machina, Terminator of course and the recent M3gan. Now a lifelike android aka sim named Alice in the form of Megan Fox is wrecking havoc on an ordinary suburban family in Subservience.

Nick (Michele Morrone), a construction foreman whose wife, Maggie has been hospitalised for a heart condition resorts to buying a robot to take care of his three C’s, cooking, cleaning and childcare. Things get complicated when Alice starts to seduce Nick and when Maggie came home after a heart transplant, Alice becomes increasingly jealous of Maggie’s presence and turns incredibly violent and dangerous.

Subservience on the whole is built on familiar ground, entertaining for the most part yet predictable. The movie by S.K. Dale isn’t blessed with a generous budget but he knows how to work around to deliver a few decent scenes including serviceable CGI and makeup effects.

There’s a major subplot involving Nick’s construction team being replaced by sims. This could be a smart move in an otherwise formulaic movie but the screenplay doesn’t help in addressing the issue in the end except pulling a brief action sequence involving Nick’s over zealous co-worker.

The most entertaining (hilarious) aspect however is the level of eroticism and the ridiculous clunky dialogue like “You put your dick in her!”. Is it consider as adultery when Alice the humanlike robot offers sex to Nick and even offering to take Maggie’s place in terms of intimacy given her poor health. This is by far the most interesting question ever posed by an AI related movie but the narrative is too shallow to deliver further.

Even crazier is the finale which has Alice turning up Terminator-like to destroy Maggie and her daughter in a hospital. Let’s face it. First of all, you are not going into Subservience for the story. Secondly, Megan Fox certainly impresses as the sexy robotic housemaid and that probably accounts for the entire ticket price.

Movie Rating:

(An almost barebones tale of AI wrecking havoc)

Review by Linus Tee

Genre: Thriller
Director: Scott Beck, Bryan Woods
Cast: Hugh Grant, Sophie Thatcher, Chloe East, Topher Grace, Elle Young
Runtime: 1 hr 50 mins
Rating: NC16 (Violence and Religious References)
Released By: mm2 Entertainment
Official Website: 

Opening Day: 12 December 2024

Synopsis: Two young missionaries are forced to prove their faith when they knock on the wrong door and are greeted by a diabolical Mr. Reed (Hugh Grant), becoming ensnared in his deadly game of cat-and-mouse. 

Movie Review:

There was a time when English actor Hugh Grant was the man to go to if you wanted a leading man in a romance flick. With his distinct British accent, coupled with a refined yet slightly self deprecating tone, it is no wonder that he was considered a heartthrob with roles in movies like Four Weddings and a Funeral (1994), Notting Hill (1999), Bridget Jones’ Diary (2001) and Love Actually (2007). These were characters he played during his 30s and 40s.

Fast forward to 2024 and we can tell that Grant has aged like fine wine. At 64 years old, he has been taking up roles which are against your typical romantic gentleman type. He was hilarious as an arrogant actor in Paddington 2 (2017), flaunted his riches as a flashy arms dealer in Operation Fortune: Ruse de Guerre (2023), and was wackily entertaining as an Oompa Loompa in Wonka (2023).

With his latest role in this psychological horror movie, Grant goes one notch higher. He gets to exude his charm while playing an extremely dangerous man. And at the time of writing, his performance has been nominated at the 82^nd Golden Globe Awards and 30^th Critics Choice Awards. It'll be nice to see him recognised with some Best Actor trophies this award season.

Directed and written by American filmmaking duo Scott Beck and Bryan Woods (known for their work on the story and co written screenplay in 2018’s A Quiet Place), the movie’s premise is simple yet intriguing. When the film begins, we see two young missionaries of the Church of Jesus Christ of Latter-day Saints (played with conviction by Sophie Thatcher and Chloe East) talking about condoms (great way to captivate the audience), before they arrive at the home of a reclusive middle aged man (Grant) whom we will only know as Mr Reed.

Because of the heavy rain, the two young ladies are invited into the house where Mr Reed tells them that his wife is preparing a blueberry pie at the back of the house. Feeling assured, the missionaries make themselves comfortable in the living room and begin conversing with their host.

As a viewer, you’d know that something is fishy when Mr Reed begins to weave in uncomfortable comments about the Mormon religion. You can see that the missionaries are feeling awkward too. They try to excuse themselves, but you know it isn’t going to be successful. In fact, Grant’s irresistible charisma works well here, because he is such a smooth talker who is effortlessly engaging, and you’d want to see what he exactly has up his sleeves.

When the story brings the three characters to Mr Reed’s study and eventually his foreboding basement, we were holding our breath with anxiety, but also wanting to listen to Mr Reed as he goes on about his views on religion. There is an analogy involving the famous board game Monopoly that allows Mr Reed to effectively bring across his point like a persuasive salesman, and dare we say it, in an extremely appealing manner that may have some people agreeing with him.

Grant probably had the time of his life playing Mr Reed, and it is clearly the best part of the talky movie. While it is unlikely that your views on faith will be shaken, you’d be captivated by Grant’s signature allure.

Movie Rating:

(Despite playing the baddie in this religious horror flick, Hugh Grant effortlessly charms his way into our hearts again with his delightful charisma)

Review by John Li 

SYNOPSIS: In this fresh coming-of-age story, an 18th birthday mushroom trip brings free-spirited Elliott (Maisy Stella) face-to-face with her wisecracking 39-year-old self (Aubrey Plaza). But when Elliott’s “old ass” starts handing out warnings about what her younger self should and shouldn’t do, Elliott realizes she has to rethink everything about family, love, and what’s becoming a transformative summer.

MOVIE REVIEW:

People keep saying My Old Ass is the new Aubrey Plaza (Parks and Recreation, Agatha All Along) new comedy. Yes it is. But she is also not on screen for most of the time. The honour goes to Canadian singer Maisy Stella who puts in a pleasant performance as Elliott in this coming-of-age, feel-good comedy.

Elliott (Stella) is turning 18 and before she goes to college, she is going camping with her besties and getting high on psychedelic mushrooms. Shortly, she is visited by her older self (Plaza) who instead of advising her on which company to invest in after Apple advised her to stay away from anyone named Chad. It sounds cryptic and unreal. Maybe it’s just the shrooms. Anyway Elliot is gay so what’s the big deal.

Days after, she met a lanky, long-haired guy named Chad who happens to work as a summer worker at her dad’s cranberry farm. Chad is smart, wise and funny. And Elliott is slowly mesmerised by this mysterious guy whom her older self is asking to avoid. Why and what is happening in this comedy written and directed by Megan Park.

Forget about any time-travelling shenanigan or supernatural element because there are none. The older self gimmick is never explained but trust us, that is not really relevant here.

There are a couple of meaningful themes being discussed here liked the older Elliott advising young Elliott to spend more time with her family members aka her neglected parents, her golf-loving brother Max and as result of being a selfish, distanced teenager who cares less about her family, she is the last to know that her dad is actually selling away their family owned cranberry farm.

We also loved the heartfelt conversation Elliott had with her mother, the somewhat sombre reunion older Elliott had with Chad etc. My Old Ass can be easily categorised as a crude teens comedy about modern sexuality but the narrative hits one on many levels whether it’s emotional or funny liked the Justin Bieber music video spoof.

As mentioned prior, Maisy Stella is a delight as the bubbly teen while Plaza does her usual deadpan comedy with the limited screen time though she is rather impressive in the acting range especially in the finale scene. Running less than 90 minutes, My Old Ass is more about facing your own remorse and regrets rather than running away from it. It’s a cute and touching movie that even old asses will enjoy.

MOVIE RATING:

Review by Linus Tee

STARRING ANGELINA JOLIE'S LIPS Posted on 13 Nov 2024 Angelina Jolie stars in a new video ad campaign for Tom Ford Beauty’s Runway Lip Color. Truly, she is the only celebrity with such an iconic lip to showcase this product. Take a look at the video below: ... more