Genre: Adventure/Action
Director: Barry Jenkins
Cast: Aaron Pierre, Kelvin Harrison Jr., Tiffany Boone, Kagiso Lediga, Preston Nyman, Mads Mikkelsen, Thandiwe Newton, Lennie James, Anika Noni Rose, Keith David, John Kani, Seth Rogen, Billy Eichner, Donald Glover, Blue Ivy Carter, Braelyn Rankins, Theo Somolu, Folake Olowofoyeku, Joanna Jones, Thuso Mbedu, Sheila Atim, Abdul Salis, Dominique Jennings, Beyoncé Knowles 
Runtime: 1 hr 58 mins
Rating: PG
Released By: Walt Disney
Official Website: 

Opening Day: 19 December 2024

Synopsis: Exploring the unlikely rise of the beloved king of the Pride Lands, “Mufasa: The Lion King” enlists Rafiki to relay the legend of Mufasa to young lion cub Kiara, daughter of Simba and Nala, with Timon and Pumbaa lending their signature schtick. Told in flashbacks, the s tory introduces Mufasa as an orphaned cub, lost and alone until he meets a sympathetic lion named Taka — the heir to a royal bloodline. The chance meeting sets in motion an expansive journey of an extraordinary group of misfits searching for their destiny — their bonds will be tested as they work together to evade a threatening and deadly foe.

Movie Review:

If you did not think much of the 2019 remake of Disney’s beloved 1994 movie The Lion King, it is unlikely that you will show much love to this movie that is both a prequel and a sequel. Many people had qualms about how the photorealistically animated animals lacked the heart of the original movie directed by Roger Allers and Rob Minkoff, and didn’t bring anything refreshing to the table.

Damn the naysayers, because the movie still went on to make $1.6 billion internationally during its theatrical run, and even garnered nominations at several film awards. With this success, why wouldn’t Disney give the greenlight for this latest instalment in the franchise?

Adding credibility to the project is Oscar Best Director Barry Jenkins (Moonlight, If Beale Street Could Talk), who took over the role of the director from Jon Favreau. The screenplay written by Jeff Nathanson tells the story of how a young Mufasa lost his family in a flood and meets Taka, a fun and compassionate cub. Taka also happens to be the heir to a royal bloodline. The two bond and eventually find themselves on a journey with Sarabi (fans would know she and Mufasa would give birth to Simba), Rafiki the wise mandrill who keeps emphasising that he is not a baboon and Zazu the chatty hornbill who loves giving update reports.

The story is mostly told in flashbacks by an older Rafiki to Simba’s daughter Kiara while Simba and Nala are away expecting their second cub. Throughout the storytelling, Timon and Pumbaa provide comic relief. This is probably the filmmakers’ approach to increasing fan appeal by bringing back the original voice cast members Donald Glover, Beyoncé Knowles- Carter, Seth Rogen, Billy Eichner and John Kani. To add even more star power, Beyoncé’s daughter Blue Ivy Carter voices Kiara.

For most of the 118 minute movie, you will be hearing Aaron Pierre as Mufasa and Kelvin Harrion Jr as Taka – and no prizes for knowing that he will become Scar. Elsewhere, Anika Noni Rose and Keith David voice Mufasa’s parents, while Thandiwe Newton and Lennie James take on the roles of Taka’s parents. Danish actor Mads Mikkelsen does a great job voicing a menacing white lion, and even gets to sing a silly song titled “Bye Bye”.

The soundtrack features new tunes by Lin-Manuel Miranda, and while they are not as iconic as Academy Award Best Original Song “Can You Feel The Love Tonight”, the music does remind us of the songwriter’s Broadway sensation Hamilton. This is especially so for Mufasa and Sarabi’s duet “Tell Me It’s You”. We are also playing Mufasa and Taka’s infectious “I Always Wanted A Brother” on loop. Nicholas Britell’s compositions incorporate themes from Hans Zimmer’s Academy Award Best Original Score, which alleviate the viewing experience. South African musician Lebo M also returns to providing soaring vocals and performances.

One thing about the 2019 movie was that viewers knew exactly how the story was going to progress. What we liked about this sequel and prequel is that while we are aware of what the story is leading towards, it is a fresh viewing experience.

The plot may develop in a predictable manner (you can expect how Scar got the scar over his eye and how Pride Rock was formed), but we are mesmerised by the breathtaking visuals – especially how they are magnificently presented on an IMAX screen. There are also notably more close up expressions of the talking animals in this movie. It’s true that the photorealism will not capture the same magic as the original animated film, but it still serves as an effective storytelling tool to make this movie an engaging experience.

Movie Rating:

(You may know how Mufasa and Taka's story is going to turn out, but you will still be entertained by Lin-Manuel Miranda's songs and awed by the movie's breathtaking and stunning landscapes)

Review by John Li 

SYNOPSIS: A band's lead singer Jiang Siwang (Aaron Kwok) , leaves his daughter, Jiang Lu (Yingying Lan), unexpectedly after his fatal car accident. But he is reborn as a dog twenty years later. Now he gets to spend the time with his daughter that he couldn't when he was still a human in this tear-jerking family film.

MOVIE REVIEW:

While critics are certainly not fans of Andy Lau, Louis Koo and Aaron Kwok's acting chops. At least they should be lauded for their working antics.

Kwok’s third outing for the year sees him playing Jiang Siwang, a simple sugar factory worker and doting father to seven year old Jiang Lu. Siwang is no ambitious man, his passion is being an amateur musician and most importantly, he just wants her only daughter to be happy. Unfortunately, a freak accident causes him to lose his life and Lu to lose her beloved father.

For whatever unexplained reason, Siwang returns as a furry orange dog two decades later and went on to look for his now adult daughter (Lyric Lan). Lu is now a has-been pop star apparently she hasn’t had a hit since her debut. Thus papa or in this case, doggy Wang has to find a way to encourage Lu and also hoping to finally reconcile with her.

Woof Woof Daddy is one of those light weight comedies that relies on the cuteness of a CGI animal to carry the movie. Obviously the animal in question looks more like a cartoon dog than a real one. It simply has that Garfield or Scooby Doo in a live-action movie kind of vibes. You have to decide if this is a distracting factor or not.

Anyway, the canine flick tries to be equally saccharine and heartwarming given the storyline hovers solely around a father-and-daughter relationship. The dad wishes to make up for lost time by providing support and encouragement to his daughter who has sort of given up in life. The fantasy channels whimsical charm as doggy Wang has to convince Lu by using “sign” language and some other clever antics.

Woof Woof Daddy is not that kind of movie that makes a lot of sense though. Perhaps to escape China’s strict censorship regarding any supernatural theme, there’s no mention of reincarnation or why is there an obese man governing the afterlife.

Still as charming as ever, the 59 year old Kwok is convincing enough as the hapless father. We are not that familiar with the works of Lyric Lan but the young actress is pretty easy on the eyes. Laughingly, Taiwanese actor Wang Dalu forgettably cameos as Lu’s no-good boyfriend cum manager.

If you are not expecting much, Woof Woof Daddy will resonates with those looking for a well-meaning fantasy drama. It has a somewhat cute CGI animal, some song routines and an affectionate theme. We heard the movie was filmed way back in 2021 but to us, Kwok is still a hardworking, prolific soul given his heavenly status in the industry.

MOVIE RATING:

Review by Linus Tee

SYNOPSIS: In the most unlikely of places, four siblings find a loving shelter in an unexpected turn of circumstances. This endearing comedy-drama draws inspiration from actual events and deftly crafts a gripping story that unites everyone.

MOVIE REVIEW:

With the release of Nutcrackers, Ben Stiller finally returns to the screen as a leading man after an absence of seven years while director David Gordon Green also makes a comeback to helming an indie drama after doing a series of studio horror movies.

Stiller plays Michael, a single hot-shot real estate manager based in Chicago has to head down to rural Ohio over the weekend in his flashy Porsche to settle some paperwork regarding her late sister Janet’s farmhouse.

But there’s more to settle besides signing a couple of papers, Janet’s kids or Michael’s nephews— Justice (Homer Janson), Junior (Ulysses Janson), Samuel (Atlas Janson) and Simon (Arlo Janson) are currently without a guardian and Gretchen (Linda Cardellini), the social worker in charge of handling the case has to entrust Michael to take care of the kids for the time being until a foster home is found.

Nutcrackers is oddly marketed as a Christmasy movie consider there’s isn’t much of anything to connect it with the holiday. In fact, there isn’t much of a plot to begin with. Leland Douglas’ screenplay lacks much creativity and laughs to sustain the entire 104 minutes. Not an excessively long runtime to begin with anyway.

Much of the comedy arises from the brothers mischievous acts which probably arises from the fact they don’t respond well to strangers than a severe case of ADHD. The long-haired Janson brothers while being newcomers to the Hollywood scene are largely charming reminding us of the nineties pop band, Hanson.

Stiller’s acting has matured over the years since playing Gaylord "Greg" Focker in the Meet the Parents franchise. He maintains a well-liked presence here playing the absence uncle who tries hard to make up for lost time. There’s two amusing moments which has Michael trying his best to impart some sex education to the boys and telling a badass action violent bedtime story. These clever moments are little compared to the out of control fart gags.

Together with Douglas’ lacklustre screenplay, Green’s muddled direction fails to deliver the laughs and heart in this supposedly heartwarming drama. The nutcrackers part arrives in the finale though it does struggle to deliver the connection despite a decently choreographed ballet sequence. Overall, Nutcrackers is so indie, so forgettable, so bland that we hope it’s just Stiller and Green stretching their arms and legs to better things to come.

MOVIE RATING:

Review by Linus Tee

Genre: Action/Adventure
Director: Jeff Fowler
Cast: Jim Carrey, Ben Schwartz, James Marsden, Tika Sumpter, Idris Elba, Colleen O’Shaughnessey, Natasha Rothwell, Shemar Moore, Adam Pally, Lee Majdoub, Alyla Browne, Krysten Ritter, Keanu Reeves
Runtime: 1 hr 50 mins
Rating: PG (Some Violence)
Released By: UIP
Official Website: 

Opening Day: 26 December 2024

Synopsis: Sonic the Hedgehog returns to the big screen this holiday season in his most thrilling adventure yet. Sonic, Knuckles, and Tails reunite against a powerful new adversary, Shadow, a mysterious villain with powers unlike anything they have faced before. With their abilities outmatched in every way, Team Sonic must seek out an unlikely alliance in hopes of stopping Shadow and protecting the planet. 

Movie Review:

After somewhat sidelining the piece de resistance of its predecessor, this third chapter redeems the faults of the last sequel by not only restoring Jim Carrey at its front and centre, but also delivering a double helping of his rubber-faced comedic greatness that we haven’t seen from him since the 1990s. Oh yes, Carrey plays not one but two roles here: the familiar Dr. Ivo “Eggman” Robotnik, Sonic’s human nemesis from the earlier movies; and Ivo’s 110-year-old grandfather Gerald Robotnik, who turns out to be even more demented than Ivo himself.

We’d say categorically that Carrey is the very reason this film is the best entry of the series yet. Clearly relishing the opportunity to let himself go, Carrey has wild fun cranking up the interplay between the older and younger Robotnik. “It’s like watching two characters in a movie played by the same person!” he exclaims in meta fashion at their first meeting, and you can imagine that piece of wink-wink dialogue could only have come from Carrey; ditto the other fourth-wall breaking lines like “I haven’t seen that since I hate-watched Green Lantern in 2011”. In fact, we dare say that Carrey’s self-aware, spoofy shtick has more manic energy than the frenetic CGI set-pieces, which the movie could frankly do less of.

Starting with the opening sequence of the red-striped Shadow breaking out of the maximum-security Prison Island, ‘Sonic the Hedgehog 3’ zips along at lightning speed from one CGI action scene to the next.

Against the neon lights of Tokyo, Sonic (Ben Schwartz) and his pals, Knuckles (Idris Elba) and Tales (Colleen O’Shaughnessey), encounter for the first time the sheer chaos energy that Shadow possesses, and realising how none of their powers alone is match for that of Shadow.

Against the River Thames in London, our super-critter-hero team get some help from Sonic’s adoptive parents, Tom (James Marsden) and Maddie (Tika Sumpter), to break into GUN headquarters and steal the other half of the key for a cataclysmic weapon the elder Robotnik had built before the Robotniks do so.

And last but not least, against Earth in outer space, the ultimate showdown unfolds in a race against time to stop the very destruction of our planet itself.

Despite boasting a trio of writers (credited to Pat Casey, Josh Miller and John Whittington), the plotting is simple, functional and even silly; that the result is as diverting as it is reflects what director Jeff Fowler has perfected over the course of the trilogy – that is, delivering a fast-paced blend of action and slapstick comedy that is so delightfully breezy you wouldn’t care that it is anything less.

It is to Fowler and his behind-the-line production team’s credit that this live action-animation hybrid looks as compelling as it does, what with its vibrant colours and impressively seamless visual effects. Like we said, Fowler rightfully places Carrey at the forefront of this movie; and besides Carrey, the other stroke of casting genius is getting Keanu Reeves to voice Shadow, the actor bringing his signature gravelly ruefulness to the role.

As far as live-action video game adaptations go, you could do a lot worse than ‘Sonic the Hedgehog 3’. No one should expect it to be any more than CGI-boosted family-friendly popcorn entertainment, and that it does and more, thanks to a double dose of Carrey’s wild-man energy. It speaks to his commitment that Carrey doesn’t phone it in, investing instead commitment, creativity and vigour into a physical showcase of comedic ingenuity. It is a virtuoso double act all right, and while fans will no doubt be looking forward to a certain anthropomorphic pink hedgehog that appears in the post-credits tease, we sure hope when the next sequel swings along that Carrey finds his way back into the series.

Movie Rating:

(Electrifying fun - thanks to a double dose of Jim Carrey's comedic greatness)

Review by Gabriel Chong

SYNOPSIS: The story of Christopher Reeve is an astonishing rise from unknown actor to iconic movie star, and his definitive portrayal of Clark Kent/Superman set the benchmark for the superhero cinematic universes that dominate cinema today. Reeve portrayed the Man of Steel in four Superman films and played dozens of other roles that displayed his talent and range as an actor, before being injured in a near-fatal horse-riding accident in 1995 that left him paralyzed from the neck down. After becoming a quadriplegic, he became a charismatic leader and activist in the quest to find a cure for spinal cord injuries, as well as a passionate advocate for disability rights and care - all while continuing his career in cinema in front of and behind the camera and dedicating himself to his beloved family. From the directors of McQueen, Ian Bonhôte and Peter Ettedgui, this film includes never-before-seen intimate home movies and an extraordinary trove of personal archive material, as well as the first extended interviews ever filmed with Reeve’s three children about their father, and interviews with the A-list Hollywood actors who were Reeve’s colleagues and friends. The film is a moving and vivid cinematic telling of Reeve’s remarkable story. 

MOVIE REVIEW:

Before people liked Henry Cavill, Brandon Routh and Dean Cain donned the infamous red undies, there was George Reeves and of course, Christopher Reeve (no relation to George). The latter will go on to play the memorable role of Clark Kent/Superman for four times on the big screen making Reeves as the most recognisable actor to play the comic superhero.

2024 marks the twentieth anniversary of Reeve’s death and Super/Man: The Christopher Reeve Story arrives just in time to tell audiences the real-life superhero antics behind Reeve.

For the uninitiated, Reeve was paralyzed from the neck down and unable to breathe without a ventilator after suffering a fall from a horse in 1995. Prior to that, he was an active sportsman be it aviation, sailing and equestrianism. The man was also a licensed pilot. But at the age of 42, he was confined to a wheelchair with no hope of a full recovery.

Super/Man: The Christopher Reeve Story paints a powerful picture of Reeve as it alternates between the past and present. The documentary makes good use of his personal home videos and old footages as it shows the charm and wit of the beloved actor whether it’s snippets from his early broadway days or his first audition as Superman.

Directors Ian Bonhote and Peter Ettedgui never shy away from showcasing Reeve as a man struggling to embody the part of a husband and father to his long-term partner and newly arrived children respectively. Part of the story briefly touches on Reeve's difficult childhood as he fails to establish much of an connection with his poet father and the complications of his step-families.

Reeve’s close circle of friends including the late Robin Williams, Susan Sarandon, Michael Manganiello, Whoopi Goldberg, Jeff Daniels and Glenn Close also pay tributes to the late star. Notably, when past footages of Williams who has been a close friend of the superman star since their school days at Juilliard School shows up, it probably adds to the tear-jerking effect. Even Close mentioned that if Reeve was still alive, Williams might not have taken his life a decade after Reeve's death.

The documentary also shies the spotlight on Reeve’s passion to advocate for disability rights and spinal cord research with the help of his wife, Dana and friends. He became the face and spokesman for the fight in front of many others and congress despite his own disability. The Christopher & Dana Reeve Foundation which helps to raise awareness and funds has since been continued by his children, Will, Matthew and Alexandra. The children themselves also make appearances in the documentary talking about their late dad. Adding on to the heartbreak, Dana who has been at Reeve side since the unfortunate incident passed away of lung cancer 18 months after Reeve.

Raw, emotional and tragic. Super/Man: The Christopher Reeve Story is more than a heart-wrenching story of the man who once had it all. It’s both inspiring and positive for the man who portrayed a comic superhero indeed led the life of man of steel in real-life. Watch this and we guarantee there won’t be a dry eye after the credits rolled.

MOVIE RATING:

Review by Linus Tee

Genre: Drama
Director: Uberto Pasolini
Cast: Ralph Fiennes, Juliette Binoche, Charlie Plummer, Marwan Kenzari, Claudio Santamaria, Ángela Molina
Runtime: 1 hr 56 mins
Rating: M18 (Nudity and Sexual Scenes)
Released By: Shaw Organisation
Official Website: 

Opening Day: 19 December 2024

Synopsis: After 20 years away, Odysseus (Fiennes) washes up on the shores of Ithaca. The King has finally returned home but much has changed in his kingdom since he left to fight in the Trojan war. His beloved wife Penelope (Binoche) is now hounded by her many ambitious suitors to choose a new husband, a new king. Their son Telemachus, is facing death at the hands of the suitors who see him as an obstacle. Scarred by his experience of war, he is no longer the mighty warrior his people remember. He is forced to face his past in order to rediscover the strength needed to save his family and win back the love he has lost.

Movie Review:

We did not know much about this movie directed by Italian filmmaker Uberto Pasolini, except that it stars Ralph Fiennes and Juliette Binoche, two of the greatest actors during our time. Incidentally, it is also Fiennes and Binoche are co starring in the same movie after The English Patient (1996) helmed by Anthony Minghella and Emily Brontë's Wuthering Heights (1992) directed by Peter Kosminsky. So it would be interesting to experience a showcase of great acting on the big screen.

The screenplay by John Collee, Edward Bond and Pasolini himself is based on the last sections of The Odyssey, an ancient epic Greek poem attributed to Homer. This is considered as one of the foundation titles of ancient Greek literature, together with Homer’s other work Illiad.

Let’s get back to the movie before we bore you with history. Fiennes plays Odysseus, a legendary Greek king of Ithaca. When we first see Odysseus, he is in a bad shape. He is washed up on the shores of Ithaca after 20 years of fighting in a war (that’d be the Trojan War for history buffs). The poor man is naked and while some may note Fiennes’ buff appearance, it is a kind of weathered look that suggests the character has gone through a lot of hardship.

It's not a happy homecoming for Odysseus, as his wife Penelope (Binoche) has become a prisoner in her own residence. Their son Telemachus (Charlie Plummer) is not happy with how things are being run on the island. Meanwhile, countless men want to be Penelope’s new husband (they think that Odysseus is dead), and naturally, they see Telemachus as a threat. So you can see that things are in a dire situation in this land that Odysseus once ruled.

The movie sees Odysseus edging his way back to the palace before a climatic slaughter of the treacherous men. If you are expecting something dramatic like the Gladiator movies (which are a blend of fact and fiction, with characters based on actual Roman rulers), you may be disappointed.

Pasolini’s film has many talky sequences, and the ones that exceptionally stand out are those featuring Fiennes. You will be captivated by the actor’s dedicated performance, as he effortlessly expresses Odysseus’ suppressed rage and grief through dialogues and body language. One scene has Odysseus agonisingly groveling in soil – it is a performance that wouldn’t have made an impact with a lesser actor.

Binoche delivers a respectful performance as a woman who has suffering silently in the absence of her husband. The French actress plays her character with a vulnerable dignity, and one can sense how emotionally challenging it is to hold it together with nothing in your favour.

Elsewhere, other actors like Marwan Kenzari, Tom Rhys Harries and Amir Wilson and play Odysseus’ allies and foes. Given the setting, you can imagine how the cast members have to stay in shape to wear the ancient Greek robes which proudly show off the men’s physiques.

Every moment in this slow burning drama is engrossing if you are familiar with the work it is based on, and coupled with Fiennes and Binoche’s committed performances, it is an underrated film that you may miss in the crowd of blockbusters.

Movie Rating:

(The slow burner is dramatically intense, and while it may not have the entertainment value of a blockbuster, it is a stripped down drama that deserves your attention)

Review by John Li 

Genre: Adventure/Action
Director: J.C. Chandor
Cast: Aaron Taylor-Johnson, Ariana DeBose, Fred Hechinger, Alessandro Nivola, Christopher Abbott, Russell Crowe
Runtime: 2 hrs 7 mins
Rating: M18 (Violence)
Released By: Sony Pictures
Official Website: 

Opening Day: 12 December 2024

Synopsis: Kraven the Hunter is the visceral, action-packed origin story of how and why one of Marvel's most iconic villains came to be. Aaron Taylor-Johnson plays Kraven, a man whose complex relationship with his ruthless father, Nikolai Kravinoff (Russell Crowe), starts him down a path of vengeance with brutal consequences, motivating him to become not only the greatest hunter in the world, but also one of its most feared. 

Movie Review:

After years of delay, the next outing from Sony’s extended Spider-man universe is here- Kraven the Hunter. Aaron Taylor-Johnson plays the titular character with the action flick directed by J.C. Chandor (Margin Call, A Most Violent Year) thus instilling a glimmer of hope for Sony after facing intense backlash for the disastrous Morbius and Madame Web.

Forget about all the negatives reviews online. Let’s be honest here. Kraven the Hunter is not that bad. At least not on the level of Morbius and Madame Web. It’s not a great comic book superhero movie certainly yet it is undoubtedly a well-put together popcorn movie that entertains from start to finish.

Kraven the Hunter serves as both a spinoff and also an origin story of the character. Kraven was established as one of Spider-man’s formidable foes in the comics but we probably won’t see it materialised under Sony so let’s got on with it. Kraven’s real name is Sergei Kravinoff and his dad is a big-time criminal Nikolai (Russell Crowe). Kraven also has a half-brother, Dimitri (Fred Hechinger) whom he dotes a lot. The story has it that Kraven got his superpowers from a potion given by a young Calypso (Ariana DeBose) after suffering a lion attack.

Now Kraven, the skilled hunter spends his days travelling the globe searching for the next biggest and baddest villain on earth. On his list is another bad guy named Rhino (Alessandro Nivola) and rather than waiting for Kraven to kill him, Rhino wants him dead first so he sent in an assassin with weird powers named The Foreigner (Christopher Abbott).

The story written by Richard Wenk, Art Marcum and Matt Holloway (The Equalizer franchise, Uncharted) doesn’t have a lot going on despite introducing no less than four Marvel lore characters. Calypso is supposedly a voodoo priestess but she is just a normal investigative lawyer with extremely good archery skills here. The Foreigner might be some unknown supervillain that is given a flashy introduction and nothing else. Rhino fairs better than the Amazing Spider-man 2 incarnation though still a forgettable attempt in pulling off a memorable villain.

As the entire story is familiar and predictable, the story frequently relies on the various action set pieces to make things work. Admittedly, the action are genuinely well executed, often bloody and brutal compared to the blurry CGI battles in Morbius. Those looking for in-depth character development for Kraven or his little brother or their fearsome father might look elsewhere as the takeaway message here seems to be something along the line of strength and weakness.

Aaron Taylor-Johnson is convincing enough to be the modernised version of Kraven the Hunter even as his character on the whole unfolds very little throughout. Crowe expectedly being the 2024 Russell Crowe delivers a snarling baddie character with a bad Russian accent. Interestingly, Fred Hechinger’s character evolved into the Chameleon by the end of the movie, something comic book fans might embraced.

To sum up, there’s probably a better J.C. Chandor cut elsewhere in the cutting room. For now, the finished product isn’t as embarrassing as Morbius and Madame Web. Save for the somewhat tacky CGI animals, Kraven the Hunter is middling for sure but it sure entertains as a superhero fare.

Movie Rating:

(Come for the dumb action and forget the shallow story)

Review by Linus Tee

SYNOPSIS: A young TSA agent fights to outsmart a mysterious traveler who blackmails him into letting a dangerous package slip onto a Christmas Eve flight.

MOVIE REVIEW:

If you are familiar with the works of Jaume Collet-Serra, you will know that the Spanish-American helmer is known for his intense mystery/action thrillers liked Unknown, The Commuter and Run All Night in his early Hollywood career. In recent years, he has directed big tentpole projects including Black Adam and Jungle Cruise.

With Carry-on, the first DreamWorks/Netflix release, Collet-Serra is back in familiar territory promising audiences two full hours of suspense and intense action.

Taron Egerton plays Ethan Kopek (not Hunt), a TSA officer stationed at LAX while his pregnant girlfriend, Nora (Sofia Carson) works as an airline operations director in the same location. Kopek hates his job but he knows he needs to provide for his baby. Thus he requests a promotion from his boss, Sarkowski (Dean Norris) and he is then put in charge of the security scanner.

Soon, he is handed a lost earbud and the mysterious stranger on the other end dubbed the traveller (Jason Bateman) blackmailed Kopek into allowing a specific baggage to pass through the X-ray scanner or risk the death of Nora.

Apart from the airport setting, Carry-on is far from Die Hard 2 in case you are expecting gun-toting terrorists barging into the place. T.J. Fixman’s screenplay in the vein of The Commuter feature lots and lots of talking in the initial stage. First of all, it showcases the cold-blooded nature of the antagonist and also the wittiness of Kopek in the face of danger. Pacing is excellent as the numerous riveting exchanges between the two culminates to an action oriented showdown.

If there are things to nitpick, well there is an underused LAPD detective Elena Cole (Danielle Deadwyler) who comes to the picture midway and her involvement in an embarrassing CGI-heavy car crash. Things would be a lot more exciting if the mystery thriller only involves Kopek and the so-called “freelance facilitator”.

Egerton does his very best as an everyday action hero. In fact, he might be potentially an ideal choice as the next Ethan Hunt. Bateman playing against type surprises as the dark villain from hell. With his face concealed for the beginning of the movie, his voice alone sounds sinister enough to send the chills.

This is by far one of the best action thrillers by Netflix. Without relying heavily on CGI and green screen, Carry-on succeeds on old-school cinematic magic despite some implausibilities. Smart, intense and engaging, Collet-Serra is still the man for such guilty pleasures.

MOVIE RATING:

Review by Linus Tee

Genre: Crime/Comedy
Director: Jaspers Lai
Cast: Janel Tsai, Leon Jay Williams, Shane Pow, Chien Chang, Sam Lin
Runtime: 1 hr 18 mins
Rating: PG13 (Some Sexual References)
Released By: mm2 Entertainement
Official Website: 

Opening Day: 30 December 2024

Synopsis: The Jia household, a talented family of Taiwanese con artists, is recruited to Singapore by a veteran of deception, Jun Ming, for a robin hood-esque mission - conning a corrupt tech mogul, Huai Ren. He forms an unlikely alliance with the family to thwart Huai Ren's new ploy - a ponzi scheme that involves tricking common folk into buying his latest hoax: a digital product that will "revolutionise the world". 

Movie Review:

Actor and comedian Jaspers Lai is known for his unapologetically loud and slapstick personality – check out his social media accounts to know why he is a hoot, and undeniably one of the most recognisable comedic talents locally. He has acted in movies like Long Long Time Ago (2016), What! The Heist (2022), as well as several titles in the Ah Boys to Men and The Lion Men franchise. He is also the scriptwriter and co star of Number 1 (2020), a comedy drama that did Singapore proud with two nominations at the 57th Golden Horse Awards.

With such an illustrious career in showbiz, it is only sooner or later that Lai would helm his own movie. And here it is, a crime comedy that we thought would make a decent Lunar New Year offering. We aren’t sure why the co production is getting released just before 2024 ends, but with the crowded movie release lineup, the distributors probably felt that this is the best window for the movie to get seen.

We are first introduced to the Jia family when the movie begins. In a cleverly devised con job, the father (Chien Chang), son (Sam Lin) and daughter (Janice Tsai) trio put their acting skills to the test to deceive a greedy businessman who is out to obtain the riches from a frail old man at his deathbed. This sequence is a showcase of what the three con artists are capable of, before they find themselves in Singapore against the backdrop of the iconic Marina Bay Sands.

Next, the movie serves up its leading man Leon Jay Williams, who plays Jun Ming, another con artist. With delivering justice as a reason, he is set on robbing Huai Ren, a tech businessman (portrayed by Shane Pow), who is married to a rich man’s daughter (Angela Zhang, whom older viewers may remember from local TV dramas). Through a series of carefully planned encounters, the Jia household teams up with Jun Ming to steal his latest technology, which is supposedly developed to scam common folks.

Viewers who are familiar with this genre will not find anything particularly new in this movie. While the setups are somewhat refreshing (you will still chuckle during a scene where the men in the Jia household pretend to be mediums to lead Huai Ren’s wife into believing that fate is a crucial factor why Jun Ming must meet her husband), they will probably not have you marvel at how clever the scriptwriting is.

Williams, who is of English, German, Japanese and Chinese descent, effortlessly plays Jun Ming with his charming personality, despite nearing 50. The former model who rose to fame after being cast in Taiwanese idol dramas in the 2000s, is on form in his latest big screen appearance. The Taiwanese actors are natural in their performances, while Pow is almost hilarious as an immature mogul who behaves childishly. The movie also tries to milk laughs with transgender comedienne and entertainer Abigail Chay playing the big sister of a shady nightclub.

With a runtime of 78 minutes, one also wonders whether there are any materials left in the editing room. The movie takes a turn towards the end and we couldn’t help but feel more time could have been devoted to presenting a more developed resolution.

Movie Rating:

(Jaspers Lai's breezy crime comedy delivers easy laughs and slapstick humour)

Review by John Li

SYNOPSIS: When a young boy accidentally sends a Christmas letter with one crucial spelling error, he gets an unexpected visit from NOT Santa (Jack Black). From the hilarious minds behind DUMB & DUMBER, Christmas is about to go up in flames. 

MOVIE REVIEW:

The Farrelly brothers, Peter and Bobby have made successful slapstick, crude comedies liked Dumb and Dumber, Kingpin and There’s Something About Mary until Peter directed an Oscar worthy movie called Green Book. We thought it’s going to strategically change the brothers’ career path but with the release of Dear Santa, we doubt it’s anytime soon.

Dumped straight to streaming with little to no marketing, Jack Black (yes that Jack Black from Tenacious D, School of Rock and Kung Fu Panda) stars as Satan in Dear Santa. A dyslexic sixth-grader Liam Turner (Robert Timothy Smith who also stars as Neel in Skeleton Crew), accidentally misspells "Santa" as “Satan" on his Christmas wishlist and the very same night, Satan pops in for a visit.

Believing Satan to be Santa, Liam accepts his offer when Satan offers to grant the latter three wishes in exchange for his soul. First being a date with his school crush, Emma and the second to fix his bestie, Gibby’s teeth.

There are traces of the Farrelly brothers’ best-known comedic trademarks but they are somehow lost in this low-budget tele-affair. There is hardly a memorable gag or joke in the entire movie that everyone involved seems to just cruising along for a paycheck. A prolonged fart joke involving a school teacher is probably the only juvenile or what you called embarrassing gag that leaves you chuckling in disgust.

There’s supposedly some meaningful messages behind all the mayhem liked Liam trying to save his parents’ crumbling marriage which we learned is caused by the death of his brother. But hold your horses, the macabre ending is closer to Pet Sematary than a heartfelt Christmas movie.

Oh and then, there is of course Jack Black trying his best to salvage the lacklustre scripting with this enthusiastic performance. To be fair, he is a ball of energy whenever he appears on screen but there is only so much he can deliver. There’s an uncredited cameo by a certain big name comedian that is also wasted in the whole forgettable affair.

Neither funny or relevant to the festive season, Dear Santa is a wasted opportunity given the talents involved. There’s also appearances by Keegan-Michael Key and Post Malone just to be clear. In short, the Farrelly brothers got to work harder and not churning out something that is worth much lesser than their 90’s efforts.

MOVIE RATING:

Review by Linus Tee