Genre: Horror/Thriller
Director: Eakasit Thairaat
Cast: Chantavit ‘Ter’ Dhanasevi, Nuttanicha ‘Nycha’ Dungwattanawanich, Anon ‘Poo’ Saisangchan
Runtime: 1 hr 47 mins
Rating: NC16 (Violence and Horror)
Released By: Shaw Organisation
Official Website:
Opening Day: 17 April 2025
Synopsis: Inspector Dan, a reckless cop known as “Dan the Hundred Corpses,” is given a final chance to redeem himself so he can return to his post in Bangkok. However, this mission lead him down a perilous path. His target is Tup Ta Fai, a deranged gang leader who has escaped from prison and vanished into the depths of Halabala, a forbidden jungle. Within the shadows of this deathly forest, whispers of an ancient tribe of cannibals, known as Batow. Some believe they are extinct, while others claim they never truly left. Driven by his relentless pursuit of justice, Dan must balance his duty with the safety of his wife, Vi, who is heavily pregnant and terrified of their new home in the forest. But they may not be alone—something sinister lurks in the shadows, waiting to consume them.
Movie Review:
The last time we saw Thai actor Chantavit ‘Ter’ Dhanasevi, he was scamming his way through the horror comedy 404 Run Run — playing a real estate swindler leading a motley crew as they try to escape the wrath of a furious female ghost in an abandoned hotel. There were a few scares and plenty of laughs.
But in his latest big screen outing, the laughs are gone — and the scares have multiplied. This time, Dhanasevi dives deep into pure horror territory, where the mood is darker, bloodier, and far more intense. It’s definitely not for the squeamish — so if you’ve got a thing for gooey, slimy creatures, you might want to sit this one out.
Dhanasevi, best known for his comedic roles in films like ATM: Er Rak Error (2012) and The Con-Heartist (2019), sheds his funny-guy persona to take on a darker, more intense role as a no-nonsense police officer. Nicknamed “Dan the Hundred Corpses,” he’s infamous for recklessly dispensing justice. In one particularly brutal scene, he forces a glass light bulb into a criminal’s mouth, and the results are as bloody and painful as they sound.
As a consequence of his violent and unorthodox methods, Dan is reassigned to a remote outpost deep within the Hala Bala rainforest — a real-life wildlife sanctuary located in southern Thailand, near the border with Malaysia. Accompanied by his pregnant wife Vi (Nuttanicha ‘Nycha’ Dungwattanawanich, he is far away from the convenience of Bangkok. When a dangerous criminal (Anon ‘Poo’ Saisangchan) escapes from prison, Dan seizes the chance to redeem himself and earn a transfer back to the capital. He sets out on a relentless manhunt in the dense and misty jungle, joined by an armed squad and a medium.
Oh, what we haven’t mentioned is that the forest is believed to have once been home to an ancient tribe of cannibals, and this chilling backdrop sets the stage for the supernatural horrors that will befall on Dan and his crew. But nothing is stopping the determined officer as he plunges deeper into this treacherous jungle.
What follows is a 107-minute descent into creature horror that delivers some of the most outrageously bloody and grotesquely slimy creations we've seen in a while. One particularly memorable monster emerges from Dan’s own hand, speaking in a gutsy haunting tone, while dripping fangs and oozing flesh - it's pure nightmare fuel.
Dhanasevi delivers a performance that is both intense and unsettling, fully embracing the gritty demands of a role that sees him transform into an uptight vigilante entangled in a bloody supernatural nightmare. The character’s gradual descent into madness marks a bold shift for the actor, who has long been associated with comedy. It’s a challenging role, and Dhanasevi rises to the occasion — showcasing a surprising range and proving that his acting chops extend well beyond laughs.
The film marks the solo directorial debut of Eakasit Thairaat, who had previously worked in co-directing roles. While the final act of the horror flick may come across as meandering or unfocused for viewers who prefer tighter storytelling, the film’s sheer intensity and suspense are enough to keep audiences on the edge of their seats — right up to the moment Dan meets his ultimate fate.
Movie Rating:
(This blood-and-slime-soaked creature horror flick set in a dense rainforest doesn’t just deliver on scares — it also serves as a compelling showcase for Chantavit ‘Ter’ Dhanasevi's transformative performance)
Review by John Li
Genre: Action/Thriller
Director: Gavin O'Connor
Cast: Ben Affleck, Jon Bernthal, J.K. Simmons, Cynthia Addai-Robinson, Daniella Pineda, Allison Robertson, Robert Morgan, Grant Whitney Harvey
Runtime: 2 hrs 12 mins
Rating: NC16 (Violence and Coarse Language)
Released By: Warner Bros
Official Website: https://www.theaccountant2.com.sg
Opening Day: 24 April 2025
Synopsis: Christian Wolff (Ben Affleck) has a talent for solving complex problems. When an old acquaintance is murdered, leaving behind a cryptic message to “find the accountant,” Wolff is compelled to solve the case. Realizing more extreme measures are necessary, Wolff recruits his estranged and highly lethal brother, Brax (Jon Bernthal), to help. In partnership with U.S. Treasury Deputy Director Marybeth Medina (Cynthia Addai-Robinson), they uncover a deadly conspiracy, becoming targets of a ruthless network of killers who will stop at nothing to keep their secrets buried.
Movie Review:
Almost a decade after we were introduced to Christian Wolff, Ben Affleck is back in the role of an autistic savant who works as an accountant to mobsters and terrorists; besides un-cooking their books, Christian also happens to have perfect marksmanship and brutal hand-to-hand combat skills. Christian also had a contract killer of a brother named Braxton, played by Jon Bernthal, who was like the id to Christian’s ego.
That is just about all you need to know from its 2016 predecessor – because while director Gavin O’ Connor and writer Bill Dubuque return for this sequel, both have decided that ‘The Accountant 2’ should be structurally and tonally different from the earlier movie. Most fundamentally, instead of placing the focus on Christian alone, the emphasis here is on Christian and Braxton, whose buddy chemistry anchors the movie from start to finish.
Now living off the grid in his Airstream, Christian comes back online when his old buddy, Ray King (J.K. Simmons), the retired head of the Treasury Department’s police force, is shot dead. To track down Ray’s killer, Christian reluctantly teams up with the Department’s new head, Marybeth Medina (Cynthia Addai-Robinson), while calling in his estranged brother Braxton for some extra muscle. Like we said, the movie belongs to Christian and Braxton, and Marybeth is no more than the audience’s foil, expressing the obligatory discomfort at the brothers’ methods.
We won’t go into the specifics of the story, which frankly gets too convoluted for its own good – suffice to say that it has to do with a family who had moved from El Salvador to Mexico and ended up being victims of a human trafficking ring, which is somehow also connected to the contract killer (Daniella Pineda) whom Ray had arranged to meet just before he was assassinated and whose paths will cross with both Christian and Marybeth,
The plotting is only there to give the film its structure, so that we get to enjoy Christian and Braxton razz each other on the roof of the Airstream, or indulge in some brotherly bonding in a honky-tonk bar complete with line-dancing, gentle flirting and fisticuffs. Both Affleck and Bernthal are fully committed to their respective parts, with Affleck leaning into his blockish, slightly inexpressive quality that has defined his acting, and Bernthal embracing his character’s bonhomie with infectious glee. Thanks to their chemistry, watching the pair of brothers work out their issues turns out being a breezy jaunt, and easily the most enjoyable element of the movie.
There is also quirky fun seeing Christian tap on his alma mater for support – notably, the Harbor Neuroscience Academy that provides a safe haven for similarly neurodivergent youths. Led by Justine (Allison Robertson), these kids prove themselves to be elite computer hackers, and a particular sequence where they hack into the cellphone of a passerby who happened to be taking a selfie while the aforementioned contract killer was walking behind is thrilling fun.
Truth be told, we had not expected Affleck to reprise his role as Christian, but we can now see why he has chosen not only to do so, but also to produce this very sequel through his Artists Equity banner with Matt Damon. Oh yes, ‘The Accountant’ is to Affleck what ‘Jason Bourne’ was to Damon, and if this is Affleck’s idea of franchise-building, as long as he brings Bernthal along for the ride, we don’t mind hanging out once again with this pair of bros bickering, bonding and bombarding their way through thick and thin.
Movie Rating:
(Anchored by the bromance between Ben Affleck and Jon Bernthal, this somewhat unexpected sequel offers surprising warmth and levity amidst the gunfights and fistfights)
Review by Gabriel Chong
Genre: Comedy
Director: Chayanop Boonprakob
Cast: Putthipong Assaratanakul, Krit Amnuaydechkorn, Goy Arachaporn Pokinpakorn, Pu Piyamas Maneeyakul, Jaturong Mokjok, James Rusameekae Fagerlund, Eddy Jarnnawut Jarnyaharn, Anna Chuancheun, Ballchon Tanawat Cheawaram
Runtime: 2 hr 8 mins
Rating: R21 (Some Homosexual Content)
Released By: Golden Village
Official Website:
Opening Day: 24 April 2025
Synopsis: When ‘Menn’, a super-straight mugger-turned-police spy, accidentally picks up a mysterious red envelope, he is bound by a supernatural contract that forces him to wed a ghost. Fate plays an even crueler trick on him: his 'spouse' is not only dead, but a cute and unapologetically progressive gay man named ‘Titi’. Menn must help Titi uncover the truth behind the accident that took Titi’s life so he can finally rest in peace and leave Menn alone. All clues eventually lead to an illegal drug case that Menn and ‘Goi’, an older policewoman that Menn has a crush on, happen to be investigating. Believing that solving this case will benefit his career and love life, Menn takes on this atypical mission to help Titi, leading to an unlikely bond between the living and the dead, a gay and a straight man.
Movie Review:
Who would have thought that a supernatural comedy about a homophobic straight policeman forced into a ghost marriage with a dead gay man would become such a sensation? Cheng Wei Hao’s film Marry My Dead Body (2022) not only charmed audiences and critics alike, but also became Taiwan’s official submission for the Academy Award for Best International Feature Film. At the 60th Golden Horse Awards, it racked up eight nominations and clinched the prize for Best Adapted Screenplay — a testament to its sharp writing and unexpected emotional depth.
And who would have thought that in less than five years, the story would be adapted into a Thai movie by GDH — the studio behind beloved hits like Bad Genius (2017) and The Con Heartist (2020)? As the saying goes, if it isn’t broken, don’t fix it — and we couldn't help but feel a little apprehensive. Would the remake, directed by Chayanop Boonprakob (Friend Zone), manage to capture the same magic? Especially when the trailer hinted that some scenes would be replicated almost shot-for-shot.
We’re happy to report that this Thai adaptation is every bit as delightful as its Taiwanese predecessor — packed with laugh-out-loud moments and heartfelt emotion. If the original film moved you to tears in its final act, be prepared: this version might just tug at your heartstrings all over again.
After charming countless viewers as the lovable grandson in Pat Boonnitipat’s global hit. How to Make Millions Before Grandma Dies (2024), Putthipong Assaratanakul — better known as Billkin — is back to steal hearts once again. Taking on the role originally portrayed by Greg Hsu, Billkin’s character, Menn, isn’t a real policeman this time. Instead, he’s a small-time informant determined to win over a tough female cop Goi, played by Goy Arachaporn Pokinpakorn, stepping into the role previously filled by Gingle Wang.
Fans of the Taiwanese version will know that Menn’s luck is about to take a wild turn when he’s forced into a ghost marriage with a dead gay man named Titi (played with great flair by Krit Amnuaydechkorn, also known as PP Krit, who takes over the role from Austin Lin). The 128-minute film follows the duo as they try to uncover who killed Titi, and in the process, stumble upon a major drug bust.
We were pleasantly surprised that signature scenes — like the hilarious bathroom encounter where Titi appears on Menn’s shoulder, and the outrageous sequence where a naked Menn dashes into the streets for an impromptu pole dance — still had us laughing just as hard. While some scenes closely mirror the original, they never feel stale or repetitive. Instead, the energy and charm of the new cast breathe fresh life into them.
The movie succeeds by cleverly weaving in distinctly Thai elements that add both humour and local flavour. There’s a playful nod to the classic Thai horror film Shutter (2004), and a riotous scene where Titi possesses Menn’s body for a dance showdown at a vibrant Thai gay club. Even the action gets a Thai twist, unfolding in a Muay Thai institute — a fitting tribute to the country’s renowned martial art.
It’s also worth noting that Billkin and PP Krit have a history of acting opposite each other, first in the romantic-comedy series My Ambulance (2019). Their popularity soared when they headlined the acclaimed LGBT drama series I Told Sunset About You (2020) and its sequel I Promised You the Moon (2021). As stars of the hugely popular BL (boys' love) genre, their on-screen pairing has won them a massive fanbase — and bringing them back together for this big-screen project proves to be a winning move. Their natural chemistry lights up the film and speaks for itself.
Movie Rating:
(This Thai adaptation of the hit Taiwanese film is every bit as fun, heartfelt, and engaging, anchored by winning performances from Billkin and PP Krit)
Review by John Li
Genre: Action/Adventure
Director: Jake Schreier
Cast: Florence Pugh, Sebastian Stan, Wyatt Russell, Olga Kurylenko, Lewis Pullman, Geraldine Viswanathan, Chris Bauer, Wendell Edward Pierce, David Harbour, Hannah John - Kamen, Julia Louis-Dreyfus
Runtime: 2 hr 6 mins
Rating: PG13 (Some Violence)
Released By: Walt Disney
Official Website:
Opening Day: 1 May 2025
Synopsis: In “Thunderbolts*” Marvel Studios assembles an unconventional team of antiheroes — Yelena Belova, Bucky Barnes, Red Guardian, Ghost, Taskmaster and John Walker. After finding themselves ensnared in a death trap set by Valentina Allegra de Fontaine, these disillusioned castoffs must embark on a dangerous mission that will force them to confront the darkest corners of their pasts. Will this dysfunctional group tear themselves apart, or find redemption and unite as something much more before it’s too late?
Movie Review:
When was the last time a Marvel movie gave you goosebumps (in a good way) as the end credits rolled? For many fans, those moments trace back to the shocking finale of Avengers: Infinity War (2018), or the emotional passing of the shield from an aged Steve Rogers to Sam Wilson in Avengers: Endgame (2019).
It’s been a while since the Marvel Cinematic Universe (MCU) truly sparked that kind of excitement about what’s next. But the 36th film in the franchise might just change that. Ironically, it’s not Earth’s mightiest heroes reigniting the hype, but a ragtag crew of antiheroes, characters some might dismiss as second-tier. And yet, it’s precisely this unexpected ensemble that could be setting the stage for Marvel’s most intriguing chapter in years.
It certainly helps to be familiar with the previous Marvel films and series to fully appreciate the backstories of the characters who’ve, ahem, assembled for this film. Leading the pack is fan-favourite Bucky Barnes, aka the Winter Soldier (played with brooding charisma by Sebastian Stan) who’s no stranger to either the big or small screen.
Then there’s Yelena, with Florence Pugh once again stealing every scene she’s in. We last saw her in Black Widow (2021) and in a brief but memorable appearance in Hawkeye (2021). She’s joined by her brashly affectionate father figure, Alexei Shostakov aka Red Guardian, brought to life with comedic flair by David Harbour.
Rounding out the squad are John Walker aka U.S. Agent (a stoic Wyatt Russell), whose controversial turn in The Falcon and the Winter Soldier (2021) left fans divided yet intrigued; Ava Starr aka Ghost (Hannah John-Kamen), re-emerging from her last appearance in Ant-Man and the Wasp (2018); and Taskmaster aka Antonia Dreykov (Olga Kurylenko), who went toe-to-toe with the heroines in Black Widow.
Another standout character to watch is Valentina Allegra de Fontaine - cue cheers from Julia Louis-Dreyfus fans! With her deliciously shady persona, Valentina is the kind of character you love to hate. As the director of the CIA, she delivers some of the film’s sharpest lines under the direction of Jake Schreier, with a screenplay penned by Eric Pearson and Joanna Calo.
One memorable moment? When she pointedly corrects a judge that her last name is “de Fontaine”, not “Fontaine”. That alone offers a glimpse of her catty charm, and just a hint of the chaos she’s bound to stir up (and no, it’s not the good kind).
But at the heart of it all, we’re still here to root for the good guys - or at least, the ones trying to be. With an agreeable runtime of 126 minutes, the film draws you into the journey of this reluctant crew as they unite against a mysterious new threat: a strange figure known only as Bob (played by Lewis Pullman), who possesses the terrifying ability to turn humans into shadows when he ventures to the dark side.
It’s up to Yelena and Bucky to lead the charge and save humanity. And while the movie delivers the expected blockbuster spectacle (we are treated to slick CGI and high-octane action), it also offers some surprisingly heartfelt moments. Characters are forced to confront their pasts, including an emotional exchange between Yelena and Alexei, as well as Yelena’s internal struggle with a deep emptiness, one that is unexpectedly relatable to Bob.
As the film heads into its finale, we’re formally introduced to the new titular team of superheroes, setting the stage for what’s next. The stylishly animated end credits add a fresh touch, cleverly hinting at the team’s growing prominence within the MCU. And just when you think it’s over, the post-credit scene rolls in, capping off Phase Five with a tease that leaves us excited for what’s coming next.
Movie Rating:
(They may not be your typical A-list superheroes, but the ragtag crew of Thunderbolts* is exactly what the Marvel Cinematic Universe needed to reignite the hype for what’s coming next)
Review by John Li
Genre: Drama/Thriller
Director: Ryan Coogler
Cast: Michael B. Jordan, Hailee Steinfeld, Miles Caton, Jack O’Connell, Wunmi Mosaku, Jayme Lawson, Omar Miller, and Delroy Lindo
Runtime: 2 hrs 17 mins
Rating: M18 (Violence and Sexual Scenes)
Released By: Warner Bros
Official Website: https://www.sinnersmovie.com.sg
Opening Day: 17 April 2025
Synopsis: From Ryan Coogler—director of Black Panther and Creed—and starring Michael B. Jordan comes a new vision of fear: Sinners. Trying to leave their troubled lives behind, twin brothers (Jordan) return to their hometown to start again, only to discover that an even greater evil is waiting to welcome them back. “You keep dancing with the devil, one day he’s gonna follow you home.
Movie Review:
‘Sinners’ grabs you by the throat with its opening scene of a young, Black man bursting into church mid-sermon, looking dazed, his clothes bloodied, and his right hand clutching tightly a jagged broken-off guitar neck. Only at the end of an intoxicating two-hour journey do we realise how this man, Sammie (newcomer Miles Caton), got to that point, or that most of the movie happens in the day before in the deep Southern town of Clarksdale, Mississippi.
The year is 1932, just right for fabled twin brothers Smoke and Stack (both played by Michael B. Jordan) to return to their hometown after consecutive stints in the trenches of WWI and Al Capone’s Chicago. One of the first things they do is to buy an old sawmill from the Klan, which they plan to convert into a juke joint for the sharecroppers, labourers and shopkeepers of the town – and over the course of the first hour, Smoke and Stack go about town setting up and stirring up excitement for the grand opening that very evening.
There is first and foremost Sammie, a sweetly sincere son of a preacher who, though warned by his father that playing music for “drunkards and philanderers” would invite evil into his life, still yearns to play; and oh, as we learn later on, he also happens to be a supernaturally skilled blues musician, who makes such powerful music that it is able to conjure spirits from the past and the future.
Besides Sammie, they also recruit grizzled blues musician Delta Slim (Delroy Lindo), who, notwithstanding his initial drunkard state, happens to still be great on the piano and harmonica. A Chinese couple – Grace (Li Jun Li) and Bo Chow (Yao) – who run two shops almost opposite each other in town help with the signboard for the place and the groceries for grub. Another old friend, Cornbread (Omar Miller), is hired to be the bouncer for the joint.
Smoke and Stack also get the opportunity to reunite with their former loves, the former deliberate and the latter by chance. With his estranged wife Annie (Wunmi Mosaku), Smoke reminisces over the child that they had lost years earlier, and at the end of that reunion, Smoke asks Annie to be their cook for the evening. On the other hand, Stack happens to be accosted by his former love Mary (Hailee Steinfield), who is still upset over how Stack had left her years ago, but even more so because the twins had not sent their regards or flowers for her mother who passed the day before.
It is a lot to take in within an hour, but besides assembling a colourful group of characters for the evening, this elaborate set-up allows writer-director Ryan Coogler to indulge in plenty of world-building – that includes how places like Clarksdale continue to be haunted by the long shadow of slavery, as well as the Klan; the injustices where workers live on plantations and are paid in scrip instead of real money; or even chain gangs that work alongside the road. You feel the beating heart of the South intensely, and while you would probably be hoping that Coogler had spent more time sketching the characters and relationships, it is nonetheless a rich pastiche that sets the stage beautifully for the next half.
Indeed, it does take a while before the movie gets into vampire mayhem, which we forewarn will no doubt frustrate those simply waiting for the bloodletting to start. What however elevates this above the usual vampire yarn is the form by which these bloodsuckers appear – that is, as a band of Irish folk singers led by Remmick (Jack O’ Connell) and the ‘racist’ couple Bert and Joan (Peter Dreimanis and Lola Kirke) that Remmick had turned just before the sun went down.
Rather than drag out the showdown, Coogler saves it for a thrilling half-hour climax; but more than the bullets, gore and the stakes through the heart, what is surprisingly enjoyable is how this band of vampires taunt their victims, and in particular Sammie, through toe-tapping Scottish-Irish ballads (like ‘Wild Mountain Thyme’) that inject their own rhythm and verve into this unbridled celebration of music and history.
It is in these musical numbers – and especially in a masterpiece of a sequence built around Sammie’s debut performance at the joint, where a rock-and-roll guitarist, tribal dancers and breakdancers, and modern-day deejays show up in an ambrosial scene to blend past, present and future – that reveal the full genius of Coogler’s vision. Oh yes, it would be too simplistic to label this as a vampiric musical; rather, this genre-defying fantasia shows Coogler absolutely invigorated, after being relieved of franchise duty (from the ‘Black Panther’ series) and given the creative license as well as budget to unleash a wholly original creation built upon Black legacy, the blues and a lawless American yesterday.
And with ‘Sinners’, Coogler reinforces once again how gifted a filmmaker he is. Though it runs for more than two hours, you hardly feel any drag; instead, the movie feels propulsive from start to finish thanks to Coogler’s tightly synchronized staging and shooting, complemented by frequent collaborators Ruth E. Carter and Hannah Beachler, whose costumes and production design provide extravagantly lush visual beauty, and Ludwig Göransson’s lush, expansive, Blues-drenched musical score.
Amidst Hollywood’s flight towards remakes and sequels, ‘Sinners’ stands out as a truly visionary original that is bold in both imagination and execution, richly textured, and absolutely gorgeous to behold. Not often do you see a filmmaker blend so many genres and ideas into one with such extraordinary success, not least with such jubilance, rapture and wonder – and this is precisely when it deserves to be seen, shared and celebrated on the biggest screen possible.
Movie Rating:
(Full of jubilance, rapture and wonder, 'Sinners' is a joyous celebration of music, history and vampiric folklore, and is one of the best blockbusters of the year)
Review by Gabriel Chong
Genre: Horror/Thriller
Director: David F. Sandberg
Cast: Ella Rubin, Odessa A'zion, Michael Cimino, Ji-young Yoo, Belmont Cameli, Maia Mitchell, Peter Stormare
Runtime: 1 hr 43 mins
Rating: M18 (Violence and Gore)
Released By: Sony Pictures
Official Website:
Opening Day: 24 April 2025
Synopsis: One year after her sister Melanie mysteriously disappeared, Clover and her friends head into the remote valley where she vanished in search of answers. Exploring an abandoned visitor center, they find themselves stalked by a masked killer and horrifically murdered one by one...only to wake up and find themselves back at the beginning of the same evening. Trapped in the valley, they're forced to relive the night again and again - only each time the killer threat is different, each more terrifying than the last. Hope dwindling, the group soon realizes they have a limited number of deaths left, and the only way to escape is to survive until dawn.
Movie Review:
We’re sure those who have played the game will have a lot more to say about the movie, and in particular, about how the movie is nothing like the game. Such departures only turn out one of two ways, and we dare to say that even as someone who has never played the game, ‘Until Dawn: The Movie’ has turned out an absolute folly.
From what we’ve read, the game employed a specific mechanism known as the ‘butterfly effect’, whereupon each player gets the opportunity to make decisions that could change the fate of their characters; and because the game auto-saves at that point, you could simply return to that same point, enlightened by what outcome a certain decision would result in. In the movie however, that ‘butterfly effect’ becomes a time loop, very much like the horror-slasher spoof ‘Happy Death Day’.
So in their version of ‘Until Dawn’, screenwriters Blair Butler and Gary Dauberman send a group of friends into the ominously named Glore Valley, where they are doomed to repeat the night again and again until they survive the duration of an hourglass clock. The catch here is that each time they die, they come back weakened, bruised and battered from their failed attempt(s), so the longer they stay in Glore Valley, the more they become part of the undead.
What exactly is that undead? In the mind of director David F. Sandberg – better known for ‘Lights Out’, ‘Annabelle: Creation’ and the ‘Shazam!’ movies – anything goes; that means anything from Jason Voorhees-lookalikes, to Poltergeist-like creepy clown dolls, to zombies and monsters. If that sounds like the kitchen sink, it truly does feel that way. Aside from a lame late-scene that sees Peter Stormare’s mad scientist Dr Hill (perhaps the most recognizable element from the game) explain how these terrors are but a manifestation of one of the characters’ fears, there is no logic or coherence to this grab bag of creatures.
Neither for that matter does Sandberg make any apologies about the gleeful embrace of blood and gore here, that sees heads smashed in, eyeballs pierced out, and even bodies and body parts exploding. Oh yes, there is no denying that the spectacularly repulsive deaths are staged for macabre humour, which as far as we can see, is the only inventive thing about this tedious rinse-and-repeat enterprise, if that happens to be your thing.
There is certainly nothing much to care about the dispensable characters assembled for this sorry exercise – all you probably need to know is that they are there because one of them named Clover (Ella Rubin) had wanted to go on a road trip in memory of her sister Melanie, who had gone missing a year before; and besides Clover, there are her childhood besties, Nina (Odessa A’zion) and Megan (Ji-young Yeo), her ex-boyfriend Max (Michael Cimino), and Nina’s new boyfriend Abe (Belmont Cameli). Though Megan’s clairvoyance is intriguing at the start, that quality is swiftly forgotten, just as how the rest of them are quickly forgettable.
Just as we thought video game adaptations have turned the corner – most recently with the unexpected success of ‘A Minecraft Movie’ – ‘Until Dawn: The Movie’ sets back the genre once again. Like we said, it is nothing like the game, and as far as this departure is concerned, it not only lets down the legion of fans that it needed to live up to, but also frustrates those willing to give it a chance at being something different, even if not necessarily more. Our advice? Don’t wait till dawn to send this into the night.
Movie Rating:
(As terrible as video game adaptations come, ‘Until Dawn’ is a kitchen-sink horror that makes no sense, offers no pleasures, and deserves to rot in its own grave)
Review by Gabriel Chong
Genre: Horror/Thriller
Director: Adam Stein, Zach Lipovsky
Cast: Kaitlyn Santa Juana, Teo Briones, Richard Harmon, Owen Patrick Joyner, Rya Kihlstedt, Anna Lore, Brec Bassinger, Tony Todd
Runtime: 1 hr 50 mins
Rating: R21 (Gore and Violence)
Released By: Warner Bros
Official Website: https://www.finaldestinationbloodlines.com.sg
Opening Day: 15 May 2025
Synopsis: The newest chapter in New Line Cinema’s bloody successful franchise takes audiences back to the very beginning of Death’s twisted sense of justice — Final Destination Bloodlines. Plagued by a violent recurring nightmare, college student Stefanie heads home to track down the one person who might be able to break the cycle and save her family from the grisly demise that inevitably awaits them all.
Movie Review:
During the preview screening of the sixth Final Destination film, there were many occasions when audiences erupted into roaring laughter. This writer was wondering whether it’s the most appropriate reaction as characters were dying in the most horrible way on screen. Isn’t Final Destination a horror franchise? Why were people laughing so loudly? Admittedly, this reviewer found himself chuckling too - though with a nervous edge.
After all, there’s always that lingering thought: what if, upon leaving the cinema, a freak accident like the ones in the movie actually happens? And the outcome? A really grisly and bloody death.
For those unfamiliar, the Final Destination series revolves around a group of people who cheat death after one of them has a premonition of a major disaster. Death is the invisible villain here, and it seriously holds a grudge when people miss their scheduled demise. For the rest of the movie, it will go all out inventing the most gruesome death traps to catch up with the survivors.
In the latest instalment directed by Zach Lipovsky and Adam Stein, the premise takes on a fresh twist, where Death comes for the descendants of a past survivor. College student Stefani Reyes (Kaitlyn Santa Juana) learns her family exists only because her grandmother once cheated death. And that means, the debt is now due. As her relatives start dying in horrific, twisted accidents, Stefani races against time to break the deadly cycle before it claims her too.
Who would’ve thought that nearly 15 years after Final Destination 5 (2011), Death would return to the big screen to claim a fresh batch of victims? Times have changed, and so has the gore – the movie is rated R21 (Gore and Violence), so you can expect more intense, graphic and disturbingly realistic carnage. Without spoiling too much, let’s just say that if you’re a fan of body piercings, you might think twice before stepping near an MRI machine a sequence in this movie delivers one of the franchise’s most unforgettable and grotesque moments to date.
The movie wastes no time in dishing out the thrills. The screenplay by Guy Busick and Lori Evans Taylor, based on a story developed with Jon Watts, will keep you on the edge, eagerly and anxiously awaiting each gruesome demise. As the tension builds with each death trap setup, nervous giggles ripple through the cinema crowd, and that will erupt into shocked laughter when the victim’s blood flies in gloriously messy fashion.
What’s notable about this film is that within its tight 110-minute runtime, you actually find yourself caring about the characters because they’re family. Stefani, along with her divorced parents, brother, and uncle’s family, must band together to outrun Death. Watching them protect one another from looming disaster adds a surprisingly emotional layer to the chaos. The relatively fresh cast helps too, allowing you to focus on the story rather than star power.
Tony Todd, known for his iconic role in the Candyman series (1992–2021), returns to the Final Destination universe as funeral home owner William Bludworth. Having passed away last November, this film offers a heartfelt tribute to the beloved horror legend, adding a poignant layer to the movie’s impact.
Movie Rating:
(Nearly 15 years after the last Final Destination instalment, the franchise returns with even more intense and graphic thrills, delivering its signature chaos while adding an unexpected emotional depth)
Review by John Li
Genre: Action/Thriller
Director: Syafiq Yusof, Abhilash Chandra
Cast: Sharnaaz Ahmad, Syafiq Kyle, Shukri Yahaya, Amelia Henderson, Syazwan Zulkifli, Wan Hanafi Su, Zamarul Hisham, Irfan Zaini, Andy Teh, Hushairi Husain, Dini Schatzmann, Tracie Sinidol, Ray DapDap, Mikael Noah, Amir Nafis
Runtime: 2 hr 10 mins
Rating: NC16 (Violence)
Released By: GV
Official Website:
Opening Day: 10 April 2025
Synopsis: When fiercely loyal bodyguard Ariff, is framed for betraying his Mafia family, he is forced to prove his innocence with the help of his estranged brother, Jaki, while being hunted by his best friend Ghaz, who leads the elite bodyguards he once called his brothers.
Movie Review:
If you’ve never seen a Malaysian action film, ‘Blood Brothers: Bara Naga’ is as good a place to start.
For the initiated, the tale of brotherhood and betrayal hails from ‘Sheriff: Narko Integriti’ director Syafiq Yusof; and if that sends a frisson of excitement down your spine, you’re right to be excited. Indeed, we will say that Yusof’s latest is not only his best to date, but also among one of the very best in Malaysian cinema.
As the title implies, the story revolves around two sworn brothers Ghaz (Sharnaaz Ahmad) and Ariff (Syafiq Kyle) whose loyalty to each other is sorely tested when the latter is suspected of murdering the former’s bride on her wedding night. It so happens that Ghaz’s wife Sheila (Amelia Henderson) is the daughter of mafia boss Dato Zul (Wan Hanafi Su), the fearsome leader of the Naga crime organisation which both brothers work for.
At over two hours, it does take a while for the movie to set up the key turning point in their relationship, but for what it demands in patience recounting how Ghaz and Ariff had met as teenagers staying within the same dilapidated public housing estate, it does reward in poignancy later on when Ghaz is so overcome by grief and vengeance that he goes on a one-on-one vendetta against Ariff.
Besides Ghaz and Ariff, the plotting also establishes the infighting within the Naga organisation, especially as Dato Zul is diagnosed with stage four cancer and due to anoint a successor. Though predictable, it is to Yusof’s credit, as well as that of his co-director and screenwriter Abhilash Chandra, that the twists and turns within are well paced and choreographed, especially with the duplicitous presence of Dato Zul’s son Fadlan (Shukri Yahaya).
It is also to their credit that the narrative doesn’t come across as an afterthought, notwithstanding the fact that the highlight here is no doubt the excellent action set-pieces throughout the film. Oh yes, from gunfights to explosions, there is no shortage of spectacle here; that said, the emphasis is clearly on the hand-to-hand, bare-knuckled fighting, which is as intense and brutal as it gets. It is truly a relief that both directors deliberately avoid the sort of shaky camera work that some examples of the action genre feel oft to follow; instead, with steady and dynamic framing and movement, they place the audience right up close within the action, and the results are downright thrilling.
Kudos too to Ahmad and Kyle, both of whom do their own stunts from start to finish; they are joined by an equally adept ensemble of supporting actors, including Andy Teh, Irfan Zaini and Razib Salimin. It is a suave team of ‘elite bodyguards’ all right, and more than looking cool, they each hold their own in their respective parts amidst the unfolding mayhem. For good measure, Yusof throws in Ariff’s older brother Jaki (Syazman Zulkifly) to lighten the mood from time to time, and works him into the story thoughtfully and deliberately.
So like we said at the start, if you’ve never watched a Malaysian action movie, ‘Blood Brothers: Bara Naga’ is truly as good a place to start as any. The action is propulsive; the story is engaging; and the characters as well as the actors are charismatic. It doesn’t break new ground in the genre for sure, but a genre piece as accomplished as this from our neighbour deserves our support through and through.
Movie Rating:
(Engaging, propulsive and satisfying, this well-mounted action thriller counts as one of the best in Malaysian cinema and a great entry into the genre)
Review by Gabriel Chong
SYNOPSIS: "How much does a life cost? “ Faced with the kidnapping of his daughter, a desperate father engages in a battle of wits with the manipulative kidnapper, a perilous struggle akin to seeking a tiger's skin. Beneath the surface, dark currents stir…
MOVIE REVIEW:
Xiao Yang plays yet again a tortured character in the third entry of the highly successful Chen Sicheng’s produced franchise, Sheep Without a Shepherd.
In the weirdly titled, Octopus with Broken Arms, Xiao Yang plays a cosmetics magnate Zheng Bingrui whose daughter, Tingting is kidnapped during a Vesak Day celebration at his mansion. Zhang Jingxian (Duan Yihong) from the Anti-Kidnapping Group (AKG) force is called up to the crime scene and Zheng suspects it’s his past associate, Shi Fu-an (Feng Bing) who has earlier came to ask for money is involved in the crime.
Zheng however refuses Zhang’s help and went on a blind goose chase following instructions from the kidnapper. Tingting’s teacher, Li Huiping (Tong Liya) also went along since she reasoned that Tingting vanished on her watch and she should help in locating her.
But here’s the thing about Octopus with Broken Arms, it’s not simply a crime movie about kidnapping. There’s more to uncover as director Jacky Gan and his team of screenwriters including Chen Sicheng maps out a series of twists and turns as we go down the rabbit hole with Zheng and Li.
First and foremost, we must say the pacing is relentless. There’s apparently no room left for audiences to breathe before we are taken on another ride to another location to uncover another secret. You see, there is this big, dark “619 incident” that connects Zheng and the kidnapping.
Of course, it doesn’t takes long to reveal that Zheng is not exactly the Buddha-loving, charitable businessman we are expecting him to be. Those flashback memories of Zheng as a young boy in an orphanage hints of something far more sinister. And with the appearance of Taiwan’ most famous baddie, Jack Kao midway, you know kidnapping and human trafficking is not a mere casual mention.
While the cast including Cya Liu is excellent, the whole idea of introducing live-streaming and TV news coverage seems over the top at times. Not to mention the countless endings and a long mid-credits scene that rival the average Marvel movie. Still, Octopus with Broken Arms is a solid plot-driven crime thriller despite the flaws. Revenge, retribution being the main themes of this movie and Chen’s trademark “Sherlock Holmes” detective elements.
MOVIE RATING:
Review by Linus Tee
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