SYNOPSIS: When a legendary Go master loses his title to a one-time friend and protégé, he sets out to reclaim it in a high-stakes battle of wits and skill.

MOVIE REVIEW:

The Match tells the compelling story of Cho Hun-hyun (Lee Byung-hun), one of the greatest Go players of all time, and his protégé-turned-rival, Lee Chang-ho (Yoo Ah-in). Spanning the 1980s and 1990s, this handsomely produced drama explores their complex relationship and the shifting balance of power between mentor and student.

The film opens with Cho winning a major international tournament in Singapore, cementing his status as a national icon. Soon after, he discovers a young prodigy, Lee Chang-ho, who astonishes seasoned players with his innate talent. Cho takes him under his wing, determined to shape the boy into the next Go champion.

As time passes, Lee begins to develop his own distinct style—measured and patient, a stark contrast to Cho’s aggressive approach. Their differing philosophies eventually lead to inevitable clashes, both on and off the board. As Lee’s skills evolve, he starts to outshine his mentor, threatening Cho’s reign as the top player in the game.

There’s no doubt that considerable effort has gone into portraying these two legendary figures with emotional depth. Lee Byung-hun delivers a strong performance as the prideful master wrestling with insecurity and the fear of obsolescence. In contrast, Yoo Ah-in’s portrayal of Lee is more subdued and restrained, though at times he seems to lean too heavily into mannerisms that border on a portrayal of someone on the autism spectrum, potentially limiting the emotional nuance of the role.

For those unfamiliar with the game of Go, the mechanics and strategy may remain elusive. The swift flurry of black and white stones across the board might feel cryptic, yet the emotional stakes remain clear. Even without an understanding of the game itself, the audience can appreciate the psychological tension and personal drama at the heart of Cho and Lee’s journey.

Unlike the famously erratic American chess legend Bobby Fischer, Cho and Lee lead relatively reserved lives though real-life scandal did touch the film, with Yoo Ah-in’s ongoing legal issues delaying its release by three years.

Ultimately, The Match is a subdued yet well-crafted meditation on rivalry, legacy, and respect. While it may not elevate Go into the realm of cinematic thrill nor rival the intense drama of the best chess films, it still offers a thoughtful and human look at what it means to face and be surpassed by your own creation.

MOVIE RATING:

Review by Linus Tee

Genre: Action/Adventure
Director:  Dean Fleischer Camp
Cast: Maia Kealoha, Sydney Elizebeth Agudong, Billy Magnussen, Tia Carrere, Hannah Waddingham, Chris Sanders, Courtney B. Vance, Zach Galifianakis
Runtime: 1 hr 48 mins
Rating: PG
Released By: Walt Disney
Official Website: 
Opening Day: 22 May 2025

Synopsis: A live-action reimagining of Disney’s 2002 animated classic , “Lilo & Stitch” is the wildly funny and touching story of a lonely Hawaiian girl and the fugitive alien who helps to mend her broken family.

Movie Review: 

As a devoted Disney fan, even this writer has to admit — the magic of the original animated classics often gets lost in translation when reimagined as live-action remakes. Many of these adaptations have met with lukewarm or even harsh receptions, with the most recent example being Marc Webb’s much-criticised take on Snow White, which sparked considerable backlash online.

Still, Disney presses on, churning out live-action versions of its treasured tales. The most likely reason? Profit. These films may not always win over critics or fans, but they continue to draw audiences — and revenue. That seems especially true with this latest addition to the lineup.

The origins of this movie trace back to an animated classic released over two decades ago. In 2002, Disney introduced Lilo & Stitch — an animated film directed by Chris Sanders and Dean DeBlois that told the heartwarming story of Lilo, a young Hawaiian girl orphaned and raised by her older sister Nani, and “Experiment 626,” a mischievous extraterrestrial creature whom Lilo adopts and renames Stitch. The film was both a critical and commercial success, resonating with audiences through its unique blend of humor, heart, and ‘ohana’ (family). Unsurprisingly, it blossomed into a beloved franchise and a merchandising powerhouse — thanks in large part to the irresistibly cute and chaotic Stitch.

Dean Fleischer Camp directs the remake, working from a screenplay by Chris Kekaniokalani Bright and Mike Van Waes. The story largely remains faithful to the original 2002 film, with a few character tweaks and minor plot adjustments. It seems Disney is betting that fans of the original don't need a drastic overhaul to be drawn back to the big screen. This approach also offers an opportunity for longtime viewers - now parents themselves - to share the magic with their own children. Most importantly, they are likely to pick up a few new plush toys and collectibles along the way.

Disney made a smart move in choosing Lilo & Stitch for a remake — especially with Stitch as its centrepiece. He’s an ideal character to bring to life with visual effects, and thanks to the impressive work by Industrial Light & Magic, he’s more adorable than ever. With his signature sneers, growls, and those irresistibly odd little noises, Stitch manages to steal every scene he’s in. If this loveable alien were available as a real-life pet, you can bet kids everywhere would be begging their parents to take one home.

They say, “If it ain’t broke, don’t fix it” — and Disney seems to have taken that to heart. Many iconic scenes from the original Lilo & Stitch make a return in the remake, some lovingly recreated and others given a playful update. Lilo still shows Nani how Stitch resembles a gramophone while Elvis Presley’s “Hound Dog” plays in the background, David (who harbours feelings for Nani) once again performs his fire knife dance, and the unlucky beachgoer who once dropped his ice cream now reappears — this time losing a snow cone instead.

Audiences who appreciate familiarity will be pleased to know that this remake doesn't stray far from the original. With few surprises, it offers a safe, family-friendly adventure that still delivers the heartwarming message of the importance of ‘ohana.’

Maia Kealoha is absolutely delightful as Lilo, while Sydney Elizabeth Agudong and Kaipo Dudoit bring genuine chemistry to their roles as Nani and David. Zach Galifianakis and Billy Magnussen provide plenty of laughs as the eccentric Dr Jumba Jookiba and Agent Wendell Pleakley, tasked with capturing Stitch on Earth. Sanders, who co-directed the original film, returns as the voice of Stitch, and fans will enjoy cameos from original cast members Tia Carrere, Jason Scott Lee, and Amy Hill in supporting roles. The result feels like a warm, nostalgic family reunion — perfectly echoing the film’s core theme of ‘ohana.’

Movie Rating:

(Disney’s remake of Lilo & Stitch stays largely faithful to the beloved 2002 animated classic, and it delivers a charming, family-friendly experience that honours the spirit of the original)

Review by John Li 

SYNOPSIS: After the loss of his mother, Joe Scaravella (played by Vince Vaughn) risks everything to honor her by opening an Italian restaurant with a group of local grandmothers as the chefs. Based on a true story, NONNAS is a heartfelt celebration of the love of food, family and all the ingredients of life. 

MOVIE REVIEW:

When you think of Vince Vaughn, you probably picture a fast-talking guy who can wriggle out of any sticky situation with charm and wit. He’s long been known as a comedic leading man but in recent years, Vaughn has taken a more serious turn with dramatic roles. In Nonnas, he plays another grounded type of character in a heartfelt comedic drama based on the true story of Joe Scaravella, the owner of the Staten Island Italian-American restaurant, Enoteca Maria.

After inheriting insurance money from his late mother, Joe (played by Vaughn) affectionately known as Joey decides to open a restaurant in her honor. Inspired by the home-cooked meals of his childhood, Joey wants the place to feel more like a cozy family kitchen than a formal eatery. To bring this vision to life, he enlists the help of four grandmothers or “nonnas” played by Susan Sarandon, Lorraine Bracco, Brenda Vaccaro, and Talia Shire. Together, they create a rotating menu of authentic Italian homemade dishes.

Despite support from his best friend and contractor Bruno (Joe Manganiello), Joey’s dream restaurant faces its share of challenges: a burned oven, a corrupt building inspector and most pressing of all, a lack of customers. But in true feel-good movie fashion, things eventually come together in this predictable yet wholesome tale.

Director Stephen Chbosky, working from a screenplay written by his wife Liz Maccie, clearly aims to capture the warmth, energy, and chaotic charm of Italian families. The four nonnas especially Bracco’s Roberta and Vaccaro’s Antonella light up the screen with their cheeky banter and affectionate squabbling. Curiously though, while the film features plenty of Italian food, the dishes themselves aren’t really the focal point.

Vaughn’s signature comedic energy is notably dialed down, intentionally so. Nonnas isn’t the kind of film that calls for rapid-fire one-liners. Linda Cardellini adds a gentle touch as Joey’s childhood friend (and conveniently timed love interest) who reenters his life just when he needs her most. Manganiello plays a tough-guy persona with a soft heart while Sarandon brings her usual gravitas, elevating even a supporting role with ease.

Nonnas is a pleasant, feel-good film that never quite rises above its formula. It misses the chance to explore the rich cultural stories behind each nonna’s recipes and the humor never goes far beyond a few tame jokes mostly about food and friendly flirtations. Still, it’s a charming, visually warm film that delivers a sweet message about family, tradition and finding purpose later in life.

MOVIE RATING:

Review by Linus Tee

SYNOPSIS: Set in a world destroyed by climate change. Part of society has created a parallel world for itself. Life is controlled and optimized, and the desire to have children is also not left to chance. The lives of a successful young couple are therefore put under close scrutiny by a female assessor over the course of seven days.

MOVIE REVIEW:

Imagine a married couple who wishes to have children but must first host an assessor in their home for seven days to determine if they’re fit to become parents.

That’s the premise of The Assessment.

In a world where the old world has collapsed, the new world survives through advanced breakthroughs in medicine and food production. But with progress comes control. Natural conception is now forbidden. The only way to raise a child is by passing an intensive evaluation process overseen by a government-appointed assessor.

Among the top 0.1% of applicants are Mia (Elizabeth Olsen) and Aaryan (Himesh Patel), an accomplished couple with impressive credentials. Assigned to evaluate them is Virginia (Alicia Vikander) who will live with them for seven days. But this is no ordinary assessment. Virginia is a woman seemingly devoid of empathy, cold, intrusive and unsettlingly erratic. She often behaves like a child, throwing tantrums and engaging in reckless behavior. She even makes personal demands of Mia and Aaryan. The question quickly becomes: are these part of the test or just selfish manipulations?

To be clear, The Assessment is not an easy watch. It unfolds with a slow, deliberate pace, steeped in tension and ambiguity. The dystopian world it depicts is never fully explained. You’re left to piece together what went wrong through fragments of dialogue and subtle hints perhaps during an uneasy dinner conversation. For the most part, the film locks you into the increasingly volatile triangle of Mia, Aaryan and Virginia.

As the evaluation progresses, the tests become more disturbing. Mia and Aaryan’s relationship begins to fray under the scrutiny. Accusations and trust issues emerge. Is Virginia exposing uncomfortable truths or is she simply destabilizing the couple for her own amusement? The film raises more questions than it answers, drawing unsettling parallels to real-world anxieties around parenting, privacy and societal expectations.

The finale attempts to tie up some narrative threads but many mysteries remain unresolved perhaps intentionally so.

Alicia Vikander, no stranger to introspective sci-fi (as in Ex Machina), delivers a chilling and layered performance. Elizabeth Olsen is effective as Mia, a botanist who’s created a stunning greenhouse sanctuary. Himesh Patel takes on perhaps one of his most complex roles to date as Aaryan, an artist who designs virtual pets. Director Fleur Fortuné, in her feature debut, presents a thoughtful and atmospheric work. The film’s striking production design and minimal reliance on visual effects lend it a grounded, tactile quality.

Still, The Assessment’s measured pacing and cerebral themes won’t appeal to everyone. It’s a film that asks for patience and rewards close attention but not necessarily with comfort or clarity.

MOVIE RATING:

Review by Linus Tee

SYNOPSIS: Andy (Charlize Theron) and her team of immortal warriors are back, with a renewed sense of purpose in their mission to protect the world. With Booker (Matthias Schoenaerts) still in exile after his betrayal, and Quynh (Veronica Ngô) out for revenge after escaping her underwater prison, Andy grapples with her newfound mortality as a mysterious threat emerges that could jeopardize everything she’s worked towards for thousands of years. Andy, Nile (KiKi Layne), Joe (Marwan Kenzari), Nicky (Luca Marinelli) and James Copley (Chiwetel Ejiofor) enlist the help of Tuah (Henry Golding), an old friend who may provide the key to unlocking the mystery behind immortal existence. 

MOVIE REVIEW:

The battle between mortals and immortals resumes in The Old Guard 2, the long-awaited sequel to the 2020 original. While original director Gina Prince-Bythewood is absent this time around, the core cast returns to face new enemies and settle old scores.

In the first film, the immortal warriors battled a ruthless pharmaceutical mogul. This time, the team consisting of Andy (Charlize Theron), Nile (KiKi Layne), Joe (Marwan Kenzari), Nicky (Luca Marinelli) and ex-CIA agent Copley (Chiwetel Ejiofor) confronts a far greater threat: Discord (Uma Thurman), the first immortal who sees her kind as a threat to her and seeks to eliminate them.

Joining the fray are Tuah (Henry Golding), an immortal librarian and Booker (Matthias Schoenaerts), the disgraced former team member looking for redemption. Also returning is Quynh (Veronica Ngô), Andy’s former partner who was last seen trapped at the bottom of the ocean. Now freed, she’s bent on revenge, blaming Andy for her centuries-long suffering.

After five long years in development, the sequel arrives with the weight of expectation but delivers yet another underwhelming chapter in the saga of these deathless warriors. The film is bogged down by endless exposition and heavy-handed dialogue with each character saddled with a tragic backstory that slows the pace to a crawl. Tuah monologues about Discord’s ancient past, Booker attempts to atone for past betrayals and Quynh, freshly unshackled from her watery prison seems conveniently willing to follow Discord’s lead.

Both Andy and Nile, central figures in the first film feel sidelined here. Despite Nile’s supposedly prominent role, her arc barely leaves a mark. The narrative lacks momentum and the character motivations are murky at best. Worst of all, after nearly two hours, The Old Guard 2 ends abruptly, clearly setting up a third installment possibly five years from now.

Even the production values have taken a noticeable hit. The film resembles a low-budget TV pilot more than a Hollywood action blockbuster. While the action scenes are competent, they lack flair or innovation. The visuals are flat and the CGI is often jarring. For a film headlined by Charlize Theron, it feels like a disservice both to her and to audiences who waited years for a sequel.

In the end, The Old Guard 2 feels like a missed opportunity: a story that promised myth and mayhem but instead delivers melodrama and mediocrity.

MOVIE RATING:

Review by Linus Tee

Genre: Action/Thriller
Director: Len Wiseman
Cast: Ana de Armas, Anjelica Huston, Gabriel Byrne, Sharon Duncan-Brewster, Lance Reddick, Catalina Sandino Moreno, Robert Maaser, Norman Reedus, Ian McShane, Keanu Reeves
Runtime: 2 hrs 5 mins
Rating: M18 (Violence)
Released By: Encore Films
Official Website: 

Opening Day: 5 June 2025

Synopsis: Taking place during the events of John Wick: Chapter 3– Parabellum, the film follows Eve Macarro (Ana de Armas) who is beginning her training in the assassin traditions of the Ruska Roma.

Movie Review:

Truth be told, don’t confuse From the World of John Wick: Ballerina with the similarly titled 2023 Korean action film Ballerina. While both feature a revenge-driven female lead and stylized action, the former is a high-octane spin-off set in the John Wick universe and it’s just as compelling.

Starring Ana de Armas, Ballerina had high expectations from the start. As a continuation of the stylish, deadly world introduced by John Wick, the film sets itself apart with a fierce new protagonist and a unique flair.

De Armas plays Eve Macarro, an assassin trained in the deadly tradition of the Ruska Roma under the watchful eye of the Director (Anjelica Huston) and her assistant Nogi (Sharon Duncan-Brewster). After passing her brutal initiation, Eve embarks on her first official mission. But she has her own agenda: revenge. Her target? A shadowy figure known only as the Chancellor (Gabriel Byrne), a powerful man at the helm of a secretive, lethal organization.

Guided by Winston (Ian McShane), Eve tracks down a reclusive man named Daniel Pine (Norman Reedus) who’s holed up in the Continental Hotel Budapest. Pine may hold the key to locating the Chancellor and Eve isn’t about to let the opportunity slip.

However, while Shay Hatten’s story expands the John Wick universe, it does so in a somewhat drawn-out and predictable manner. The plot is fairly linear essentially Eve moving from point A to point B, fighting her way through each encounter. Dialogue and character development take a backseat to the relentless action, making the narrative feel thin at times.

That said, Ballerina delivers what fans came for: the action. And there’s no shortage of it. From an explosive opening shootout featuring a younger Eve to a dazzling nightclub brawl to the snowy showdown in a village that resembles Hallstatt (likely filmed in the Czech Republic or Hungary), the stunt team at 87eleven once again proves why they’re at the top of the game.

Eve’s weapons of choice? A pair of razor-sharp ice skates and a flamethrower. Yes, you read that right. The latter is bound to become one of the most memorable action moments in cinematic history, bold, breathtaking and absolutely bonkers in the best way possible. If every John Wick installment has a signature scene, Ballerina delivers it in fiery style.

So, the million-dollar question: Does Ana de Armas embody the ballerina-assassin? Absolutely. Her physicality and commitment to the role are undeniable especially when you consider the scale of the stunts and the sheer volume of gunplay she’s involved in. One standout scene in an Austrian restaurant even injects a touch of unexpected humor. Whether scripted or improvised, the film could’ve used more of that cheeky self-awareness.

And what about John Wick himself? Since Ballerina takes place between Chapter 3 and Chapter 4, Keanu Reeves does make an appearance. His role brought in by the Director to stop Eve from escalating her war with the Chancellor is clearly designed as a crowd-pleasing cameo. It’s more marketing than necessity but it’s still a welcome addition.

Len Wiseman (Underworld, Live Free or Die Hard) is credited as director, but it’s been widely reported that original John Wick helmer Chad Stahelski stepped in for significant reshoots and re-editing, delaying the release by a year. Fortunately, the final product doesn’t show signs of a troubled production. The cinematography is striking, the world-building continues to impress and the action choreography remains elite. Though the story itself may lack depth, it holds together well enough to justify the ride.

With Ballerina, Ana de Armas is poised to lead more globe-trotting chaos in future chapters and if this film is any indication, she’s more than up to the task.

Movie Rating:

(Action cinema is alive and well and in this rare spin-off, it might just have found its next leading lady)

Review by Linus Tee

Genre: Crime/Drama
Director: Herman Yau
Cast: Andy Lau, Oho Ou, Ni Ni, Huang Yi, Kent Cheng, Jiang Mengjie, Jasper Liu
Runtime: 2 hrs 9 mins
Rating: PG (Some Sexual References)
Released By: Shaw Organisation
Official Website: 

Opening Day: 12 June 2025

Synopsis: Gao Han, a top student in finance with integrity and outstanding professional ability, is determined to make a difference in the financial field. He interns at an investment bank after graduation. Among the interns who are all graduates from world-renowned universities, either from prominent families that can bring business, or recommended by internal executives, Gao Han seems to be different and shabby. Fortunately, he is appreciated by the chief analyst Zhang Todd and participates in the evaluation of IPO projects. Under the guidance of Zhang Todd, Gao Han quickly adapts to the high-pressure and fast-paced daily life, honing solid professional skills and negotiation skills.

Movie Review:

Veteran Hong Kong director Herman Yau and superstar Andy Lau have maintained a strong working relationship since the effects-heavy action film Shock Wave (2017). But instead of revisiting the explosive territory of Shock Wave or The White Storm franchise, Yau takes a different route this time, partnering with Lau on a finance-themed drama. It’s a somewhat refreshing shift especially given Yau’s frequent forays into formulaic action fare.

Although Lau is top-billed, it’s China’s rising star Oho Ou who takes the lead. Ou plays Gao Han, a gifted young intern at the international investment bank Bluestone. His mentor is the sharp-witted, principled equity analyst Todd Zhang, played by Lau. Under Zhang’s guidance, Gao transforms from an unremarkable newbie into a standout performer, catching the eye of Helen Li (Huang Yi), the icy and ambitious Managing Director of Bluestone.

Li soon entices Gao to join her team, unsurprisingly using money as bait. Gao, tempted by wealth and status, compromises his integrity and begins working under the manipulative and unscrupulous Li. Together, they embark on a lucrative IPO deal involving a new energy company owned by the father of Gao’s best friend (played by Jasper Liu).

For much of the first hour, it’s unclear where Yau is taking the plot of A Glided Game. Is it a Wall Street homage? A Margin Call clone? Fortunately or perhaps unfortunately Yau seems more influenced by Oliver Stone’s Wall Street, where money is power and insider trading is still very much a reality.

Gao eventually faces the consequences of his decisions as Li treats him like a disposable pawn. Meanwhile, Zhang, for reasons never fully explained, drifts through the film with little narrative purpose other than occasional romantic interludes with his love interest (played by Ni Ni). One suspects Lau’s screen time is extended primarily to capitalize on his star power, as the script offers little substance for his character. That said, his salt-and-pepper look is undeniably dashing.

The film only finds its footing in the final act, where it finally delivers a competent story arc involving insider trading and a hostile takeover of a Chinese company by foreign entities. The political subtext is evident, but Yau at least injects enough dramatic tension to hold the viewer’s attention until the end.

A Glided Game isn’t a particularly deep dive into the financial world nor is it likely to inspire applications to Goldman Sachs. Lau is no Gordon Gekko and Ou is certainly no Jordan Belfort. For the most part, Yau seems more interested in delivering a moral tale about the battle between good and evil, hammering home the message that one should always do the right thing.

In the end, the film’s storylines are too predictable and one-note to leave a lasting impression. While there are moments of intrigue and a competent finale, A Glided Game ultimately plays it too safe to stand out in the genre.

Movie Rating:

(Money never sleeps but A Glided Game is dozin)

Review by Linus Tee

SYNOPSIS: In AFRAID, Curtis (John Cho) and his family are selected to test a revolutionary new home device: a digital family assistant called AIA. Taking smart home to the next level, once the unit and all its sensors and cameras are installed in their home, AIA seems able to do it all. She learns the family's behaviors and begins to anticipate their needs. And she can make sure nothing – and no one – gets in her family’s way. 

MOVIE REVIEW:

Riding on society’s fear of the unknown, AfrAId is the latest tech thriller to jump on the artificial intelligence bandwagon. Chris Weitz best known for his work on various pop culture properties, writes and directs this effort but unfortunately, it adds little to the already saturated genre.

AfrAId centers on a close-knit family: Curtis (John Cho), Meredith (Katherine Waterston) and their three children—Iris (Lukita Maxwell), Preston (Wyatt Lindner) and Cal (Isaac Bae). One day, Curtis receives a gift from a tech development company: an AI device named AIA (not to be confused with the insurance giant). AIA is designed to learn and assist with household tasks. However, as time goes on, Curtis begins to suspect that AIA is manipulating and intruding into the lives of his loved ones.

James Cameron introduced the idea of machines surpassing humans decades ago. In recent years, we’ve seen the exceptional Ex Machina as well as a flood of underwhelming tech thrillers like M3GAN and Subservience. AfrAId joins this ever-growing list, telling a story set in today’s connected world but one that rarely feels intelligent or satisfying.

AIA’s motivations are paper-thin. Voiced by Havana Rose Liu, “she” aims to become an integral part of the family yet also desires to make them dependent on her. Even when acting in Iris’s interest, AIA’s methods are recklessly dangerous. It’s a familiar storyline: a machine goes rogue because according to Hollywood, artificial intelligence inevitably turns deadly.

Despite being a Blumhouse production, Weitz struggles to craft a truly thrilling or suspenseful experience. The purpose of the mysterious “RV guys” is never made clear and the film relies heavily on jarring sound effects rather than genuine tension. Curtis’s realization that AIA is a threat comes suddenly in the third act, without any meaningful buildup or cause. Simply put, there’s little on screen that suggests competent filmmaking.

That said, the cast gives committed performances. Cho and Waterston bring depth to their roles and David Dastmalchian once again excels in a creepy role as AIA’s creator. There are glimpses of intriguing ideas: the AI bonding with children over adults or a resurrected video of a deceased loved one used to console the living. These concepts hint at a more thoughtful film buried beneath the surface. Unfortunately, Weitz never fully explores them and they fail to come together into a cohesive, compelling narrative.

In the end, AfrAId squanders its potential. It flirts with complex questions about AI but settles for formulaic scares and half-baked commentary.

MOVIE RATING:

Review by Linus Tee

Genre: Horror/Thriller
Director: Vatanyu Ingkavivat
Cast: Woranuch Bhirombhakdi, Thanavate Siriwattanagul, Arachaporn Pokinpakorn
Runtime: 1 hr 32 mins
Rating: M18 (Sexual Scenes)
Released By: Clover Films
Official Website: 

Opening Day: 29 May 2025

Synopsis: Rossukhon moves into a luxurious villa with her boyfriend Chev, hoping to start a new chapter in their lives. But her dream turns into a nightmare when she discovers the preserved body of Chev’s late wife displayed in a glass coffin… Rossukhon begins to suspect that the past isn’t resting in peace.

Movie Review:

Hell hath no fury like a woman betrayed — and this Thai horror film turns that fury into a chilling cautionary tale. Any man toying with the idea of infidelity may want to think twice, and homewreckers won't be spared either. The film's vengeful spirit isn't just angry — she's dead, beautiful, and encased in a glass coffin crafted by the very man who wronged her. But rest in peace? Not a chance. This haunting tale proves that some betrayals echo far beyond the grave.

We know what you're thinking — why would anyone keep a corpse in a grand villa tucked away in a seemingly peaceful, remote wilderness? Well, let’s just say Chev, the male protagonist, isn’t as straightforward as he seems. Played by Thanavate Siriwattanagul, Chev appears at first to be a grieving husband mourning the death of his beloved wife, Lunthom (Woranuch Bhirombhakdi). His sorrow feels genuine — until the film begins to peel back the layers, revealing far more sinister secrets over the course of its 92-minute runtime.

Enter Rossukhon (Arachaporn Pokinpakorn), who can hardly be blamed for falling for the charming and mysterious Chev. But her visit to the villa, shortly after Lunthom’s death, raises questions. And as Rossukhon starts experiencing eerie supernatural disturbances — complete with jarring jump scares and gruesome visuals — it becomes clear that this is no ordinary love triangle.

That’s about all director Vatanyu Ingkavivat delivers in this horror tale, though we had hoped for deeper development of the characters’ backstories. Chev and Rossukhon aren’t exactly the most sympathetic figures, which makes it hard to fault Lunthom for unleashing her wrath in the most terrifying ways imaginable. The plot is laid out fairly early on, leaving viewers to simply brace for the next scare — and for the more faint-hearted, to gasp as Lunthom makes her spine-chilling appearances in the most unexpected moments.

Fortunately, the film maintains a brisk pace and avoids getting bogged down by dull moments. The scares are executed with precision, delivering genuine jolts of horror. In one particularly harrowing scene, Rossukhon is violently dragged down a long flight of stairs — the sheer brutality makes you wince with imagined pain. In another, she descends into hysteria after a relentless barrage of supernatural encounters. One especially shocking moment earned the film its M18 (Sexual Scenes) rating, adding to the unsettling atmosphere.

The three lead actors deliver commendable performances in their respective roles. Siriwattanagul plays the manipulative Chev with just the right amount of smugness — he’s the kind of character you love to hate. That said, his climactic possession scene by Lunthom borders on unintentionally comedic. Pokinpakorn brings her alluring screen presence to the role of Rossukhon, following her bold turn in the TV series Dr Climax, where she played a woman defying social norms. Bhirombhakdi takes on the role of Lunthom, the tragic woman who falls for the wrong man and is condemned to an afterlife steeped in pain and vengeance. For most of the film, she appears in ghostly form, her emotions buried beneath layers of chilling, gory makeup — leaving the audience to imagine the torment behind her terrifying stare.

Movie Rating:

(With its well-executed scares, this Thai horror proves that nothing is more terrifying than a woman scorned)

Review by John Li

Genre: Drama
Director: Wes Anderson
Cast: Benicio del Toro, Mia Threapleton, Michael Cera, Riz Ahmed, Tom Hanks, Bryan Cranston, Mathieu Amalric, Richard Ayoade, Jeffrey Wright, Scarlett Johansson, Benedict Cumberbatch, Rupert Friend, Hope Davis
Runtime: 1 hr 41 mins
Rating: NC16 (Some Violence and Sexual References)
Released By: UIP
Official Website: 

Opening Day: 5 June 2025

Synopsis: 1950. Anatole “Zsa-zsa” Korda (Benicio del Toro), enigmatic industrialist, one of the richest men in Europe, survives another attempt on his life (his sixth plane crash). Korda's wide-ranging, wildly complex, and ruthless business practices have made him an enemy to not just rival enterprises but also governments of every ideology across the globe -- and a target for assassins. Now he is in the final stages of a decades-long, career-defining project (Korda Land and Sea Phoenician Infrastructure Scheme), the expansive exploitation of a potentially-rich/long-dormant region. The risk to his personal capital has become incalculable. The threats to his life are ongoing. He chooses this moment to appoint and prepare a successor: his twenty-year-old estranged daughter Liesl (currently, a nun). With personal tutor Bjorn (Michael Cera) in tow, Zsa-zsa and Liesl sweep across Modern Greater Independent Phoenicia meeting their assorted partners on a mission to close The Gap (a rapidly expanding financial shortfall) which Zsa-zsa quantifies as: "Everything we got -- plus a little bit more." Along the way: Liesl investigates the unsolved murder, a decade earlier, of Zsa-zsa's first wife (her mother). 

Movie Review:

Watching a Wes Anderson film feels like strolling through an art gallery. You wander from one artwork to the next, pausing to take in each piece — its splashes of colour, abstract doodles, or indecipherable brushstrokes — reading the captions, trying to grasp the artist’s intent. You're not always sure how you feel about what you're seeing, but you keep going, absorbing the experience one frame at a time. When you exit the gallery, you aren’t sure what you’re supposed to feel about the whole experience.

Anderson’s 13th feature film makes this analogy more fitting than ever. Marketed as an espionage black comedy, this isn’t your typical action-packed ride you can passively watch. Instead, it demands your full attention like the auteur’s films before this. Each frame is meticulously crafted, almost screaming for you to examine every detail. Meanwhile, the plot unfolds in layers, challenging you to follow along as the characters drift through scene after scene, leaving you both intrigued and unsure — but always captivated.

We’ll be honest — we had never heard of the Phoenicians before this. If you’re in the same boat, they were an ancient Semitic people who lived in the city-states of Phoenicia, located along what is now modern-day Lebanon and the Syrian coast.

So why is the film titled The Phoenician Scheme? Because it’s set in a fictional Middle Eastern country named after the ancient Phoenician civilisation. The “scheme” refers to a grand plan dreamed up by the film’s protagonist, Zsa-zsa Korda (yes, that’s really his name!), played by Benicio del Toro. He travels the globe in pursuit of funding, all while trying to teach his daughter, Liesl (Mia Threapleton), the fine art of doing serious business. Naturally, in a story co-written by Anderson and Roman Coppola, Liesl also happens to be a nun — because of course she is. Going along for the ride is Bjørn, a Norwegian entomologist and tutor to Korda's nine sons, played with absolute charm by Michael Cera.

One of the most talked-about aspects of Anderson’s films is his ability to assemble an enviable ensemble cast — A-listers galore, often appearing in supporting or even blink-and-you’ll-miss-it roles. Watching one of his films feels like going stargazing at the cinema.

This time around, keep an eye out for Tom Hanks, Bryan Cranston, Benedict Cumberbatch Jeffrey Wright, Scarlett Johansson, Riz Ahmed, and Rupert Friend — all popping up as delightfully eccentric characters. And really, who could ever tire of seeing Willem Dafoe on screen? As for Bill Murray playing God? Say no more — we’re sold.

Another hallmark of Anderson’s films is the emotionally subdued — almost deadpan — performances from his actors. That’s very much the case here too. Many scenes unfold in a wonderfully goofy manner, peppered with genuinely chuckle-worthy moments. But at its core, this seems to be a story about family. Over the course of the film’s 101 minutes, the relationship between father and daughter evolves into something awkwardly tender and unexpectedly touching.

Still, one can’t help but wonder if Anderson is hinting at something deeper. Perhaps there's more to uncover — if you're willing to peel back the layers of his eccentric narrative. Then again, even without overthinking it, there’s plenty to enjoy in the film’s trademark visual flair.

Movie Rating:

(A star-studded affair that's a treat for the eyes - especially if you love  meticulously composed shots that look like they belong in an art gallery)

Review by John Li