Genre: Drama
Director: Mike Flanagan
Cast: Tom Hiddleston, Chiwetel Ejiofor, Karen Gillan, Mia Sara Carl Lumbly, Benjamin Pajak, Jacob Tremblay, Mark Hamill
Runtime: 1 hr 51 mins
Rating: NC16 (Some Coarse Language)
Released By: Shaw Organisation
Official Website: 

Opening Day: 5 June 2025

Synopsis: From the hearts and minds of Stephen King and Mike Flanagan comes THE LIFE OF CHUCK, the extraordinary story of an ordinary man. This unforgettable, genre-bending tale celebrates the life of Charles 'Chuck' Krantz as he experiences the wonder of love, the heartbreak of loss, and the multitudes contained in all of us.

Movie Review:

Stephen King isn’t called the “King of Horror” for nothing. His spine-chilling stories have birthed some of the most terrifying films in cinema history - leaving audiences haunted long after the credits roll. Still reeling from the nightmare fuel that is Pennywise the clown, brought to life with eerie brilliance by Bill Skarsgård in It (2017) and its 2019 sequel? The blood-soaked prom scene from Carrie (1976), where pig’s blood rains down on a stunned Sissy Spacek, remains one of horror’s most unforgettable images. And who can forget that chilling moment in The Shining (1980), when Jack Nicholson’s deranged Jack Torrance peers through a splintered door and snarls, “Here’s Johnny!”?

But the bestselling author doesn’t just deliver nightmares - he’s also behind some of the most touching and emotionally resonant stories ever brought to screen. Films like Stand by Me (1986) and The Shawshank Redemption (1994) prove that King’s storytelling can be just as heartwarming as it is haunting. Now, joining this celebrated lineage is The Life of Chuck, a new drama adapted from his novella of the same name, originally published in his 2020 collection If It Bleeds.

Written and directed by Mike Flanagan, this 111-minute film unfolds in reverse chronology - an intriguing storytelling choice that pays off. It opens with the cryptic title card “Act Three: Thanks, Chuck,” immediately pulling viewers into its mystery. The narrative centers on a middle school teacher (a charismatic Chiwetel Ejiofor) and his ex-wife (Karen Gillan, nearly unrecognisable from her Guardians of the Galaxy days), a hospital nurse. As the world quite literally falls apart around them as global natural disasters wreck homes universally, it becomes clear that the apocalypse is at hand.

In this dialogue-heavy act, the former couple reconnects amidst a surreal backdrop: mysterious billboards and ads plastered with the message “Charles Krantz: 39 Great Years! Thanks, Chuck!” start appearing everywhere. Accompanying the slogan is a smiling Tom Hiddleston, presumably the enigmatic Chuck. But who is he really, and what exactly is going on? The suspense is compelling, even as the plot moves at a deliberate pace.

Delving into the chapters titled “Act Two: Buskers Forever” and “Act One: I Contain Multitudes” would risk spoiling the quiet magic of watching this story unfold on the big screen. As each chapter reveals fragments of the puzzle, you find yourself slowly connecting the dots - drawn deeper into its lyrical, layered storytelling.

Without giving too much away, Act Two features one of the most enchanting sequences in recent memory: Hiddleston and Annalise Basso, complete strangers, dance freely to the infectious rhythms of a street drummer in the middle of a suburban mall. It’s a spontaneous, joy-filled moment - one that seems to arise out of nowhere, yet hints at something greater. Perhaps life is made up of moments like these: fleeting, unexplainable, and profoundly meaningful in ways we only sense, not see.

Familiar faces pop up throughout the film: Mark Hamill appears as Chuck’s grandfather, Jacob Tremblay portrays a teenage Chuck, and Nick Offerman lends his signature wit as the offscreen narrator. At the helm is Mike Flanagan, no stranger to Stephen King’s universe - having previously directed Gerald’s Game (2017) and Doctor Sleep (2019). He’s also the creative force behind acclaimed horror series like The Haunting of Hill House (2018) and The Haunting of Bly Manor (2020). With this latest work, Flanagan steps gracefully beyond horror, weaving together sweetness, mystery, and quiet reflection into a bittersweet and enthralling cinematic experience.

Movie Rating:

(A poignant blend of wonder, intrigue and emotional depth that captivates with its quiet power)

Review by John Li

SYNOPSIS: Witness the never-before-seen footage and true story behind the John Wick phenomenon, starring Keanu Reeves – from independent film to billion-dollar franchise.

MOVIE REVIEW:

Over the past decade, John Wick has gone from sleeper hit to genre-defining action phenomenon. With its success, leading man Keanu Reeves enjoyed a career renaissance while former stuntmen-turned-directors Chad Stahelski and David Leitch became some of the hottest names in Hollywood.

Wick Is Pain dives deep into the making of the original John Wick (2014). It’s a must-watch documentary for fans of the billion-dollar franchise especially when you consider that no one initially wanted to finance or distribute the film. That is, until Eva Longoria stepped in at the last minute with a $6 million check, saving the production after an investor pulled out.

The documentary is largely led by Reeves and Stahelski who recount how they first met and how Stahelski got his start as a stunt double for Brandon Lee in The Crow. Leitch, who went uncredited as co-director due to complicated DGA regulations also joins the conversation to discuss his creative partnership with Stahelski.

Throughout the film, we witness the literal and figurative blood, sweat and tears poured into the project. Stahelski opens up about personal struggles including relationship troubles with his former partner, stunt coordinator Heidi Moneymaker. Leitch discusses his efforts to break away from the franchise to direct Atomic Blonde. Meanwhile, Reeves demonstrates unwavering dedication to performing his own physically demanding “gun-fu” stunts.

Credit also goes to director Jeffrey Doe, who ensures the spotlight isn’t only on the stars. Producers Basil Iwanyk and Erica Lee share juicy behind-the-scenes stories, while Reeves’ stunt double Jackson Spidell breaks down the jaw-dropping fall from Chapter 3, a scene you might assume was CGI.

Given the scope of the franchise’s stuntwork, the documentary can’t cover everything. We get brief glimpses of the iconic knife fight, the attack dogs alongside Halle Berry’s character, and a short segment on how Donnie Yen joined Chapter 4. Honestly, a full series on the John Wick stunts feels necessary, two hours just isn’t enough to do justice to such a groundbreaking saga.

Despite minor omissions, Wick Is Pain is an electrifying, insightful documentary especially for diehard fans of the Baba Yaga himself. Whether or not Ballerina lives up to Wick remains to be seen. But one thing is certain: Reeves is John Wick. Wick is pain. F*** yeah!

MOVIE RATING:

Review by Linus Tee

SYNOPSIS: Fountain of Youth follows two estranged siblings (John Krasinski and Academy Award winner Natalie Portman) who partner on a global heist to find the mythological Fountain of Youth. They must use their knowledge of history to follow clues on an epic adventure that will change their lives … and possibly lead to immortality.

MOVIE REVIEW:

John Krasinski stars as Luke Purdue, a modern-day Indiana Jones figure on a quest to find the fabled Fountain of Youth at the behest of a dying billionaire, Owen Carver (Domhnall Gleeson). Joining him reluctantly is his estranged sister Charlotte (Natalie Portman), a curator at the National Gallery.

Before diving deeper into the story, it’s worth pausing to admire the lavish production values brought to our small screens. Backed by Skydance and Apple, Fountain of Youth looks like a premium cinematic experience. The sets are meticulously crafted and the film was shot on location in Thailand, London and Egypt, giving it an authentic, globe-trotting feel. Credit is due to director Guy Ritchie for helming this ambitious treasure-hunting adventure.

Although James Vanderbilt is the sole credited screenwriter, the script wears its influences openly particularly Indiana Jones (especially Raiders of the Lost Ark and The Last Crusade), The Mummy and The Da Vinci Code. Unfortunately, Vanderbilt’s screenplay leans into overwrought exposition and muddled logic. What could have been clever references to ancient art and biblical lore end up as convoluted riddles and uninspired breadcrumbs.

That leaves much of the heavy lifting to Ritchie. Returning to more familiar territory after Aladdin and The Covenant, he injects the film with his trademark kinetic energy. The two-hour runtime is packed with prolonged chases, explosive set pieces and frequent fistfights. Yet, despite all the action, few sequences truly captivate. The chaos is loud but rarely thrilling.

Krasinski, for his part, seems miscast. He lacks the roguish charm or mischievous wit that defined Harrison Ford’s iconic archaeologist. His performance feels too grounded for a role that demands a bit more swagger. Portman fares better, though her character’s barbed remarks toward her ex-husband hint perhaps awkwardly at her own off-screen marital issues. At least she brings some emotional gravitas. Eiza González plays a mysterious guardian of the Fountain, exuding enough menace to suggest she’s more than just a pretty face though her character remains thinly drawn.

Despite its flaws, Fountain of Youth is not without merit. While it may lack the spark to truly dazzle, it stands as a serviceable family-friendly adventure, echoing the tone of Nicolas Cage’s National Treasure franchise. Just don’t go in expecting to discover the next great treasure hunting classic, you’d have better luck revisiting the original Indiana Jones archives.

MOVIE RATING:

Review by Linus Tee

Genre: CG Animation
Director: Madeline Sharafian, Domee Shi, Adrian Molina
Cast: Yonas Kibreab, Zoe Saldaña, Remy Edgerly, Brad Garrett, Jameela Jamil, Shirley Henderson
Runtime: 1 hr 40 mins
Rating: PG
Released By: Walt Disney
Official Website: 

Opening Day: 19 June 2025

Synopsis: For centuries, people have called out to the universe looking for answers — in Disney and Pixar’s all - new feature film “Elio,” the universe calls back! The cosmic misadventure introduces Elio, a space fanatic with an active imagination and a huge alien obsession. So, when he’s beamed up to the Communiverse, an interplanetary organization with representatives from galaxies far and wide , Elio’s all in for the epic undertaking. Mistakenly identified as Earth’s leader, Elio must form new bonds with eccentric alien lifeforms, navigate a crisis of intergalactic proportions, and somehow discover who and where he is truly meant to be. 

Movie Review:

Especially in recent years, Pixar hasn’t always had it easy with original fare – and after seeing their latest, we suspect ‘Elio’ will face the same struggle.

‘Elio’ is short for Elio Solis (newcomer Yonas Kibreab), an 11-year-old still grieving over the loss of his parents and now living with his well-meaning but high-strung aunt Olga (Zoe Saldaña) at an Air Force base. What is apparent to us isn’t yet apparent to Elio – that Olga had put on her hold her dream of being an astronaut just so she can be present on Earth to be a parent to Elio.

On the other hand, Elio dreams of being whizzed away into the cosmos by extraterrestrials, thinking that he might belong there instead of on Earth. After several attempts to communicate with aliens, including appealing to fellow ham-radio enthusiasts to bring him their devices, Elio gets his wish come true when the denizens of the Communiverse respond to NASA’s call out to the universe through their 1977 Voyager spacecraft.

But in order to fit in, Elio has to keep up the guise of being the leader of planet Earth, so that he can remain on this spaceship holding representatives from across many galaxies. Elio goes so far as to offer himself as a mediator in the diplomatic crisis between the Communiverse and Lord Grigon (a suitably hammy Brad Garrett), the leader of a warlike race of alien worms from the planet Hylurg who takes offence when his bid for membership is rejected by the Communiverse.

It should not be a surprise that Elio eventually proves himself to be not just up for the occasion but also enough of a leader to bring peace to this inter-galactic dispute – and without giving away too much, let’s just say it rests on the sweet friendship between Elio and Grigon’s sweet-natured but misunderstood son Glordon (Remy Edgerly), who refuses to follow in his species’ footsteps by assuming the carapace that the rest of his kind wear.

Helmed by a trio of co-directors Adrian Molina (‘Coco’), Madeline Sharafian and Domee Shi (‘Turning Red’) who all know their way around such coming-of-age stories, ‘Elio’ brims with the same heartwarming sensibilities as it builds two similar such characters struggling with belonging. Indeed, both Elio and Glordon bond so easily as friends not just because of their nature, but also because they recognise similar circumstances that both of them are in with respect to their parents/ guardians.

Both their struggles are the beating heart of this gentle tale, which was apparently based on Molina’s own life. What however may inhibit ‘Elio’ from truly taking off is the fact that it ultimately feels familiar – and we might even say, safe – relative to everything else Pixar has done, as well as many other Hollywood animations. A large part of this is also because Pixar’s success has raised the bar for itself, and it hasn’t been easy especially over the past decade trying to achieve the same blend of simplicity, heartfelt sophistication, hysterical humor, relatable characters and awestruck animation that has defined its brand.

That doesn’t mean ‘Elio’ isn’t enjoyable in and of itself. The Communiverse is a spectacular delight, blending colour and light to psychedelic effect. The alien designs are weird and inventive, from the mind-reading flatworm Questa (Jameela Jamil), to the rock monster Tegmen (Matthias Schweighöfer), and to the slug-like Glordon with feathery tendrils and xenomorph-like teeth. That ‘Elio’ is such a visual treat is kudos to the artists at Pixar, who once again prove that their imagination remains boundless.

Like we said then, what inhibits ‘Elio’ from being out of this world is its Earth-bound story, despite the genuine connection between Elio and Glordon in their issues relating to Olga and Gidron respectively. The supporting characters, as appealing as they may be, also lack individuality, and if not for their unique designs would probably leave little of an impression. It is in this respect that we suspect ‘Elio’ might end up underwhelming both its audience and thereafter at the box office.

As much as we do want to support original fare, ‘Elio’ isn’t quite enough to make it a must-see (especially in theatres, as opposed to say waiting for it to come out on Disney+). It still hits the right emotional beats, and is gorgeous to behold, but ‘Elio’ is hardly the breakthrough such original animations need to establish themselves amidst a crowded marketplace, and in particular against sequels that also prove that they can take original IP and turn it into something fresh (like ‘Inside Out 2’). So it is charming all right, but ‘Elio’ lacks the shine to ascend to the stars of Pixar’s elite.

Movie Rating:

(A heartwarming coming-of-age about belonging and a gorgeous trip to the cosmos isn't however enough to distinguish 'Elio' as a breakthrough original animation that deserves its place in the stars among Pixar's elite)

Review by Gabriel Chong

Genre: Action/Adventure
Director: Dean DeBlois
Cast: Mason Thames, Gerard Butler, Nico Parker, Nick Frost, Julian Dennison, Gabriel Howell, Bronwyn James, Harry Trevaldwyn, Ruth Codd, Peter Serafinowicz, Murray McArthur 
Runtime: 2 hr 5 mins
Rating: PG (Some Intense Sequences)
Released By: UIP
Official Website: 

Opening Day: 11 June 2025

Synopsis: On the rugged isle of Berk, where Vikings and dragons have been bitter enemies for generations, Hiccup (Mason Thames; The Black Phone, For All Mankind) stands apart. The inventive yet overlooked son of Chief Stoick the Vast (Gerard Butler, reprising his voice role from the animated franchise), Hiccup defies centuries of tradition when he befriends Toothless, a feared Night Fury dragon. Their unlikely bond reveals the true nature of dragons, challenging the very foundations of Viking society. With the fierce and ambitious Astrid (BAFTA nominee Nico Parker; Dumbo, The Last of Us) and the village’s quirky blacksmith Gobber (Nick Frost; Snow White and the Huntsman, Shaun of the Dead) by his side, Hiccup confronts a world torn by fear and misunderstanding. As an ancient threat emerges, endangering both Vikings and dragons, Hiccup’s friendship with Toothless becomes the key to forging a new future. Together, they must navigate the delicate path toward peace, soaring beyond the boundaries of their worlds and redefining what it means to be a hero and a leader.

Movie Review:

The necessity of live-action remakes of beloved animated films has long been a topic of debate. Purists often argue that these updated versions risk spoiling the magic of the originals. Others question whether the remakes add anything new or if they simply rehash familiar stories without meaningful changes.

Audiences typically expect a fresh take in these remakes. After all, if someone told you a remake was a shot-for-shot replica, it probably wouldn’t sound very appealing. But after watching the live-action remake of the 2010 animated classic How to Train Your Dragon produced by DreamWorks Animation and originally based on Cressida Cowell’s 2003 novel, we’re starting to believe that staying true to the original isn’t necessarily a bad thing.

If you’ve seen the animated original, you know the drill. On the island of Berk, where Vikings pride themselves on battling dragons, these fire-breathers are public enemy number one. Enter Hiccup (yes, that’s really his name): scrawny, brainy, and basically everything a Viking isn’t supposed to be. He’s also the son of Chief Stoick, making things delightfully awkward. Instead of slaying dragons like a proper Viking lad, Hiccup befriends one - an elusive Night Fury who’s meant to be terrifying but is, in this version, undeniably adorable. He even names him Toothless. Together, the unlikely duo set out to upend Berk’s long-standing dragon-hating ways, proving that perhaps mutual understanding beats large-scale fire-breathing conflict.

Dean DeBlois, who directed the original How to Train Your Dragon and its 2014 and 2019 sequels (and co-directed the beloved Lilo & Stitch) - makes his live-action debut with a film that clearly holds a special place in his heart. Bringing back the original filmmaker to reimagine the story for a new generation of young viewers (and nostalgic adults along for the ride) proves to be a smart move. It’s evident that DeBlois has poured genuine care into this adaptation, lovingly recreating the magic that made the original so memorable.

This writer vividly remembers how the animated version pulled him into the skies, seeing everything from Hiccup’s point of view, while gripping onto Toothless as they flew through the air. That sense of wonder and flight was unforgettable. In the live-action remake, the thrill is dialed up even further. The flight sequences are nothing short of exhilarating, made even more awe-inspiring by the stunning real-world backdrop of Northern Ireland’s dramatic cliffs and sweeping landscapes. The rush of wind, the dizzying drops, the heart-stopping swoops over craggy peaks - it all feels so real, you almost forget you’re not actually flying.

In a smart casting choice, Gerard Butler returns as Stoick, bringing his signature gravitas and larger-than-life presence to the role. Another familiar face is Nick Frost, who adds warmth and humour as Berk’s blacksmith and trainer of the village’s young dragon-fighting recruits. The younger cast includes Nico Parker as Astrid, Hiccup’s strong-willed love interest; Julian Dennison as Fishlegs, the brainy and loveable gentle giant; Gabriel Howell as the arrogant and swaggering Snotlout; and Bronwyn James and Harry Trevaldwyn as the constantly squabbling twins, Ruffnut and Tuffnut. Together, this youthful ensemble brings heart and charm to their roles, breathing fresh energy into these beloved characters.

The standout here is Mason Thames, whose slight frame and unconventional, non-leading-man appearance make him a perfect fit for Hiccup. He brings a quiet charm and vulnerability to the role that feels true to the character. And of course, there's Toothless - brought to life through stunning CGI that makes it feel as though the original dragon has flown right off the screen. He looks more lifelike than ever, with every blink, snort, and tail flick full of personality. Don’t be surprised if you find yourself wanting to run out and grab some Toothless merchandise afterward.

Thanks to cutting-edge technology, the dragons in this remake are nothing short of spectacular. If you’ve watched the popular TV series Game of Thrones, it feels as though those fearsome beasts have leapt off the small screen and onto the big one - bigger, bolder, and ready to scorch the skies. Their presence is elevated by the stunning real-world landscapes that serve as the film’s backdrop. Add to that John Powell’s returning, emotionally rich score, and you’ve got a family-friendly cinematic adventure that wraps you in warmth and leaves you smiling as the credits roll.

Movie Rating:

(Soar high in this thrilling cinematic adventure that faithfully rekindles the timeless boy-and-dragon friendship with heart, spectacle, and fresh magic for a new generation)

Review by John Li 

Genre: Action/Drama
Director: Jonathan Entwistle
Cast: Jackie Chan, Ralph Macchio, Ben Wang, Joshua Jackson, Sadie Stanley, Aramis Knight, Wyatt Oleff, Shaunette Renée Wilson, Ming-Na Wen
Runtime: 1 hr 34 mins
Rating: PG (Some Violence)
Released By: Sony Pictures
Official Website: 

Opening Day: 5 June 2025

Synopsis: Karate Kid: Legends unites the iconic martial arts masters of one of the most beloved film franchises of all time to tell a completely new story full of action and heart. When kung fu prodigy Li Fong (Ben Wang) relocates to New York City with his mother to attend a prestigious new school, he finds solace in a new friendship with a classmate and her father. But his newfound peace is short-lived after he attracts unwanted attention from a formidable local karate champion. Driven by a desire to defend himself, Li embarks on a journey to enter the ultimate karate competition. Guided by the wisdom of his kung fu teacher, Mr. Han (Jackie Chan), and the legendary Karate Kid, Daniel LaRusso (Ralph Macchio), Li merges their unique styles to prepare for an epic martial arts showdown. 

Movie Review:

It’s been nearly 15 years since The Karate Kid franchise last graced the big screen with the 2010 reboot starring Jackie Chan and Jaden Smith. Though that film leaned more toward kung fu than karate, it was a respectable attempt at honoring the spirit of the original Mr. Miyagi saga. Aside from Netflix’s Cobra Kai series, the franchise has largely remained dormant until now.

Sony Pictures returns to the dojo with Karate Kid Legends, a film that initially promises a thrilling new chapter. Unfortunately, despite some decent action choreography, there’s little else to remember or celebrate in this uninspired entry.

The story written by Rob Lieber centers on Li Fong (Ben Wang, American Born Chinese) and his mother, Dr. Fong (Ming-Na Wen), who relocate to New York City after she lands a job at a local hospital. Li soon befriends Mia (Sadie Stanley), whose father Victor (Joshua Jackson) owns a neighborhood pizza parlor.

Soon, Li clashes with Conor (Aramis Knight), Mia’s ex-boyfriend, and prepares to face him in the Five Boroughs Tournament. However, the plot takes a baffling detour as it shifts focus to Victor’s attempted boxing comeback with Li inexplicably becoming his trainer despite just having been beaten up by Conor. In a puzzling sequence, Li singlehandedly defeats a gang of thugs which somehow earns Victor’s respect.

Though much was made of the return of Jackie Chan and Ralph Macchio, their characters—Master Han and Daniel LaRusso feel like afterthoughts. Han has intermittent appearances while LaRusso doesn’t appear until nearly an hour into the film. Their involvement is awkwardly explained through a vague “origin of karate” backstory linking the Miyagi and Han families.

The film’s biggest flaw is its muddled, unfocused plot. Lieber inexplicably devotes a large portion of the runtime to meandering subplots and forced banter before finally bringing in the iconic mentors. Wouldn’t it make more sense for Han and LaRusso to train Li from the beginning, building toward a satisfying tournament finale? Instead, the final act feels like a hastily assembled series of SNL sketches.

For comparison, the 2010 reboot may have diverged from traditional karate but it delivered powerful training sequences, emotional resonance and a gripping climax. Karate Kid Legends lacks that energy and depth. The fight scenes here are serviceable but formulaic and the emotional beats like Li’s connection to his late brother feel perfunctory and underdeveloped.

Ben Wang, to his credit is a standout. His performance and martial arts presence hold their own opposite veterans like Wen, Chan, and Macchio. He’s clearly committed and with better material, he could’ve anchored a far more compelling film.

In the end, Karate Kid Legends feels like a lazy, desperate attempt to reboot a beloved franchise without understanding what made it special in the first place. Despite the nostalgia bait and familiar faces, this underdog story ultimately lacks bite, heart and originality.

Movie Rating:

(A desperate lazy attempt to revive The Karate Kid for modern audiences)

Review by Linus Tee

Genre: Horror/Thriller
Director: David Midell
Cast: Al Pacino, Dan Stevens, Ashley Greene, Abigail Cowen, Maria Camila Giraldo, Meadow Williams, Patrick Fabian, Patricia Heaton
Runtime: 1 hr 38 mins
Rating: NC16 (Horror)
Released By: Shaw Organisation
Official Website: 

Opening Day: 12 June 2025

Synopsis: The harrowing true story of Emma Schmidt. Two priests—one questioning his faith (Stevens) and one reckoning with a troubled past (Pacino)—must work together to perform a series of terrifying exorcisms to save the young woman's soul.

Movie Review:

Let’s face it had The Ritual been released three decades ago, it might have stirred up a minor sensation, if anything at all. Fast forward to today, where audiences are inundated with exorcism and possession-themed horror and it’s hard to see this title making much of a splash.

Set in 1920s Iowa, the story follows a young woman, Emma Schmidt (Abigail Cowen), who is brought to a church after being diagnosed with demonic possession. The local parish priest, Father Joseph Steiger (Dan Stevens) is paired with the more experienced and grizzled Father Theophilus Riesinger (Al Pacino) to perform the exorcism. Father Joseph, however is more of an observer, there to take notes and learn.

Skeptical from the start, Father Joseph suspects Emma’s condition is more psychiatric than supernatural. This leads to a clash of beliefs: Theophilus trusts in tradition and faith, while Joseph leans towards science and reason. As the film progresses, Joseph slowly comes to accept that Theophilus may be right and that something truly sinister is at play.

The film opens with the claim that it’s based on a true story, calling it “the most documented case of possession and exorcism in the 20th century.” Typical Hollywood exaggeration? Perhaps. But director and writer David Midell seems to believe in his story though much of it feels like a patchwork of better exorcism films we’ve seen before.

Despite a committed performance from Cowen, who works hard to portray the tormented Emma, the predictable script gives her little to work with. The usual tropes- vomiting dark liquid, speaking in tongues, spider-walking on walls are all present and executed with little flair. If you’ve seen one exorcism movie, you’ve essentially seen The Ritual.

Dan Stevens, who stepped in to replace Ben Foster, does what he can with a thinly written role. His character’s loss of a brother and subsequent crisis of faith could have been compelling but the film never fully explores it. Instead, it defaults to the same tedious nightly exorcism scenes, robbing the story of emotional depth.

At 85, Al Pacino continues his streak of late-career roles that feel more like paycheck gigs than passion projects. That said, his portrayal of Father Theophilus Riesinger is surprisingly restrained. Gone are his signature theatrics, replaced by a grounded performance as a stoic, German-born priest. Given that Pacino once famously played the devil, portraying a priest might indeed be an easy pivot.

By the end, it’s unclear what The Ritual is trying to say or why this “true story” needed to be told. The storytelling is pedestrian, the plot lacks a meaningful hook and the grounded setting offers little in the way of suspense. Even the shaky camerawork perhaps meant to induce tension feels more distracting than effective.

In short, The Ritual brings nothing new to the table and leaves little to remember.

Movie Rating:

(The devil exists. God exists. And, unfortunately, bad movies still exist)

Review by Linus Tee

Genre: Crime/Thriller
Director: Jonathan Li, Chou Man Yu
Cast: Louis Koo, Chrissie Chau, Liu Kuan Ting, Renci Yeung, Raymond Wong, Eddie Cheung, Yumi Wong, Cai Xiangyu, Phei Yong
Runtime: 1 hr 43 mins
Rating: PG13 (Some Violence)
Released By: Shaw Organisation
Official Website: 

Opening Day: 19 June 2025

Synopsis: Au Yeung Wai Yip (Louis Koo) is a private detective who has been focusing on missing persons and adultery investigations for many years. One day, he received a "special" job: the owner of a travel agency had asked him to investigate his girlfriend, who happened to be Au Yeung Wai Yip's wife. Unable to withstand his inner torment, Au Yeung Wai Yip gave up on another ongoing case - a client's search for his missing fiancée - and went to the hotel to catch the adulterer. Unfortunately, the marriage could not be saved, and the client's fiancée was killed. A seemingly ordinary affair has turned into a murderous incident!

Movie Review:

Behind the Shadows marks Louis Koo’s One Cool Group’s first production in Malaysia. Shot entirely in Kuala Lumpur, the film stars the big boss himself as Auyeong Wai Yip, a small-time private detective. A chain-smoking sleuth, Yip mostly takes on cases involving adultery, missing persons and lost pets, not exactly the Sherlock Holmes pedigree of private investigator one might expect.

This time around, Yip has three cases on his plate. First, the mysterious disappearance of a young man’s fiancée. The second involves his friend Crawly (Raymond Wong), a petty hoodlum who suspects his boss’ girlfriend, Betty (Renci Yeung), of cheating on him. The third and most intriguing case hits closer to home: Yip’s own wife, Sam (Chrissie Chau), has not only been unfaithful but may be entangled in an affair with a travel agency owner.

However, the biggest mystery in this co-directed effort by Jonathan Li and Chou Man-yu is the presence of a serial killer who has murdered two seemingly unrelated, innocent women. What’s the motive behind these cold-blooded killings? And what’s the deal with the gloomy homicide detective Chen (Taiwanese actor Liu Kuan-ting), who enters the picture early on?

In a bold yet considerate move, screenwriter Chou reveals the identity of the killer midway through the film. By doing so, much of the mystery behind the murders is stripped away, shifting the narrative focus onto Yip as he pauses his investigations to confront his own failing marriage. It’s clear from the outset that his relationship with Sam has long been on shaky ground.

Despite some narrative choices that undercut its suspense, Behind the Shadows still works, largely thanks to its relevant themes about marriage and relationships. Directors Li and Chou wisely frame these themes within a decent crime mystery, preventing the film from becoming a forgettable domestic drama about marital failure.

Koo delivers a reliably solid performance as Yip, more engaged here than you might expect from one of his many yearly appearances. Raymond Wong provides occasional comic relief as the quirky gangster Crawly, while Hong Kong veteran Eddie Cheung adds gravitas in a supporting role as Yip’s fellow PI. If you are old enough to recall one of Malaysia's pop stars from the early 90s, Guan De Hui, he has a small role here.

Compared to Oxide Pang’s The Detective, another neo-noir mystery thriller shot in Thailand, Behind the Shadows lacks the same level of grit and edge. Still, it remains a thoroughly entertaining, well-shot thriller that delivers modest laughs and minor thrills.

Movie Rating:

(A solid effort from Koo in this otherwise small-scale detective story)

Review by Linus Tee

SYNOPSIS: DEEP COVER is a fast-paced action comedy starring Bryce Dallas Howard as Kat, an improv comedy teacher beginning to question if she’s missed her shot at success. When an undercover cop (Sean Bean) offers her the role of a lifetime, she recruits two of her students (Orlando Bloom and Nick Mohammed) to infiltrate London’s gangland by impersonating dangerous criminals.

MOVIE REVIEW:

Famously known for helming Jurassic World, Colin Trevorrow is probably the last person you’d associate with comedy. Yet here he is co-writing and producing Deep Cover, a London-set crime comedy starring Bryce Dallas Howard and Orlando Bloom.

The film follows Kay (Howard), a struggling stand-up comedian; Marlon (Bloom), a wannabe actor; and Hugh (Nick Mohammed), an IT executive who are all recruited by a detective (Sean Bean) to use their improv skills to go undercover and help bust a counterfeit cigarette ring.

Offered £200 each and with little to lose, Kay is desperate for cash, Marlon is determined to become a serious actor and Hugh just wants some friends, the trio agrees. But instead of infiltrating a counterfeit cigarette ring, they accidentally stumble into the world of mid-level criminal Fly (Paddy Considine) and his ruthless boss, Metcalfe (Ian McShane).

The stakes suddenly become much higher. Surely this bunch of amateur improv comedians can handle it, right? Worst-case scenario, they either help the police arrest Metcalfe and his Albanian associates or risk ending up dead.

Deep Cover turns out to be a surprisingly sweet treat that never overstays its welcome. The screenplay is sharp and the humor often borders on the ridiculous, largely thanks to the committed performances of the leading cast. Bloom is outstanding as Marlon, a wannabe “method” actor who adopts the persona of Roach, a wildly impulsive maniac who tries to muscle his way out of every situation. Ironically, Marlon is the only character taking things seriously, which makes him the most ridiculous of them all.

Bryce Dallas Howard and Nick Mohammed also have their standout moments. Kay has to contend with friends who have little faith in her improv career, while Hugh hilariously ends up snorting a few grams of cocaine to prove its authenticity. These small, absurd moments help make the characters feel real, even in such an outrageous plot.

While the film features occasional bursts of violence and a handful of action sequences, the writing team wisely leans on frantic plot twists and physical comedy to keep the audience engaged. The humor and pacing work perfectly together, making the film both breezy and entertaining.

Ultimately, Deep Cover is a thoroughly enjoyable ride. And it has to be said, Orlando Bloom is nearly perfect in the role of Marlon.

MOVIE RATING:

Review by Linus Tee

Genre: Drama/Biography
Director: Andrew Lau
Cast: Ma Li, Kara Wai, Zhu Ya Wen, Ben Yuen, Cheung Tat-Ming, Michael Tse, Fiona Sit, Wong Cho-Lam, Tai Bo, Zhang Yamei, Wenjuan Feng, Elena Kong Mei-Ye
Runtime: 2 hr 
Rating: NC16 (Some Coarse Language)
Released By: Shaw Organisation
Official Website: 

Opening Day: 26 June 2025

Synopsis: In the 1970s, Zang Jianhe (Ma Li), a woman from Qingdao, was forced to leave her hometown with her two daughters. To make ends meet and raise her children, she washed dishes by day and cleaned cars by night. With no one to rely on, she bore the immense pressure alone. Determined to break free from her fate, Zang Jianhe decided to make a living by selling dumplings. From struggling to attract customers to eventually thriving, she received much support from tough-but-kind Hong Jie (Kara Wai), Brother Hua (Zhu Yawen), and Uncle Dessert (Ben Yuen). Through perseverance, she grew her dumpling business into a success, and her life gradually opened up to new possibilities.

Movie Review:

We’ve all seen how food on film can stir the senses and spark cravings long after the credits roll. Ang Lee’s Eat Drink Man Woman (1994) tempts with its lovingly prepared Taiwanese feasts, while Lasse Hallström’s Chocolat (2000) seduces with scenes steeped in rich, velvety indulgence. And for those who adore French cuisine, Nora Ephron’s Julie & Julia (2009) is a mouthwatering tribute to the joy of cooking.

In a similar vein, this biopic by Hong Kong filmmaker Andrew Lau — while chronicling a single mother’s inspiring rise to become a business mogul — also stirred the appetite. By the time the credits rolled, we were craving a comforting bowl of dumplings. This writer even headed to a nearby coffee shop to savour a steaming bowl, and that was the perfect end to the evening.

Bringing this true story to the big screen was a smart — and mouthwatering — move. Zang Jianhe, later affectionately known as the “Dumpling Queen,” was a mother of two from Qingdao whose life took a dramatic turn in the 1970s. What was meant to be a heartfelt reunion with her husband became a painful betrayal when she discovered he had married another woman in Thailand — a decision driven largely by his mother’s desire for a grandson.

Undeterred, Zang smuggled herself and her two daughters into Hong Kong in 1978. Fueled by grit and a mother’s resolve, she took on gruelling jobs and worked punishingly long hours — cue the emotional montage that’s sure to tug at heartstrings. Her turning point came when she accepted a kind offer to sell dumplings from a modest cart at Wan Chai Pier.

Driven by a relentless pursuit to perfect her craft and a fierce desire to give her daughters a better life, Zang transformed those humble beginnings into a frozen dumpling empire — the now-iconic Wanchai Ferry brand.

The movie boasts a star-studded cast. Ma Li, best known for her comedic roles in China, takes a dramatic turn as Zang — and delivers a performance so grounded and heartfelt, it might just send you home wanting to hug your own mother. Zhu Yawen plays a stoic police officer quietly harbouring feelings for Zang; while their romance is free of grand gestures, its understated warmth is genuinely endearing.

The supporting cast is just as impressive, with a strong showing from the Hong Kong film scene. Kara Wai brings flair to the role of Zang’s sympathetic landlady, while Ben Yuen shines as the kind-hearted man who gifts Zang a pushcart to kickstart her dumpling business. Rounding out the ensemble are familiar faces like Cheung Tat-Ming, Wong Cho-Lam and Tai Bo, who play her neighbours in a cramped but close-knit community.

You can always count on Lau to deliver a visually stunning film. With its elaborate sets and intricate production design, the movie is truly a feast for the eyes. It also cleverly weaves in various tunes from the era, making it even more relatable and immersive for viewers familiar with that time period.

At 120 minutes, the movie sticks closely to a tried-and-true formula — and that’s entirely by design. Aimed at audiences who appreciate a classic rags-to-riches tale, it doesn’t try to reinvent the wheel with unexpected twists or complex subplots. Instead, it delivers exactly what viewers want: a straightforward but emotionally satisfying narrative that makes it easy to root for a hardworking woman who refuses to give up.

Movie Rating:

(A simple yet heartfelt biopic celebrating hard work and a mother’s love - featuring delicious dumpling scenes that’ll leave you hungry long after the credits roll)

Review by John Li