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

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