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
Genre: Thriller
Director: Sean Bryne
Cast: Jai Courtney, Hassie Harrison, Josh Heuston, Rob Carlton, Ella Newton, Liam Greinke
Runtime: 1 hr 39 mins
Rating: M18 (Sexual Scene and Violence)
Released By: Shaw Organisation
Official Website:
Opening Day: 19 June 2025
Synopsis: When Zephyr, a savvy and free-spirited surfer is abducted by a serial killer and held captive on his boat, she must figure out how to escape before he carries out a ritualistic feeding to the sharks below.
Movie Review:
Shark, Alligator or Snake? Take Your Pick.
Hollywood loves reminding us that apex predators are not to be messed with, delivering at least one or two nail-biting thrillers each year featuring helpless humans pitted against terrifying creatures.
In Dangerous Animals, however, a serial killer is thrown into the mix to spice things up. For once, sharks aren’t the primary villains here. That title belongs to Bruce Tucker (Jai Courtney), the captain of a tourist boat offering up-close shark encounters.
Enter Zephyr (Hassie Harrison), an American drifter who crosses paths with Tucker after a one-night stand with a handsome young real estate agent, Moses (Josh Heuston). In hindsight, she probably should’ve stayed for the pancakes.
If you’ve seen enough survival horror, you’ll likely predict how Dangerous Animals unfolds. Zephyr wakes up on Tucker’s boat, only to witness another tourist being torn apart by sharks, all filmed gleefully by Tucker himself. He’s not just a serial killer; he’s a shark enthusiast with a sadistic streak. What follows is a tense, gruesome fight for survival as Zephyr refuses to be his next victim, finding inventive ways to fight back.
For the most part, Dangerous Animals works, though it relies on some convenient plotting. What are the odds of a one-night stand turning into a full-on rescue mission? Yet, director Sean Byrne knows how to keep things engaging, even if the story occasionally drifts into repetitive territory despite its lean runtime.
The violence here is unflinching but playfully gruesome, more slasher fun than shark terror. If you’re expecting another Jaws, adjust your expectations: this film’s true horror lies not with the sharks, but with the humans. That’s exactly what the title is hinting at.
Jai Courtney is the heart and soul of the movie, embodying the deranged Tucker with unsettling conviction. He’s never been the most memorable actor until now. Without veering into Nicolas Cage-style camp, Courtney makes Tucker’s twisted malevolence compelling to watch.
Meanwhile, Hassie Harrison earns her place as horror’s next scream queen. Let’s hope she had a bottle of Pei Pa Koa nearby because she spends much of the film screaming her lungs out. Bruised, battered and nearly shark food, Harrison’s performance alone is worth the price of admission.
For a modestly budgeted film, Dangerous Animals impresses with its underwater cinematography and surprisingly solid visual effects. Familiar? Predictable? Sure. But packed with enough tension and gleeful trashiness to keep genre fans entertained. Just don’t get too hung up on the sharks.
Movie Rating:
(Sadistic humans are scarier than sharks)
Review by Linus Tee
Genre: Action/Adventure
Director: Gareth Edwards
Cast: Scarlett Johansson, Jonathan Bailey, Mahershala Ali, Rupert Friend, Manuel Garcia-Rulfo, Luna Blaise, David Iacono, Audrina Miranda, Philippine Velge, Bechir Sylvain, Ed Skrein
Runtime: 2 hrs 13 mins
Rating: PG13 (Some Violence)
Released By: UIP
Official Website:
Opening Day: 2 July 2025
Synopsis: Five years after the events of Jurassic World Dominion, the planet’s ecology has proven largely inhospitable to dinosaurs. Those remaining exist in isolated equatorial environments with climates resembling the one in which they once thrived. The three most colossal creatures across land, sea and air within that tropical biosphere hold, in their DNA, the key to a drug that will bring miraculous life-saving benefits to humankind. Academy Award® nominee Johansson plays skilled covert operations expert Zora Bennett, contracted to lead a skilled team on a top-secret mission to secure the genetic material. When Zora’s operation intersects with a civilian family whose boating expedition was capsized by marauding aquatic dinos, they all find themselves stranded on a forbidden island that had once housed an undisclosed research facility for Jurassic Park. There, in a terrain populated by dinosaurs of vastly different species, they come face-to-face with a sinister, shocking discovery that has been hidden from the world for decades.
Movie Review:
In this writer’s opinion, the best part of the seventh instalment in the Jurassic Park franchise is seeing the iconic T-rex return to the big screen. With its bone-crushing jaws, thunderous footsteps, and a roar that echoes through the valley, the T-rex remains the ultimate prehistoric predator.
The T-rex sequence in this movie directed by Gareth Edwards features the fearsome dinosaur charging after a group of terrified humans as they frantically paddle down a river. With its teeth bared in pursuit, the T-rex is a breathtaking, heart-pounding sight - one that thrills audiences even as it terrifies the characters. And who could blame them for being scared out of their minds? Interestingly, this scene was originally featured in Michael Crichton’s 1990 Jurassic Park novel but was left out of Steven Spielberg’s classic film due to technical limitations at the time.
It might be a sign that this reviewer is a sucker for nostalgia - because beyond the T-rex, he was also gleefully delighted by the brief appearances of old-time favourites like the Velociraptor and Dilophosaurus.
But perhaps Edwards wasn’t aiming to please longtime fans. Much of this standalone sequel to Jurassic World Dominion (2022) introduces dinosaurs we haven’t seen on the big screen before - including, unsurprisingly, mutated creatures. While species like the Titanosaurus and Spinosaurus deliver visual impact, it’s the genetically altered dinosaurs that may leave an impression, though not always in a good way in this writer’s view.
The Mutadon (a mutated Velociraptor with pterosaur-like wings that allow it to fly) and the Distortus Rex (this big baddie looks like it wandered in from the Alien franchise are hybrids that detract from the primal awe that made the original films so captivating.
Perhaps this is the clearest way to drive home a message for today’s audiences: don’t meddle too much with science. When you start mixing DNA and experimenting recklessly in the lab, terrifying consequences can follow. As countless films have shown, it’s always the humans who end up paying the price.
This time, the human adventurers include a covert ops expert (Scarlett Johansson, channelling her Black Widow energy), a studious paleontologist (Jonathan Bailey, complete with his much-discussed “slutty glasses”), a gung-ho team leader (Mahershala Ali, effortlessly commanding the screen), and the token corporate villain (Rupert Friend, barely masking his sliminess). Tagging along is a family (because there has to be a kid in the mix) who soon find themselves caught in a series of perilous encounters.
There isn’t much to say about the story itself, as character development is fairly and predictably unremarkable, with nothing particularly standing out on that front. What is surprising, however, is how Edwards allows the 133-minute film to breathe in its early moments, with a fair amount of dialogue before the first major action sequence unfolds.
When the action finally arrives, it does so with a surprising sense of elegance. The scene sees the gargantuan Mosasaurus gliding silently beneath the water as a boat drifts unknowingly toward its doom - a moment charged with ominous beauty. It’s a sequence that echoes Edwards’ Godzilla (2014), where the monster was introduced through a similarly poetic, slow-burn reveal.
Of course, that quiet tension doesn’t last long. This is a dinosaur movie, after all. Audiences come for the action, and Edwards delivers with a series of competent, well-paced set pieces. The result is a solid popcorn adventure and a decent addition to the franchise, leaving the door wide open (because why not?) for future sequels.
Movie Rating:
(A decently entertaining dino romp that checks all the boxes for a summer blockbuster)
Review by John Li
Genre: Action/Comedy
Director: Kang Hyeong-cheol
Cast: Lee Jaein, Ahn Jae Hong, Ra Miran, Kim Hie-won, Oh Jung-se, Park Jinyoung
Runtime: 1 hr 59 mins
Rating: PG13 (Some Sexual References and Violence)
Released By: GV and Purple Plan
Official Website:
Opening Day: 12 June 2025
Synopsis: Wan-Seo (Lee Jaein), Ji-Seong (Ahn Jaehong), Sun-Nyeo (Ra Miran), Yak-Sun (Kim Hiewon), and Ki-Dong come from different backgrounds, but they have one thing in common: they all received organ transplants from one person. Along with their improved health, they also received an unexpected supernatural power. These five people become aware of each other’s existence and form a team. With their different personalities, they often quarrel, and accidents never cease to happen. Meanwhile, Young-Chun (Park Jinyoung), who is the leader of a fake religion, received a pancreas transplant and also gained supernatural powers. He goes out looking for the rest of the transplantees to achieve his dream of becoming the absolute being.
Movie Review:
‘Hi-Five’ isn’t your typical Marvel or DC superhero movie – instead of extraterrestrials, the villain here is altogether human, who like our five ordinary persons turned superhumans, is blessed with superpowers after receiving an organ transplant.
First among equals is Wan-seo (Lee Jae-In), a plucky Taekwondo-loving high-school teenager who recovers miraculously from a long illness after receiving a heart transplant. Not only does she fail to heed her overprotective Taekwondo instructor father’s words not to over-exert, Wan-seo decides soon after the operation to put her newfound abilities to the test by running up a steep slope and realising she can overtake a delivery worker on a scooter as well as leap stories into the air.
It is from Wan-seo’s point of view that we get to meet the rest of the rag-tag quintet. Wan-seo’s extraordinary ability catches the eye of struggling writer Ji-sung (Ahn Jae-hong), who after receiving a lung transplant has acquired the ability of exhaling gale-force winds. Recognising that there may be others like them, Wan-seo and Ji-sung set out to find the rest who had benefitted from the same organ donor.
That journey brings them sequentially to Sun-nyeo (Ra Mi-ran), a meek yogurt saleswoman who rides a delivery vehicle and whose powers will only be known much later both to her and to us; Yak-sun (Kim Hee-won), a factory manager who has gained the powers of healing through his hands after a liver transplant; and last but not least, Ki-dong (Yoo Ah-in), a cocky hipster wanna-be who can manipulate electromagnetic waves after his cornea transplant.
Like we said, it’s a motley ensemble and writer-director Kang Hyeong-cheol makes the best of his conceit for goofy, laugh-out-loud fun. Much of the first hour gets its verve from the back-and-forth bickering between Ji-sung and Ki-dong, whose respective egos clash in humorous ways, including fighting over a plate of ‘chikin’ (or ‘fried chicken’ in Korean) at a fried chicken joint that comes to be their default gathering place. There is also the occasional run-ins, which double up as occasions for the five of them to unleash their powers and discover how best to complement each other.
In particular, their biggest threat is Young-chun, a cult leader who is rescued from the verge of death after a pancreas transplant, and who gains the ability from there to absorb the youth of others. First played by veteran actor Shin Goo, Young-chun morphs into Park Jin-young over the course of the movie, much to the chagrin of his equally megalomaniac daughter Choon-hwa (Jin Hee-kyung). It is Choon-hwa who first sends a crew after the quintet, in a bid to harness their powers; although after discovering that there are others like him, Young-chun sets out to acquire their powers for himself.
So yes, this is ultimately a story about the responsibility that comes with power, pitting the despotic Young-chun against our noble quintet (who only decide to adopt the titular moniker at the end of the movie). Kang saves most of the superhero action for the extended finale, which sees Young-chun demonstrating his powers of youth and healing (after usurping Yak-sun’s abilities) to a stadium-sized crowd of his followers before being (literally) brought back down to earth. It isn’t Hollywood standard to be sure, but the VFX is very respectable for an Asian production.
Still, the draw of ‘Hi-Five’ is less spectacle than just scrappy exuberance, buoyed by the earnest and warm performances by each of the actors. Nowhere is this better displayed than in a high-speed vehicular chase where our heroes have to outrun two sets of baddies after them atop Sun-nyeo’s yoghurt vehicle powered by Wan-seo’s strength and speed, all set to Rick Astley’s ‘Never Gonna Give You Up’. That’s exactly the sort of dumb, unpretentious fun that Kang has set out to deliver in ‘Hi-Five’, and we must say that it sticks the landing.
So even though the constant diet of superhero movies may have left some jaded and fatigued, ‘Hi-Five’ revels in being nothing like the typical Marvel or DC mould. It is simply about five ordinary people suddenly granted superhuman strength and who have to summon the best within themselves to face up to one among them who has chosen to use his powers for bad than good – and we aren’t shy to say that because we went in with little expectation, we found ourselves pleasantly surprised at how enjoyable and entertaining it turned out to be. ‘Hi-Five’ indeed!.
Movie Rating:
(More fun than the typical Marvel or DC superhero film, this fantasy of ordinary persons turned superheroes is unpretentiously enjoyable and entertaining)
Review by Gabriel Chong
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TIME TO GET A JEEPPosted on 24 Jun 2025 |
Genre: Comedy
Director: Mayiduo
Cast: Mayiduo, Charlene Huang, Xixi Lim, Regina Lim, Sai, Cayydences, Henry Thia
Runtime: 2 hr 8 mins
Rating: PG13 (Some Sexual References & Coarse Language)
Released By: mm2 Entertainment and Double Up Media
Official Website:
Opening Day: 27 June 2025
Synopsis: Ah Hua (Charlene Huang) is a humble owner of her family’s small Fishball business, her life revolving around being a loving wife and running the market stall together with her husband. When her husband cheats on her with an influencer, BBGirl (Regina Lim), and her heirloom business is snatched from under her, she seeks revenge by trying to become a famous influencer. Taking up a challenge from BBgirl to out-shine her and win everything back, with the help of her best friend CC (Xixi Lim) and short-tempered, has-been cinematographer Hock (Mayiduo), she struggles to become a social media influencer in the age of TikTok. Every time she comes close to giving up, Ah Hua sees visions of the ancient founders (Cayydences) of her fishball business, urging her to push on. As the deadline to BBGirl’s challenge approaches, Ah Hua eventually realises that the key to happiness might just lie in being true to herself.
Movie Review:
If boomers and Gen X form the core of Jack Neo’s fanbase, then it’s safe to say that millennials and Gen Z are the staunch supporters of influencer-turned-filmmaker Mayiduo’s movie debut.
Directed and co-written by Mayiduo, Follow Aunty La follows Ah Hua (Charlene Huang), a fishball seller who’s unceremoniously dumped by her deadbeat husband (Sai) after he reconnects with an old classmate now turned hotshot influencer BBGirl (Regina Lim). To reclaim her 300-year-old Teochew fishball business, Ah Hua is forced to enter a livestream selling competition or risk losing even more money to BBGirl.
With the help of her best friend and fruit stall seller CC (Xixi Lim), and a former cinematographer with anger issues, Hock (played by Mayiduo himself), Ah Hua has only days to transform from a complete social media noob into a livestream queen with killer sales skills.
For better or worse, Follow Aunty La plays out like a typical Jack Neo Chinese New Year flick. It’s no surprise, since Neo’s JTeam is credited, suggesting he may have lent a hand behind the scenes. All the usual Neo trademarks are here: loud and zany characters, crying fits, meandering plot, heavy use of dialect and plenty of product placements which Mayiduo thankfully pokes fun at.
To be fair, crafting a five-minute TikTok skit is a whole different beast from making a full-length feature. What works in short bursts doesn’t always translate to a two hour runtime. Still, it’s not entirely Mayiduo’s fault, veterans like Neo and Hong Kong filmmaker Wong Jing have long struggled with these same issues.
Follow Aunty La takes almost an hour to truly get going and even then, the plot takes several detours. The film’s funniest moments come from Ah Hua’s hilariously clueless attempts at gaining followers, CC’s dementia-suffering grandma who’s always ready with a slap and Hua’s ancestral spirits (played by @Cayydences) who appear to offer life advice from the beyond.
Unfortunately, the movie is bogged down by filler content like a pointless PK battle with @theJianHaoTan and some awkward fourth-wall-breaking jokes that feel misplaced and unnecessary. There’s even a melodramatic, Jack Neo-style finale that is out of place in what’s meant to be a dramedy about influencers and livestreaming culture.
That said, if you’re here to spot cameos from a laundry list of local and Malaysian influencers—@ChiouHuey, @Tommyncb, @Simonboyyyyyy, @msqiwiie, @bertandlulu, Overkill, The Daily Ketchup and more—this film certainly delivers.
Credit where credit is due: Charlene Huang and Xixi Lim have great onscreen chemistry and do their best to elevate their characters beyond cardboard cutouts. As for Mayiduo’s acting, let’s just say he might want to turn the volume down a notch in his next role.
In the end, there’s not much more to say about Mayiduo’s big-screen debut. Despite being the creative force behind Follow Aunty La, the film doesn’t seem to have much to say about livestreaming or influencer culture. Worse, it ends up feeling like yet another Jack Neo co-directed and co-written affair. Maybe some of the blame lies with co-writer Link Sng (Long Long Time Ago) but either way, this debut struggles to stand out.
Movie Rating:
(A Jack Neo movie that is not done by Jack Neo, Follow Aunty La is a weak occasionally ticklish satire on the culture of live-streaming)
Review by Linus Tee
Genre: Action/Adventure
Director: James Gunn
Cast: David Corenswet, Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion, Isabela Merced, Skyler Gisondo, Sara Sampaio, María Gabriela de Faría, Wendell Pierce, Alan Tudyk, Pruitt Taylor Vince, Neva Howell
Runtime: 2 hrs 9 mins
Rating: PG13 (Some Violence)
Released By: Warner Bros
Official Website: https://www.supermanmovie.com.sg
Opening Day: 10 July 2025
Synopsis: When Superman is drawn into conflicts both abroad and at home, his actions to protect humankind are questioned, and his vulnerability allows tech billionaire and master deceiver Lex Luthor to leverage the opportunity to get Superman out of the way for good. Will the Daily Planet’s intrepid reporter Lois Lane, together with the aid of Metropolis’s other metahumans and Superman’s own four- legged companion, Krypto, be able to help Superman before Luthor can completely destroy him? The film follows Superman’s journey to reconcile his heritage as the Kryptonian Kal-El with his human upbringing as Clark Kent of Smallville, Kansas, and his selfless determination to use his power for good as humanity’s protector. Guided by human kindness in a world that sees kindness as old- fashioned, he is the embodiment of truth, justice and a better tomorrow.
Movie Review:
So much hope, so much expectation, and so much promise has been placed on James Gunn’s ‘Superman’ that we feel lamentable that it is a bit of a mess – and for avoidance of doubt, we say this with complete objectivity, and not because we are a fan of the Synder-verse.
Carrying the weight of the launch of a whole new DC cinematic universe, Gunn throws everything but the kitchen sink at this reboot – from refashioning Lex Luthor (Nicholas Hoult) as a tech megalomaniac, to a Kaiju-like monster that looks like an evil clone of Stitch, to a shape-shifting Engineer (María Gabriela de Faría) with nanobots in her bloodstream, and to the superheroes-for-hire Justice Gang comprising Green Lantern (Nathan Fillion), Mister Terrific (Edi Gathegi) and Hawkgirl (Isabela Merced), it is a busy and even overstuffed affair all right, even if it does stay fun and brisk for the most part.
Ironically, that is also what makes ‘Superman’ lightweight. Determined to free the character from the self-serious and heavy-handed trappings of its immediate predecessor, Gunn keeps the proceedings distinctly fast-paced, flying through two hours at the speed of light that unfortunately renders the developments somewhat impact-less. Oh yes, you barely feel any stakes involved, not the fate of the citizens of Metropolis, or for that matter the very existence of Planet Earth itself.
But that is precisely what Gunn is trying to convey – wisely opting to skip the backstory with four paragraphs of intertitles to plunge us right into Superman’s story, Gunn begins with our indefatigable hero (David Corenswet) facing his first beatdown against a hulking armoured monster known as the Hammer of Boravia. As we soon learn, despite his superhuman strength, Superman is ultimately not unbeatable, especially when up against the Engineer as well as Lex’s other right hand man known as Ultraman (whose identity and origins will only become clearer at the finale).
Likewise, Superman is powerless to save himself when thrown into a ‘pocket universe’ that Lex had created, a penal colony in a different dimension that Lex uses to house his political opponents in glass cubes. He is also terribly weakened when incarcerated with Metamorpho (Anthony Carrigan), who conjures a hand of Kryptonite crystals to sap Superman’s power. He is surprisingly vulnerable all right, most of all so when the Engineer doctors the message that his birth parents had sent with his escape pod to Earth to make it seem as if he were here to conquer the planet.
Just as with Synder’s ‘Man of Steel’, Gunn finds real pathos in Superman’s relationship with his adoptive parents – here played by Pruitt Taylor Vince and Neva Howell – as well as with Lois Lane (Rachel Brosnahan). Though brief, the one scene that sees Superman return to the Kent farm where he grew up to recuperate is perhaps one of the most heartwarming moments in the movie, especially as a poignant reminder to him (as well as to the audience) how Clark was brought up as one of us.
We’d also wish Clark and Lois spent more time together, but their similarly defining scene is that where he agrees to an on-the-record interview with her as Superman, which promptly turns into an intelligently engaging debate about the moral responsibilities of his powers, about checks and balances versus going rogue, about the political consequences of doing the morally right thing, and about whether being a fan of The Mighty Crabtrees is ‘punk’ or not.
Frankly, we wish Gunn spent more time on the relationships to Clark that matter in the movie, instead of stuffing and overstuffing it with so many disparate elements that end up competing with one another for attention. We can’t say we cared much about the automatons at Superman’s Fortress of Solitude in the Arctic, or a too-convenient flirtation between scrappy reporter Jimmy Olsen (Skyler Gisondo) and Lex’s über-ditz girlfriend Eve Teschmacher (Sara Sampaio), or the supposed border conflict between two fictional nations Boravia and Jarhanpur over the latter’s natural resources, or even the black hole caused by Lex’s ‘pocket universe’ machine tearing through half of Metropolis; it is no wonder that Gunn’s ‘Superman’ has been compared to a live-action Saturday action, and we say this for better and for worse.
What ‘Superman’ does have going for it is perfect casting. We dare say Corenswet makes a damn fine Superman, injecting the character with wit, virtue, fortitude, and an unwavering respect for truth and justice even if he comes at a personal cost. He also shares great chemistry with Brosnahan, and it is to their credit that even without setting up how they got together, we believe in our heart of hearts that they are an actual couple. And together with a startlingly bald but frighteningly good Hoult as a bold, bad and determined Lex, Gunn has assembled a capable, congenial ensemble to usher Clark, Lois and Lex into a new era.
We respect Gunn’s vision for ‘Superman’, and indeed it is clear that the new author of DC Studios’ cinematic universe intends to take it in a radically different direction from where Synder had led it before. Those who have followed Gunn from his early days specialising in B-grade sci-fi horror will also notice how he continues to retain his own voice, notwithstanding the scale and scope of his blockbuster endeavours. But we’d sincerely wish ‘Superman’ had more stakes in it, and didn’t feel the need to do too much at one go, so much so that it ends up overloaded and underwhelming. It’s a promising start no doubt, just not one we’d say soars as much as we had hoped.
Movie Rating:
(Fun but lightweight, intelligent but overstuffed, James Gunn's DC cinematic universe reboot could do with a lot more stakes and a little less indulgence)
Review by Gabriel Chong
SYNOPSIS: The UK Prime Minister (Idris Elba) and US President (John Cena) have a public rivalry that risks their countries’ alliance. But when they become targets of a powerful enemy, they’re forced to rely on each other as they go on a wild, multinational run. Allied with Noel, a brilliant MI6 agent (Priyanka Chopra Jonas), they must find a way to thwart a conspiracy that threatens the free world.
MOVIE REVIEW:
We can’t believe we’re saying this but Heads of State is surprisingly entertaining for what looks like a disposable streaming action flick. Maybe it’s the second on-screen reunion of John Cena and Idris Elba after The Suicide Squad. Or maybe credit goes to director Ilya Naishuller who previously helmed the equally absurd and action-packed Nobody.
Whatever the reason, this cartoonishly violent film is undeniably fun and well-executed, filled with slick action and solid laughs.
Cena stars as Will Derringer, a hotshot Hollywood actor-turned-President of the United States. Elba plays his British counterpart, Prime Minister Sam Clarke. Naturally, the two alpha leaders don’t get along. Their constant bickering and one-upmanship form the core of the film’s buddy-comedy dynamic.
The plot kicks off with a botched CIA and MI6 mission to take down Russian arms dealer Viktor Gradov (Paddy Considine), resulting in multiple casualties and the disappearance of agent Noel (Priyanka Chopra Jonas). Now in control of the CIA’s global surveillance system, Gradov sets his sights on revenge, putting both Derringer and Clarke squarely in his crosshairs.
Let’s be clear: Heads of State is formulaic and predictable. The usual “buddy cop” tropes are all present, right down to the mismatched personalities forced to work together. Thankfully, Cena and Elba have undeniable chemistry and their banter helps elevate the clichéd script even if some of the puns wear thin.
Still, Naishuller delivers where it matters: the action. From hand-to-hand combat to over-the-top set pieces, the choreography is impressively inventive. There’s even a hint of Charlie Chaplin and Buster Keaton-style physical comedy woven into the chaos. The final car chase featuring the President’s limo barreling through bullets and explosions is more thrilling than the last few Fast & Furious entries combined.
A few supporting players also stand out. Priyanka Chopra Jonas impresses as a badass field agent and Clarke’s potential love interest while Jack Quaid steals his brief scenes with a hilarious cameo as an enthusiastic low-level operative.
While the tone remains light and ludicrous, Heads of State does sneak in a few jabs at the current state of American politics including a subtle dig at NATO dynamics. Still, any deeper commentary is mostly drowned out by the film’s preference for spectacle and wisecracks.
In the end, Heads of State is a slick, dumb-but-fun action-comedy that knows exactly what it is. Thanks to a game cast, stylish direction and more charm than expected, this is one streaming title that punches well above its weight.
MOVIE RATING:
Review by Linus Tee
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