SYNOPSIS: Lord Doyle (Colin Farrell) is laying low in Macau – spending his days and nights on the casino floors, drinking heavily and gambling what little money he has left. Struggling to keep up with his fast-rising debts, he is offered a lifeline by the mysterious Dao Ming (Fala Chen), a casino employee with secrets of her own. However, in hot pursuit is Cynthia Blithe (Tilda Swinton) – a private investigator ready to confront Doyle with what he is running from. As Doyle tries to climb to salvation, the confines of reality start to close in.
MOVIE REVIEW:
We have never seen Macau looking this stunning before. Like a cross between a rainy Blade Runner and Total Recall, the aesthetic alone is breathless under the watchful eyes of cinematographer James Friend (All Quiet on the Western Front).
From Oscar-nominated director Edward Berger (Conclave) and based on the novel by Lawrence Osborne, Ballad of a Small Player stars Colin Farrell as Lord Doyle, a compulsive gambler who spends his nights in casinos and his days sleeping and binge-eating in his suite. He is heavily in debt, has run out of money and has only days left to pay his hotel bills before he gets thrown out.
Making his predicament worse, private investigator Betty Grayson (Tilda Swinton) is hot on his heels. Apparently, Lord Doyle is no lord at all. He has embezzled a huge sum of money from his clients, and Grayson is tasked with recovering it. Fortunately for him, a casino employee, Dao Ming (Fala Chen), offers him credit to tide things over.
We can safely conclude Ballad of a Small Player is very different from Leaving Las Vegas, even though both feature a manic-depressive protagonist and a neon-drenched casino-driven location. Ballad is a morality tale that touches on gambling addiction, self-destruction, the road to redemption, and even a tinge of the supernatural. It’s a slow burn, no doubt but Berger and screenwriter Rowan Joffe manage to keep things spiralling, uncomfortable and twisty.
Are we supposed to root for Doyle’s victory at the gambling tables? Or are we anticipating his well-deserved death from a heart attack, given his frequent near-death experiences?
Farrell gives it his all as a man tortured by his self-inflicted crimes. Watching him and his “lucky” yellow gloves at the baccarat tables each time only heightens the tension. Seeing him binge on gourmet food alone in his suite further complicates our empathy for him. Again, is this morally corrupted man truly worth saving?
There’s also a very nice thematic touch that Asian audiences will especially appreciate. The story is set during the Hungry Ghost Festival, with mentions of hungry ghosts driven by greed. It’s an obvious nod to Doyle’s character and subtly foreshadows what awaits him easily one of the best cultural incorporations by a non-Asian writer.
Besides Farrell, Fala Chen surprises as the sympathetic Dao Ming, a woman hoping to reconcile with her estranged family. Swinton’s Grayson feels a bit out of place, a campy investigator who seems more at home in a Wes Anderson piece. Hong Kong veterans like Deanie Yip and Anthony Wong deliver impressive cameos.
Of course, Ballad of a Small Player will not be to everyone’s taste. It looks visually stunning and boasts excellent performances all around but its deliberate pacing and intense character study may not appeal to general audiences.
MOVIE RATING:
Review by Linus Tee
Genre: Action/Sci-Fi
Director: Edgar Wright
Cast: Glen Powell, William H. Macy, Lee Pace, Michael Cera, Emilia Jones, Daniel Ezra, Jayme Lawson, Sean Hayes, Katy O’Brian with Colman Domingo, Josh Brolin
Runtime: 1 hr 53 mins
Rating: NC16 (Violence and Coarse Language)
Released By: UIP
Official Website:
Opening Day: 13 November 2025
Synopsis: In a near-future society, The Running Man is the top-rated show on television—a deadly competition where contestants, known as Runners, must survive 30 days while being hunted by professional assassins, with every move broadcast to a bloodthirsty public and each day bringing a greater cash reward. Desperate to save his sick daughter, working-class Ben Richards (Glen Powell) is convinced by the show’s charming but ruthless producer, Dan Killian (Josh Brolin), to enter the game as a last resort. But Ben’s defiance, instincts, and grit turn him into an unexpected fan favorite—and a threat to the entire system. As ratings skyrocket, so does the danger, and Ben must outwit not just the Hunters, but a nation addicted to watching him fall.
Movie Review:
Edgar Wright’s The Running Man marks the second cinematic adaptation of Stephen King’s 1982 novel (written under the Richard Bachman pseudonym), following the 1987 Arnold Schwarzenegger cult favourite. But rather than rehashing the campy ’80s excess of its predecessor, Wright delivers a slick, high-energy spectacle that feels tailor-made for the age of dystopian streaming wars, algorithmic entertainment, and our obsession with celebrity personas.
And at the centre of it all is Glen Powell, who proves—yet again—why he is one of Hollywood’s fastest-rising stars.
We already know the pleasure of watching a charismatic leading man run. Tom Cruise practically built the Mission: Impossible franchise on the art of athletic forward momentum. Powell seems to take that as a challenge. Wright gives him breathless sequences of sprinting, even throwing in a scene where Powell tries to escape the bad guys wearing nothing but a towel. It’s pure popcorn joy: the camera loves him, and he knows exactly how to keep the audience on his side.
In this new adaptation of King’s story, “The Running Man” is the nation’s most-watched spectacle: a brutal month-long survival game where “Runners” are hunted by elite killers for the entertainment of millions. Powell plays Ben Richards, a working-class father who enters the show in a desperate bid to save his gravely ill daughter. Soon, he’s thrust into a televised nightmare where every step—and every breath—is monetised for the masses.
Powell is extremely watchable, balancing roguish charm with flashes of raw desperation. Since the breakout success of Top Gun: Maverick (2022), his star power has only grown, and The Running Man feels like the film that finally cements him as a full-fledged Hollywood action lead.
Wright’s direction is kinetic and visually playful, though not without its bumps. The pacing can feel uneven at times, especially as the film pauses for moments that gesture toward deeper social commentary. Themes of state surveillance, media manipulation, and the commodification of human suffering are present—sometimes compellingly so—but the film rarely lingers long enough to become truly thought-provoking. Not that audiences will mind much: this is an action movie first, and when the spectacle begins, Wright fires on all cylinders.
The supporting cast is stacked and game for the ride. William H. Macy brings weary moral complexity to his role, while Lee Pace adds quiet menace. Josh Brolin and Colman Domingo, meanwhile, are deliciously over-the-top—swaggering, snarling, and chewing the scenery with theatrical glee. They seem to understand exactly what kind of movie they’re in, and their commitment to the heightened tone is a treat.
Michael Cera is the film’s unexpected MVP. Reuniting with Wright after Scott Pilgrim vs. the World (2010), Cera injects the movie with an off-kilter energy with his portrayal of a rebel plotting to overthrow the system, the kind of tonal wild card Wright excels at incorporating into his worlds.
If The Running Man doesn’t quite reach the thematic sharpness it aims for, it more than compensates with sheer entertainment value. Stylish, propulsive, and anchored by an irresistibly charismatic Glen Powell, it’s a blockbuster that knows exactly what it is—and delivers it with a grin. As long as you don’t expect deep philosophical insight, the film serves up a wildly enjoyable ride that should keep audiences running right alongside Powell.
Movie Rating:
(Fuelled by sharp casting and Glen Powell’s relentless running charm, The Running Man is chaotic, loud, and irresistibly fun)
Review by John Li
SYNOPSIS: Oscar-winning director Guillermo del Toro adapts Mary Shelley’s classic tale of Victor Frankenstein, a brilliant but egotistical scientist who brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation.
MOVIE REVIEW:
It took Guillermo del Toro almost three decades to bring Frankenstein to the screen. Del Toro, a big fan of gothic horror, has been fascinating fans with movies like Mimic, Crimson Peak and the Oscar-winning The Shape of Water. Frankenstein is yet another worthy del Toro creature feature that’s destined to be remembered for decades to come.
Maintaining a relatively faithful adaptation of Mary Shelley’s classic, Oscar Isaac plays Baron Victor Frankenstein, the mad scientist responsible for bringing the Creature to life, funded by Henrich Harlander (Christoph Waltz), a wealthy army doctor.
Of course, del Toro isn’t one to introduce simplistic body horror just to please genre fans. There’s also the complicated relationship between Victor and his surgeon father, Baron Leopold Frankenstein (Charles Dance), his younger brother William (Felix Kammerer), and his future sister-in-law Elizabeth (Mia Goth). The best, however, comes from the narration of the Creature (Jacob Elordi), who craves the love and validation of his creator.
Though terrifying in appearance, the Creature is a social outcast with a big heart. His touching bond with a blind old man (David Bradley) speaks volumes. Even if he is made up of broken, dead body parts, he is shown to have more true humanity than the average living being. Victor, on the other hand, is a cold, ambitious, and cocky jerk, the kind of creator everyone grows to hate. Del Toro draws a fine, distinct line between good and evil, and the compelling dynamic between the two remains the highlight of the drama.
Both Isaac and Elordi are magnificent in their performances especially the latter, delivering a pained and poetic portrayal of a tortured soul. Mia Goth, equipped with an extravagant wardrobe (and plenty of Tiffany jewellery), gives a memorable performance as a strong-willed, opinionated woman.
For a creature horror feature, del Toro once again proves his keen eye for crafting bloody, grotesque surgical moments and even a visually stunning wolf attack sequence. The costume and production design are elaborate and astonishing, save for a few unconvincing CGI backdrops. Still, it’s a surprisingly subdued effort — del Toro clearly prefers letting the words and themes speak for themselves rather than relying on plain gore.
For such a familiar story, it’s amazing how del Toro manages to keep things “alive” for more than two hours of running time. Every aspect of the movie is top-notch. If Universal is truly keen on rebooting its monster-horror franchise, they should already know who to call.
MOVIE RATING:
Review by Linus Tee
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FRANKENSTEIN WEARS TIFFANY (SORT OF)Posted on 09 Nov 2025 |
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STANLEY FUNG (冯淬帆) (1944 - 2025)Posted on 01 Nov 2025 |
Genre: Action/Suspense
Director: Ruben Fleischer
Cast: Jesse Eisenberg, Woody Harrelson, Dave Franco, Isla Fisher, Justice Smith, Dominic Sessa, Ariana Greenblatt, Rosamund Pike, Morgan Freeman
Runtime: 1 hr 52 mins
Rating: PG13 (Some Violence & Coarse Language)
Released By: Encore Films
Official Website:
Opening Day: 13 November 2025
Synopsis: The Four Horsemen return along with a new generation of illusionists performing mind-melding twists, turns, surprises, and magic unlike anything ever captured on film.
Movie Review:
Absence makes the heart grow fonder – at least that is what director Ruben Fleischer and his army of screenwriters (notably, Seth Grahame-Smith, Michael Lesslie, Paul Wernick and Rhett Reese, working off a story by Eric Warren Singer) hope with their latest instalment in the ‘Now You See Me’ franchise.
Nearly a decade on from the last film, this third chapter introduces a trio of young illusionists – cocky front man Bosco Leroy (Dominic Sessa), ace pickpockter June (Ariana Greenblatt), and behind-the-scenes magic buff Charlie (Justice Smith) – alongside the original crew comprising arrogant leader J. Daniel Atlas (Jesse Eisenberg), laid-back hypnotist Merritt McKinney (Woody Harrelson), unassuming card trickster Jack Wilder (Dave Franco) and nimble escape artist Henley Reeves (Isla Fisher).
It is a crowded ensemble all right, and even more so than its predecessors, this one ends up skimping on the character work and focusing instead on the heist itself as well as the tension between the legacy characters and the younger magicians. The former involves the theft of a massive diamond owned by Veronika Vanderberg (Rosamund Pike), the heiress of a lucrative company that is also the head of an international crime syndicate. True to the series therefore, the score is not about enriching their own pockets but rather stealing from the unscrupulous and returning the riches to those who deserve it more.
The dynamic between the OG and the Gen-Z magicians plays out over a number of lively setpieces, including at a private party in Antwerp where they execute the theft, an estate in France that holds more secrets than The Eye can see (pun intended), and at the Yes Marina Circuit in Abu Dhabi where Veronika dictates that they return her diamond in exchange for Meritt’s release. It is a lot to juggle with close to 10 players, and perhaps even more if you count the cameos from Lula May (Lizzy Caplan) and Thaddeus Bradley (Morgan Freeman) for pure fanplay, and even though you can feel the strain from the weight of so many actors, Fleischer keeps his movie fleet-footed enough from one setpiece to another.
To their credit, each of the actors hold their own, although we will say that it is the OG who steals the show. Eisenberg energises any and every encounter with the same high-wire vigour that he brought to ‘The Social Network’, and it is a joy to watch how he ribs the younger three after their opening act (which teases a return of the Four Horsemen no less) as well as Meritt and Jack. Harrelson brings his playful best to the game, while Franco reprises his unassuming foil next to Fisher’s kookiness. Of the new trio, only Smith stands out, and that is because his character ends up being part of the big reveal. On the other hand, Pike elevates what would otherwise be a standard villain with a deliciously icy turn, and the way she owns every scene she is in qualifies as a magic trick all by itself.
If the objective of the ‘Now You See Me’ movies is simply forgettable fun, then this instalment more than lives up to the mission. As its predecessors have demonstrated, the convoluted plotting, elaborate heists and colourful villains are all part of the formula, and as long as you expect nothing more, you’ll have a fine and even enjoyable time round with this mix of new and old, especially with their witty and lively verbal and physical interplay. That you’ll be walking out looking forward to the already announced fourth film, especially with the return of the grandmaster of The Eye just before the end credits, shows that Fleischer and his crew have succeeded in reviving the magic.
Movie Rating:
(As fun and forgettable as its predecessors, this revival of the 'Now You See Me' franchise brings the same brand of escapist fun of the earlier two movies)
Review by Gabriel Chong
Genre: Musical/Fantasy
Director: Jon M. Chu
Cast: Cynthia Erivo, Ariana Grande, Michelle Yeoh, Jonathan Bailey, Jeff Goldblum, Ethan Slater, Marissa Bode, Bowen Yang, Bronwyn James, Adam James, Colman Domingo, Peter Dinklage
Runtime: 2 hr 17 mins
Rating: PG
Released By: UIP
Official Website:
Opening Day: 20 November 2025
Synopsis: Elphaba (Cynthia Erivo), now demonized as The Wicked Witch of the West, lives in exile, hidden within the Ozian forest while continuing her fight for the freedom of Oz’s silenced Animals and desperately trying to expose the truth she knows about The Wizard (Jeff Goldblum). Glinda, meanwhile, has become the glamorous symbol of Goodness for all of Oz, living at the palace in Emerald City and reveling in the perks of fame and popularity. Under the instruction of Madame Morrible (Oscar® winner Michelle Yeoh), Glinda is deployed to serve as an effervescent comfort to Oz, reassuring the masses that all is well under the rule of The Wizard. As Glinda’s stardom expands and she prepares to marry Prince Fiyero (Olivier award winner and Emmy and SAG nominee Jonathan Bailey) in a spectacular Ozian wedding, she is haunted by her separation from Elphaba. She attempts to broker a conciliation between Elphaba and The Wizard, but those efforts will fail, driving Elphaba and Glinda only further apart. The aftershocks will transform Boq (Tony nominee Ethan Slater) and Fiyero forever, and threaten the safety of Elphaba’s sister, Nessarose (Marissa Bode), when a girl from Kansas comes crashing into all their lives. As an angry mob rises against the Wicked Witch, Glinda and Elphaba will need to come together one final time. With their singular friendship now the fulcrum of their futures, they will need to truly see each other, with honesty and empathy, if they are to change themselves, and all of Oz, for good.
Movie Review:
Wicked: For Good arrives with the kind of anticipation usually reserved for cinematic finales of massive franchises — and rightly so. Jon M. Chu’s second chapter of his ambitious two-part adaptation of the beloved 2003 stage musical has been years in the making, and expectations were sky-high after Wicked (2024) dazzled audiences with its spectacle and catalogue of show-stopping hits.
With most of the instantly recognisable songs front-loaded in the first film (hands up if you’re still humming "Dancing Through Life" or "Popular", Wicked: For Good inevitably takes on a different tone: talkier, and more character-driven. What it lacks in bombast, it makes up for in intimacy, and a commitment to honouring the beating heart of the musical — Elphaba and Glinda’s friendship.
This sequel expands on relationships that the first film could only sketch. The emotional centrepiece is undeniably the evolving bond between Elphaba and Glinda, played with aching sincerity by Cynthia Erivo and Ariana Grande. Close-ups, a luxury unavailable to live theatre, become one of Chu’s strongest tools. The camera captures flickers of doubt, longing, jealousy, and regret — small emotional fractures that would be lost from the middle or back rows of a Broadway theatre. The stakes feel more personal and poignant.
Musically, the film delivers everything fans are hoping for. Where "Defying Gravity" soared as the anthem of the first movie, "For Good" becomes the emotional climax here. Erivo and Grande perform the duet with breathtaking sincerity, their voices blending with a warmth that underscores the moment’s bittersweet beauty: a farewell, a confession, and a quiet acceptance of change. It’s the kind of musical number destined to be replayed for years.
The darker, showier "No Good Deed" is another standout — Erivo unleashes a powerhouse performance filled with raw anguish, giving the film one of its most electrifying moments. New additions to the soundtrack, including "No Place Like Home" and "The Girl in the Bubble", are surprisingly strong and deepen the inner worlds of the two heroines while feeling seamlessly woven into the established score.
Narratively, the film also ventures into darker territory with its supporting characters. The subplot involving Nessa (Marissa Bode) and Boq (Ethan Slater) carries a more tragic tone than newcomers may expect, adding emotional heft without overshadowing the main storyline. Both Bode and Slater give grounded, affecting performances that ensure their arc resonates.
Erivo is, unsurprisingly, magnificent. She embodies Elphaba’s ferocity and vulnerability with equal conviction, shaping a character who is both formidable and deeply human. Grande, meanwhile, shines in her second outing as Glinda. While she leaned heavily into comedy in the first movie, here she offers a more textured, relatable performance without abandoning her impeccable comedic instincts.
A particularly funny moment sees Elphaba and Glinda bickering and physically tussling like schoolgirls — a perfectly timed burst of levity that the audience will adore. Both actresses are poised for a strong awards-season presence, with Oscar buzz already swirling loudly.
Veteran performers Michelle Yeoh and Jeff Goldblum add further delight. Yeoh brings a commanding elegance to Madame Morrible, while Goldblum infuses the Wizard with an unpredictable, lightly chaotic wit only he could deliver. Jonathan Bailey, recently crowned the Sexiest Man Alive, sheds his rakish image and leans into something more earnest here. As Fiyero, he delivers an impassioned "As Long As You’re Mine" with Erivo, and yes, he gets a shirtless moment that is sure to draw appreciative reactions from the audience.
In the end, Wicked: For Good stands as a worthy and satisfying conclusion to Chu’s vision. Where the first film soared and dazzled, this one moves with emotions. It’s a lovingly crafted musical epic that ensures Jon M. Chu will be remembered as the filmmaker who brought to millions in a cinematic form that feels both faithful and transformative — a commercially phenomenal achievement for fans and newcomers alike.
Movie Rating:
(An emotionally rich finale to Jon M. Chu’s two-part epic, this sequel sweeps you away — and leaves its mark on your heart for good)
Review by John Li
Genre: Action/ Adventure/ Fantasy
Director: Lu Yang
Cast: Deng Chao, Dong Zijian Lei Jiayin, Angela Wang, Ding Chengxin, Wang Yanlin, Finden, Chang Chen, Xin Zhilei, Guo Jingfei, Chang Yuan
Runtime: 2 hr 14 mins
Rating: PG13 (Some Violence)
Released By: GV and Purple Plan
Official Website:
Opening Day: 6 November 2025
Synopsis: A novelist, Lu Kongwen, finds himself in the depths of a life crisis when he is drawn by an irresistible temptation, leading both himself and the characters in his book into an irreversible catastrophe. In the novel’s world, the protagonist Kongwen embarks on a journey of resistance to defy his predetermined fate.
In the end, the novelist confronts his own dark side, regains his faith, and joins forces with his characters to save both worlds from impending doom.
Movie Review:
We must confess we could not remember much about the first movie before stepping into the sequel, but in that same vein, take it from us that you don’t need to have that foreknowledge to enjoy writer-director Lu Yang’s ambitious fantasy.
Like its predecessor, ‘A Writer’s Odyssey 2’ blends the worlds on and off the page. In the former, author Lu Kongwen (Dong Zijian) is drowning in ignominy after being wrongfully accused by charlatan Cicada (Chang Yuan) of plagarising the highly successful serialized novel ‘Godslayer’. Six years on, Lu gets his shot of redemption when Cicada unexpectedly turns up to apologise and plead with him to write a sequel to ‘Godslayer’.
In the latter, the megalomaniac Redmane (Deng Chao) has regained his powers partially after his earlier defeat at the hands of Kongwen (also played by Dong), and after a chance encounter with the real-life Lu who unknowingly crosses from one world to the other, rallies Kongwen to join him to search out the God whom he thinks has been dictating their fates with an invisible hand (or pen).
Without spoiling how the plotlines come together, let’s just say that what unites Kongwen in the real world and in the fantasy world is the ability to gain control of his fate, or what some would term free will. That is what also drives Redmane, though in his case, it is also about power and domination. Whereas the first hour sees the events in the two worlds unfolding largely in parallel, the second hour truly brings both these worlds together – and to director Lu’s credit, they do collide in fascinating and even wonderous ways.
We’re not sure how those who remember its predecessor might think, but we dare say Lu’s fantasy world here brims with culture, purpose and tradition. From the Capital City (also known as the Sky City), to the Dragonfall Plains, and to the Primal Realm, each location has its own painterly charm; perhaps the most dazzling is the Heart Tree, a physical manifestation of the purity within Redmane’s heart, which unfortunately is progressively withering as he becomes ever increasingly consumed by self-aggrandization.
Besides a distinct Chinese aesthetic, Lu also weaves in a fair measure of philosophy to lend depth to his story. The characters may be frivolous, but their motivations and what they symbolize isn’t. Both versions of Kongwen represent the search for self-identity, and the will to be able to determine one’s own fate. On the other hand, Redmane represents the authoritarian instinct present in many leaders today, who go beyond taking control of one’s own fate to dictating that of others. And last but not least, there is the benevolence and wisdom of Kongwen’s father Jiutian (Chang Chen), whose kindness and big-heartedness endures across generations.
It would be blasphemous for Lu to turn his tale into socio-political commentary, but within his characters belies a meditation on the values that we treasure in today’s society. For example, one fear many have with the advent of AI is how that will diminish individual thought, choices and volition, especially with agentic AI or even artificial super-intelligence. Or what of the potential slide towards authoritarianism that we see even in what is supposed to be the most democratic country in the free world? To be sure, Lu doesn’t go so far as to pronounce his views, but there is a strong thematic focus here that isn’t coincidental.
Yet for the casual viewer, ‘A Writer’s Odyssey 2’ is simply a visual feast. Over slightly more than two hours, Lu keeps the pace brisk and light, so that those simply looking for a good, entertaining spectacle will not be disappointed; but we appreciate how Lu injects artistry, meaning and message into his vision, while never letting it distract the movie from being a blockbuster in its own right. To be sure, there are parts which could be a lot more coherent, but it is an engaging and even thoughtful diversion that you won’t mind losing yourself in.
Movie Rating:
(Both a visual treat and a surprisingly thoughtful meditation on free will, 'A Writer's Odyssey 2' is a fantasy you won't mind losing yourself in)
Review by Gabriel Chong
Genre: CG Animation
Director: Jared Bush, Byron Howard
Cast: Ginnifer Goodwin, Jason Bateman, Ke Huy Quan, Fortune Feimster, Quinta Brunson
Runtime: 1 hr 47 mins
Rating: PG (Some Violence)
Released By: Walt Disney
Official Website:
Opening Day: 27 November 2025
Synopsis: In Walt Disney Animation Studios’ “Zootopia 2,” detectives Judy Hopps (voiced by Ginnifer Goodwin) and Nick Wilde (voiced by Jason Bateman) find themselves on the twisting trail of a mysterious reptile who arrives in Zootopia and turns the animal metropolis upside down. To crack the case, Judy and Nick must go undercover to unexpected new parts of town, where their growing partnership is tested like never before.
Movie Review:
Close to a decade after Walt Disney Animation’s ‘Zootopia’ came out of nowhere to become an instant hit and an Academy Award winner, the creative minds behind the vibrant metropolis where mammals of every shape and size coexist return for a delightful sequel that we dare say is the best animation we’ve seen this year.
Picking up right after its predecessor, with a helpful recap in the opening sequence of how the unlikely duo comprising a plucky bunny cop rookie Judy Hopps (voiced by Ginnifer Goodwin) and a smooth-talking fox con artist Nick Wilde (Jason Bateman) took down a vast conspiracy masterminded by the diminutive assistant mayor ewe Dawn Bellwether (Jenny Slate), both our heroes have been formally appointed as partners in the Zootopia Police Department (ZPD) under the gruff Cape buffalo in charge Chief Bogo (Idris Elba).
Unfortunately, their unlikely partnership is met with scepticism by Chief Bogo and outright cynicism by their colleagues made up of rhinos, razorbacks and other alpha species. After trying too hard to prove themselves by attempting to raid a smuggling ring all by themselves, Nick and Judy are ordered to attend a “partners in crisis” workshop led by, what else, a therapy animal (Quinta Brunson). While that is enough for Nick to call pause on their sleuthing, Judy is undeterred, and instead decide to chase down the possible reappearance of a snake within Zootopia after they find shedded snake skin at the back of the getaway van.
To say any more is to spoil the surprise for you, but suffice to say that their investigation takes them to new corners of the city; these include Marsh Market, a mash-up of Florida and New Orleans where the misfits and rejects of Zootopia now live, as well as a buried village known as Reptile Ravine in the outskirts of Tundratown, where reptiles used to live in peace and harmony. Oh yes, whereas the first movie explored the coexistence between different species of mammals, this sequel expands that world to include reptiles, and in particular snakes, which have been held in fear by Zootopians given the legend that Zootopia founder Ebeneezer Lynxley was nearly offed by a vicious viper a hundred years ago that claimed the life of a beloved Lynxley family maid.
Not surprisingly, there is a lot more than meets the eye, and after encountering the heat-seeking pit viper Gary De’ snake (Ke Huy Quan) at the Zootenial Gala event celebrating the centennial anniversary of the city’s founding, Judy takes a (literal) leap of faith by saving Gary from being captured by her colleagues and lands her and Nick as wanted criminals alongside Gary. And not surprisingly too, like its predecessor, this movie packs yet again a thoughtful message about prejudice, with Judy exposing how fear and ignorance had led to the demonisation of the reptiles, on the basis that they are different by species and nature.
Compared to the original though, the commentary this time round is a lot more nuanced, which given the political temperature in the US right now, is in fact a good thing (to avoid being politicised as ‘left-leaning woke-ness’ for instance). Taking over the directing reins, co-writer Jared Bush (who also become Chief Creative Officer of Walt Disney Animation Studios in 2024) layers the messaging skilfully within a string of uproarious set-pieces, each crisp, colourful and packed with extraordinary detail. Besides a heist at the Zootenial Gala and a frenetic pursuit through the Marsh Market, there is also a showdown at an abandoned vacation house on the cliffs of a new Alpine region near an area called Copenhoofen and a race-against-time at the outskirts of Sahara Square.
Spicing up the exhilarating sequences are quirky new additions like beaver podcaster and conspiracy theorist Nibbles Maplestick (Fortune Feimster) and newly installed handsome horse mayor Brian Winddancer (Patrick Wurburton), as well as the return of favourites such as pop music star Gazelle (Shakira), three-toed sloth Flash Slothmore (Raymond S. Persi) and even Dawn Bellwether. It is a busy, busy ensemble, and we haven’t even gotten to the numerous, wonderous visual gags, puns and pop-culture nods throughout the movie that will require repeat viewings to fully appreciate.
As packed as it is, it is a good thing that Nick and Judy remain right at the heart of the adventure. Both are forced to acknowledge their differences more profoundly, in particular as Judy decides to follow her heart to uncover the truth and restore justice even at risk to her life and that of Nick, and in the process discover the depth of their partnership. Their dynamic is both funny and touching, and reinforces why their buddy-cop pairings is one of the most exciting we have seen in a long while.
So even though it has taken a decade, ‘Zootopia 2’ is certainly the best animation we’ve seen this year, and we dare say, one of the very best from Walt Disney Animation Studios. It is hilarious, heartwarming and poignant in its own way, building on the original’s clever world-building, witty humour and timely social themes to offer yet another visually stunning, emotionally resonant, and socially relevant story. It is as perfect family entertainment as it gets, and let’s just say we’re already eagerly looking forward to the inevitable next chapter that we hope will take less than a decade to arrive.
Movie Rating:
(Clever, hilarious and heartwarming all at the same time, this return to the world of mammals - and now reptiles - is an unparalleled delight for the whole family)
Review by Gabriel Chong
SYNOPSIS: Years after Tess and Anna endured an identity crisis, Anna now has a daughter and a soon-to-be stepdaughter. As they navigate the challenges that come when two families merge, Tess and Anna discover that lightning might strike twice.
MOVIE REVIEW:
We always remember Lindsay Lohan as the kid in The Parent Trap and the sassy teenager in Freaky Friday (2003) and Mean Girls (2004). And now, she’s playing the role of a mother. Time truly flies.
In the sequel to Freaky Friday, Lohan and Jamie Lee Curtis reprise their roles as Anna Coleman and her therapist mother, Tess. Since it’s set 22 years later, Anna is now a successful music producer and single mother to teenager Harper (Julia Butters). Fate has it that she’s fallen for a Brit chef, Eric (Manny Jacinto), who is, coincidentally, also a single father to Harper’s classmate, Lily (Sophia Hammons). And, of course, Harper and Lily are enemies at school. As if that’s not enough coincidence, Anna and Eric are ready to get married after only six months of dating. Unsurprisingly, Harper and Lily are furious at the thought of becoming stepsisters.
To make things even more complicated, instead of the original’s two-way body swap, the sequel involves Harper switching bodies with her mom, while Lily swaps bodies with Tess after a fateful fortune reading with a certain Madam Jen (Vanessa Bayer).
Frankly, Freakier Friday is that kind of sequel nobody asked for or expected. Amazingly, though, it didn’t end up relegated to Disney+ and even did marginally well in theaters. To be fair, Lohan and Curtis are still decent especially Curtis, who gives it her all playing a teenager trapped in an older woman’s body (for the second time!). Lohan and Curtis’s chemistry remains, even after two decades. Still, the script doesn’t require much from these two seasoned actors. Most of the time, it’s just silly fun and messages about keeping harmony in the family.
If you’re in it for nostalgia, Chad Michael Murray returns as Anna’s ex-boyfriend, though now he seems to harbor a thing for older ladies. Manny Jacinto, who turned heads in The Acolyte, does a serviceable job as the male lead. The younger cast, Butters and Hammons, add to the fun as the squabbling soon-to-be stepsisters.
Even with all the different dynamics and body-swapping humor, the sequel runs at least 15 minutes longer than the original—not that it needed the extra screen time. Despite its good intentions, it’s clearly a TV movie. Body swap comedies definitely belong to the past, and this sequel tries to recapture the magic, but overall, it’s little more than a lazy, predictable premise.
MOVIE RATING:
Review by Linus Tee
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