Genre: War/Drama
Director: James Vanderbilt
Cast: Russell Crowe, Rami Malek, Michael Shannon, Leo Woodall, John Slattery, Richard E. Grant, Colin Hanks, Mark O'Brien, Wrenn Schmidt, Lydia Peckha, Lotte Verbeek
Runtime: 2 hr 29 mins
Rating: PG13 (Some Disturbing Scenes)
Released By: Shaw Organisation
Official Website: 

Opening Day: 12 March 2026

Synopsis: As the Allies – led by the unyielding chief U.S. prosecutor, Supreme Court Justice Robert H. Jackson (Michael Shannon) alongside Sgt. Howie Triest (Leo Woodall), David Maxwell-Fyfe(Richard E. Grant), Gustave Gilbert (Colin Hanks),Col. John Amen (Mark O'Brien)and Burton C. Andrus (John Slattery) – navigate the monumental task of creating an unprecedented international tribunal to ensure the Nazi regime answers for its atrocities, Kelley gets to know his 'patients'. But he soon finds himself locked in a psychological duel with Göring, whose charisma and cunning reveal a sobering truth: that ordinary men can commit extraordinary evil. 

Movie Review:

Although Russell Crowe bears little physical resemblance to the real-life Nazi military leader and war criminal Hermann Göring, he exudes a compelling, commanding presence in this historical retelling of Göring’s interactions with U.S. Army psychiatrist Douglas Kelley (Rami Malek).

After Göring surrenders to the U.S. at the end of World War II, an international tribunal is convened to hold the former second-in-command of the Third Reich and his surviving lackeys to account. In the meantime, Kelley is tasked with evaluating the mind behind countless atrocities, while U.S. chief prosecutor and Supreme Court Justice Robert H. Jackson (Michael Shannon) prepares for the trial of the century.

Nuremberg comes from James Vanderbilt, the American writer-director better known for his screenwriting work on Zodiac and The Amazing Spider-Man, as well as misfires like Independence Day: Resurgence and White House Down. In his sophomore directorial effort, Vanderbilt crafts a historical drama that should appeal to both history buffs and casual moviegoers.

That said, contemporary audiences should bear in mind that Nuremberg is not a film easily consumed on a mobile device. This is a dialogue-heavy drama that demands big-screen attention, particularly during the talky yet tense exchanges between Göring and Kelley. Göring is portrayed as a man of immense intelligence—yes, directly or indirectly responsible for unimaginable atrocities, but not depicted as a one-dimensional tyrant. Calculated, thoughtful, and even a family man, he represents the unsettling contradiction of how evil can present itself, and it is precisely this portrayal that makes Nuremberg both fascinating and disturbing.

Malek’s Kelley serves as the moral anchor: the well-intentioned psychologist thrown into the center of history. Like the audience, Kelley finds his patient a captivating subject worthy of study and perhaps even a book. However, mounting pressure, controversy, and Göring’s ability to subtly manipulate his doctor complicate their relationship, turning it increasingly personal as the trial draws closer.

Still, Nuremberg is not without its flaws. On one hand, it functions as a well-staged legal thriller; on the other, the direction and cinematography occasionally hover uncomfortably close to made-for-TV territory. Unsurprisingly, much of the runtime is devoted to verbal sparring between Göring and Kelley, which ultimately sidelines the courtroom proceedings that should have been the true centerpiece of this historically based drama.

Overall, Nuremberg will likely be remembered more for its performances than for its narrative execution. Crowe, Malek, Shannon, and a strong supporting cast including John Slattery, Richard E. Grant, and Colin Hanks deliver masterful performances across the board. The courtroom drama is serviceable, though the use of real-life archival footage feels strangely out of place within this reenactment.

More importantly, Nuremberg raises a timely and relevant question for today’s political climate: are we truly learning from history? The message is clear, especially for those who attempt to ignite war crimes and disrupt world peace.

Movie Rating:

(An engaging historical courtroom drama bolstered by strong performances)

Review by Linus Tee

Genre: CG Animation
Director:  Derek Drymon
Cast: Tom Kenny, Clancy Brown, Rodger Bumpass, Bill Fagerbakke, Carolyn Lawrence, Mr. Lawrence, George Lopez, Isis “Ice Spice” Gaston, Arturo Castro, Sherry Cola, Regina Hall, Mark Hamill
Runtime: 1 hr 37 mins
Rating: PG
Released By: UIP
Official Website: 

Opening Day: 25 December 2025

Synopsis: SpongeBob and his Bikini Bottom friends set sail in their biggest, yellow-est, most side-splittingly hilarious, all-new, can’t miss cinematic event ever...The SpongeBob Movie: Search for SquarePants. Desperate to be a big guy, SpongeBob sets out to prove his bravery to Mr. Krabs by following The Flying Dutchman – a mysterious swashbuckling ghost pirate – on a seafaring comedy-adventure that takes him to the deepest depths of the deep sea, where no Sponge has gone before.

Movie Review:

Few animated television shows have enjoyed the cultural longevity of SpongeBob SquarePants. Since its debut in 1999, the series has transcended generations, becoming a rare cartoon that children adore for its bright colours and slapstick antics, while adults latch onto its absurdist humour, surreal timing, and surprisingly sharp satire. SpongeBob’s wide-eyed optimism, Patrick’s blissful stupidity, and Bikini Bottom’s parade of eccentrics have long made the show a comfort watch—one that parents and kids can enjoy together without compromise.

The SpongeBob Movie: Search for SquarePants, the fourth theatrical outing for the porous yellow optimist, doesn’t try to reinvent the formula. Instead, it delivers exactly what fans expect: 97 minutes of cheerful nonsense, low-stakes adventure, and relentless silliness that make it a perfectly timed holiday release. For parents, it’s an easy win—an excuse to escape the heat, keep the kids entertained, and share a communal laugh in a cinema without checking their watches.

The humour here is unapologetically juvenile, and often proudly so. Don’t come expecting razor-sharp wit or clever wordplay—this is the kind of movie where jokes like “under where?” (yes, underwear) land not because they’re smart, but because they’re so gloriously dumb. And yet, there’s something disarming about that simplicity. The laughs may not be sophisticated, but they arrive frequently enough, and their sheer silliness often sneaks up on you, coaxing out an unexpected chuckle.

At its core, the film leans heavily on the enduring friendship between SpongeBob and Patrick. Their unwavering loyalty to one another provides the movie with its emotional anchor, offering a sweet, sincere message about companionship, trust, and sticking together even when things get weird—which, in Bikini Bottom, they inevitably do. It’s gentle, earnest, and never overplayed, making it accessible to younger viewers while still resonating with adults who appreciate the show’s softer side.

Supporting characters get plenty of opportunities to shine. Mr Krabs has a surprisingly pleasant role of a mentor figure to play this time round, Squidward remains perpetually deadpan, and Gary the snail continues to prove that a well-timed “meow” can be funnier than a full line of dialogue. Their presence ensures that the film never strays too far from the ensemble charm that made the series a hit in the first place.

Visually, the movie keeps things lively by mixing animation styles and occasionally dipping into the real world. These shifts in texture and format inject fresh energy into the film, preventing visual fatigue and adding playful surprises along the way. The transitions aren’t always seamless, but they’re inventive enough to hold attention—especially for younger audiences who respond instinctively to visual novelty.

Ultimately, The SpongeBob Movie: Search for SquarePants is not aiming for greatness, and that’s perfectly fine. It’s a breezy, cheerful crowd-pleaser designed to entertain, not challenge. For fans of the series—and families looking for a lighthearted cinematic outing—it does its job with spongey enthusiasm.

Movie Rating:

(A cheerful, silly holiday treat that lets parents and kids laugh together, this easygoing big screen adventure proves that SpongeBob’s sunny charm still floats)

Review by John Li

SYNOPSIS: Famous movie actor Jay Kelly embarks on a journey of self-discovery, confronting his past and present with his devoted manager Ron. Poignant and humor-filled, pitched at the intersection of regrets and glories.

MOVIE REVIEW:

A movie starring a big movie star about a movie star. As far as satire goes, director and co-writer Noah Baumbach (Marriage Story, The Squid and the Whale) latest dramedy is taking the piss at the very industry he is working at or is he? It might not be Noah’s best work to date but certainly, much to indulge in.

Hollywood superstar Jay Kelly (George Clooney) has just finished shooting his latest movie and about to go for costume fitting the following Monday for another new role until a bitter meetup with his former acting roommate, Timothy (Billy Crudup) makes him change his mind. To the astonishment of his entourage including his faithful manager Ron (Adam Sandler) and publicist, Liz (Laura Dern), Jay decides to drop out of the movie and instead spends time with his younger daughter, Daisy (Grace Edwards) before she goes to college.

At this point, you might think Kelly is a narcissistic A-hole who turned down his once mentor Peter Schneider (Jim Broadbent) request for appearing in the latter planned comeback effort or his estranged relationships with his two daughters, Daisy and Jessica (Riley Keough). However, Kelly just wants to make things right for once.

Jay Kelly is more of the characters than the story on the whole. It opens up the world of a superstar through the eyes of George Clooney, oops sorry Jay Kelly, the fictional star whose entire life is consumed by his acting career. He is afraid of losing his stardom when he was younger thus neglecting the existence of his then young daughters. At present, he is an aging, weary actor haunted by the past including his feud with Timothy and Clooney delivers a nuanced, emotional performance as his character struggles with his complicated past and present.

Sandler’s Ron Sukenick is yet another terrific role for the underrated comedian. Ron is an overworked, exhausted man. Most of the time, he is doing whatever he can to elevate Jay’s acting status that he is neglecting his very own family. It comes to a point where he realises his efforts might not be fully appreciated by Kelly. Friend or just a working relationship becomes a recurring issue for Ron and Sandler nails the role perfectly with a less than showy performance as a man on the verge of a breakdown.

As mentioned, Jay Kelly is best enjoyed as simply a complex study on human beings than a straight-out satirical movie of a Hollywood superstar. Baumbach has never been a filmmaker driven by commercial instincts and Jay Kelly is yet another of his bittersweet movies about relationships and family. The Hollywood setting is just a facade for Baumbach to tell his tale. Overall, it’s an engrossing road trip, one that is greatly enhanced by the rich performances of Clooney and Sandler.

MOVIE RATING:

Review by Linus Tee

Genre: Drama
Director: James Hung
Cast: Aaron Kwok, Natalie Hsu, Nina Paw, Gigi Leung, Patrick Tam 
Runtime: 1 hr 37 mins
Rating: PG13
Released By: Shaw Organisation
Official Website: 

Opening Day: 4 September 2025

Synopsis: My First of May follows TANG Suk Yin (Aaron KWOK) and his daughter TANG Chi (Natalie HSU), whose lives are turned upside down when Chi is diagnosed with a serious illness. Faced with this heart-wrenching reality, Suk Yin and his wife, Elaine YEUNG (Gigi LEUNG), promise to cherish every moment with Chi. Miraculously, Chi survives beyond two, but this brings significant changes. The couple sacrifices their dreams to care for her. In despair, Suk Yin withdraws and becomes a recluse...

Movie Review:

With the local scene lacking new, worthy talents and outputs that attract international attention, the Hong Kong film industry has, in recent years, shifted toward more grounded family dramas like the wildly popular The Last Dance.

My First of May is a tearjerker directed and co-written by James Hung. It follows Tang Suk Yin (Aaron Kwok), a former three-time squash champion who, after a career-ending injury, resorts to odd jobs and petty cheating to survive. He has a paraplegic daughter, Chi (Natalie Hsu), who is taken care of by Tang’s aging mother, played by veteran actress Nina Paw.

What caused Tang’s downfall? And why does he choose to live alone in an illegal subdivided flat instead of staying with his family in their government-allocated apartment?

Hung’s My First of May takes a sad and alarming look at the lowest rung of Hong Kong society liked Kwok's I'm livin' it (2020). Everything in Tang’s life feels bleak. He is very much a has-been — a man who has given up on himself after his wife, Elaine (Gigi Leung) left, unable to cope with their daughter’s condition. He pushed all responsibilities onto his mother, until she herself pleads for his return after being diagnosed with brain cancer.

There is so much grimness in My First of May that you might be tempted to brush it off as superficial melodrama. However, if you’ve watched enough documentaries, you’ll realise families facing similar struggles do exist in reality.

You can’t expect a 90-minute film to delve deeply into complex issues like muscular dystrophy, caregiving burnout or social pressures. Hung does what he can — focusing on the fractured relationship between Tang and Chi. Through a series of events, their reconciliation and reconnection unfold naturally, even if the final outcome feels inevitable.

Gigi Leung is given the thankless task of playing the mother who goes AWOL and her limited screen time is arguably the film’s weakest link. While Hsu and Paw shine in their roles, the biggest praise must go to Aaron Kwok, who continues to show tremendous strides as an actor.

My First of May is an undeniably touching family drama made for the masses. Some might easily dismiss it as a sentimental tearjerker not worth the time, but seen from another perspective, it serves as a reminder to treasure the people around us and appreciate love and joy while we still can.

Movie Rating:

(A touching family drama filled with well-acted performances)

Review by Linus Tee

SYNOPSIS: Set within the elite walls of Yale University, After the Hunt follows Alma Imhoff (Julia Roberts), a respected ethics professor nearing tenure. When student Maggie Resnick (Ayo Edebiri accuses fellow professor Hank Gibson (Andrew Garfield) of misconduct, Alma must navigate moral ambiguity, institutional politics, and her own buried trauma. As the accusation unfolds, Alma’s private struggles — including chronic pain, a faltering marriage, and a past false accusation with lasting consequences — come to light. The story explores truth, trust, and self-preservation against a backdrop of academic power plays, generational divides, and hidden loyalties.

MOVIE REVIEW:

After the Hunt is not an action drama starring Julia Roberts and Andrew Garfield, even though it sounds like one. It’s billed as a psychological thriller directed by acclaimed filmmaker Luca Guadagnino (Call Me by Your Name, Challengers).

Still, there are hardly any thrills or much psychology throughout the entire affair. The story feels more like an afterthought built around the whole #MeToo movement. Provocative, maybe. Intellectual, perhaps. The script, however, never lands on any clear message or takes a firm stand, even after a hefty 2.5-hour runtime.

Roberts stars as Yale philosophy professor Alma Imhoff. She has a loving husband, Frederik (Michael Stuhlbarg), and her best friend at work happens to be a fellow professor, Hank (Garfield). Coincidentally, both Alma and Hank are up for tenure. Alma is also a close friend and mentor to her protégée, Maggie (Ayo Edebiri). Shortly after, Hank is accused of sexually assaulting Maggie, forcing Alma to take sides as secrets and key information slowly peel away to reveal the truth.

As a talky drama, After the Hunt is filled with long scenes of characters sitting around engaging in philosophical questions and discussions. It’s a whole lot of mumbo-jumbo if you’re not particularly into the world of academia. That said, there are a few intense moments that feel far more engaging than the movie as a whole. Chief among them is Alma and Hank’s prolonged diner sequence, which stands out as a quietly, brilliantly staged scene, and later, a confrontational moment between Alma and Maggie.

Alma, it turns out, is hiding a huge secret. And is Hank really the victim in this accusation? Is Maggie a victim of her own nepotistic background? The film raises plenty of major questions and tackles aggressive, hot-button themes—intriguing issues that are both uncomfortable and fascinating. But alas, for all the hoo-ha, the drama ends on an empty note, offering no specific answers to the questions it so eagerly raises.

The performances are outstanding, especially Roberts. Garfield, who appears for less than half the film, and Edebiri are both excellent. Even Stuhlbarg and Chloë Sevigny, who plays the university psychiatrist, enhance the overall narrative with their brief appearances. It’s easy to see why everyone in Hollywood seems eager to work with Guadagnino.

In the end, After the Hunt likely won’t connect with a wide audience not because of its arty approach, but because it promises a lot and delivers very little. A classic case of trying too hard to be smart.

MOVIE RATING:

Review by Linus Tee

Genre: Drama
Director: Craig Brewer
Cast: Hugh Jackman, Kate Hudson, Michael Imperioli, Fisher Stevens, Jim Belushi, Mustafa Shakir, John Beckwith
Runtime: 2 hr 12 mins
Rating: NC16 (Some Drug Reference)
Released By: UIP
Official Website: 

Opening Day: 1 January 2026

Synopsis: Based on a true story, two down-on-their-luck musicians (Hugh Jackman and Kate Hudson) form a joyous Neil Diamond tribute band, proving it's never too late to find love and follow your dreams.

Movie Review:

At its heart, Song Sung Blue is inspired by a real-life story. Based on a documentary about the famed Neil Diamond tribute duo Lightning and Thunder, the film dazzles things up and transforms their journey into a heartfelt musical drama about two performers whose lives intersect through music, ambition, and the complicated pull of love. Fittingly, the film takes its name from Diamond’s plaintive classic “Song Sung Blue,” a tune that captures the bittersweet yearning running through the story.

Hugh Jackman and Kate Hudson play entertainers brought together by a shared passion for performing, finding connection and conflict as their professional partnership deepens into something more personal. The film traces their journey through rehearsals, stage triumphs, and the emotional costs of life choices, often set to crowd-pleasing standards like “Sweet Caroline,” which lands exactly as it should—joyful, communal, and irresistibly infectious.

Jackman proves, once again, that he is one of the rare modern movie stars who can truly do it all. From Jean Valjean in Les Misérables (2012) to P.T. Barnum in The Greatest Showman (2017)—not to mention his extensive stage work—Jackman has long demonstrated his command of musical performance. Song Sung Blue gives him yet another opportunity to let loose vocally, and he seizes it with gusto. Whether he’s belting out “Soolaimon” or “I Am… I Said,” his singing is confident, generous, and thrillingly unrestrained. He anchors the film with sheer star charisma, reminding audiences why he remains such a magnetic screen presence.

Hudson matches him with a warmth and ease that feels refreshingly natural. Having released her debut single in January 2024, Hudson brings her own musical credibility to the role, using her husky croon to strong effect. Her renditions of Diamond’s softer ballads feel intimate and emotionally grounded. She’s charming without trying too hard, vulnerable without tipping into melodrama, and her chemistry with Jackman is key to the film’s success. Together, they make even familiar songs feel newly personal.

What truly elevates Song Sung Blue is its ability to make viewers want to participate. The musical numbers are staged with infectious energy, practically inviting you to sing along or tap your feet—especially during rousing performances of “Sweet Caroline,” which inevitably turn the cinema into a shared, smiling experience. There’s a sincerity to the performances—Jackman and Hudson commit fully—and that dedication transforms the film into something communal, where the joy of music becomes contagious.

Yet beneath the feel-good surface lies a surprisingly sentimental core. The film doesn’t shy away from emotional turns, including plot developments that are genuinely heartbreaking and quietly devastating. It’s in these quieter moments, underscored by more introspective songs, that Song Sung Blue finds its emotional weight, and where some viewers may find themselves unexpectedly misty-eyed.

Ultimately, Song Sung Blue is a celebration of love in its many forms: romantic love, artistic passion, and the sustaining joy of performance. Inspired by the real-life devotion of Lightning and Thunder and powered by Neil Diamond’s enduring catalogue, it entertains lavishly, tugs gently at the heart, and leaves you humming long after the final note fades—a crowd-pleasing musical that understands the timeless power of a well-sung song.

Movie Rating:

(Powered by Hugh Jackman’s show-stopping charisma and Kate Hudson’s soulful warmth, this heartfelt, toe-tapping musical celebrates love, performance, and the joy of singing your heart out)

Review by John Li

SYNOPSIS: Claire Clauster (Michelle Pfeiffer) is the glue that holds her chaotic, lovable family together every holiday season. From perfectly frosted cookies to meticulously wrapped gifts, no one decks the halls quite like Claire. But this year, as her grown kids and distracted husband get swept up in their own seasonal dramas, they make one crucial mistake: they forget their mom. By the time they realize she's missing, Claire’s already set off on a festive adventure of her own - one that doesn’t involve cooking, cleaning, or coordinating anyone else’s chaos. As her family scrambles to find her and salvage their Christmas, Claire rediscovers what the holidays mean when you’re finally free to put yourself first.

MOVIE REVIEW:

The anticipation is real especially after the prologue of Oh.What.Fun, which name-checks several classic Christmas movies but points out that none of those stories feature a woman, let alone a mother, as the lead. And honestly, women especially moms are usually the ones making the festive season as joyous as it is. So naturally, we thought this Michelle Pfeiffer–starrer would finally be that movie.

Pfeiffer plays Claire, a Texas mom who has spent weeks preparing the perfect Christmas dinner, only to feel completely unappreciated by her entire family: eldest daughter Channing (Felicity Jones), middle child Taylor (Chloë Grace Moretz), youngest son Sammy (Dominic Sessa), and her husband, Nick (Denis Leary). Claire’s biggest Christmas wish is for her children to nominate her for the “Best Holiday Mom” contest on Zazzy Tims’s (Eva Longoria) talk show but, unsurprisingly, none of them bother.

Feeling despondent and fed up, Claire sets off alone for Burbank to gate-crash Zazzy’s Holiday Mom Contest. And oh, what fun this is going to be, right? Right?

Alas… no. Not even close.

Ultimately, Oh.What.Fun is a misfire. It has no real understanding of how to pull off a chaotic Christmas misadventure, so the writer simply tosses in a handful of ridiculous gags to pad out the runtime. There’s no compelling reason for Claire to walk out of Crate & Barrel without paying and getting chased by mall cops isn’t inherently comedic. A half-baked rivalry with a neighbor (Joan Chen, in a welcome Hollywood return) over Christmas decorations also fails to spark any real cheer.

The casting is almost too stacked for a streaming film—Jason Schwartzman even pops up as Channing’s goody-two-shoes husband, Doug but no one is given anything meaningful to do. Jones has the meatiest role as the eldest daughter who’d rather be on a ski-resort retreat than at a family reunion. In what feels like an attempt at inclusivity, Moretz plays an LGBTQ character who changes girlfriends every Christmas; we’re not even sure if it’s meant to be funny or just vaguely snarky.

Pfeiffer, of course, delivers the dutiful-mother performance effortlessly. Unfortunately, the movie is stuffed with so many subplots that Claire is pushed to the sidelines by the end—ironically mirroring her character’s entire struggle. Sure, she gets her car towed and spends a night in a motel but if that’s supposed to count as a misadventure, it’s truly scraping the bottom of the barrel.

Not to be a grinch, but Oh.What.Fun is basically a slog. The characters are paper-thin, the humor barely exists and what was supposed to be a rowdy, star-studded Christmas romp ends up feeling like a flat sitcom episode. Yet the movie dares to compare itself to the classics. If only.

MOVIE RATING:

Review by Linus Tee

SYNOPSIS: A new troll has awakened! Join Nora, Andreas, and Captain Kris as they embark on their most dangerous adventure yet. With the clock ticking and chaos spreading, they’ll need new allies and ancient secrets to stop the rampage. Can they save Norway before it’s too late? 

MOVIE REVIEW:

As with any Hollywood kaiju or monster franchise, the sequels tend to get bigger, louder, and not necessarily better. The Norwegian creature feature Troll (2022), one of Netflix’s surprise mega-hits, now returns with a sequel from original helmer Roar Uthaug and screenwriter Espen Aukan.

Original cast members Nora Tidemann, Kim S. Falck-Jørgensen, and Mads Sjøgård Pettersen reprise their roles as Nora, the Troll whisperer; Andreas, the government worker and Kris, the military soldier who now holds the rank of major.

In short, the sequel sees a vengeful Troll named Jotun accidentally revived by Nora, and the creature begins marching toward Trondheim where an ancient cathedral resides. Meanwhile, Nora (the ever-reliable Troll whisperer, remember?) manages to lure out a younger Troll—dubbed Beautiful—hoping he can communicate with his older counterpart and put a stop to the destruction.

To Uthaug and Aukan’s credit, Troll 2 doesn’t rely solely on bombastic action. This time, the narrative leans heavily into world-building, expanding the mythology and folklore of these mythical creatures. Christianity, war, and churches all find their way into the escalating conflict between troll and man or is it man vs. troll? Honestly, it becomes a little unclear where this branch of Norse mythology is heading. But before any of it can be properly dissected, we’re treated to an all-out Godzilla vs. Kong-style finale.

Compared to the original, this outing lacks the comedic flair and constant set pieces that made the first film such a crowd-pleaser. As mentioned earlier, there’s plenty of exposition but not much that makes the adventure more exciting. Even new characters like Sara Khorami’s Marion, head of the facility that kept Jotun contained and a potential love interest for Kris fail to energize the proceedings.

Still, Uthaug is committed to delivering solid Troll-on-Troll WWE action, and the finale is proof of that intent. Unfortunately (spoilers!), there are at least two unnecessary deaths that seem inserted solely to force emotional beats. This Norwegian monster series might not be perfect, but in a cinematic landscape dominated by Kong and Godzilla, another troll rampaging around isn’t likely to annoy anyone. And yes—the sequel already hints at a third.

MOVIE RATING:

Review by Linus Tee

SYNOPSIS: There’s nothing more complicated than a breakup. Except when you're sharing a dog.

MOVIE REVIEW:

Dog movies are practically a genre of their own. I mean, who can resist a cute canine prancing across the screen? Throw in a love angle and set the story during the Christmas season and voilà you’ve got the perfect recipe for a rousing, charming rom-com.

At least, that’s probably what the folks at Amazon were thinking.

After calling it quits, Anna (Zooey Deschanel) and Russ (Charlie Cox) still have to co-parent their beloved dog, Merv (played by Gus). Each gets a week with him, but our cute terrier has sunk into a bout of depression. Apparently, he just can’t handle seeing Anna and Russ apart.

So Russ plans a vacation to the Paws Season dog resort in Florida, hoping it’ll lift Merv’s spirits. To his surprise, Anna turns up too even though she’s notoriously sun-sensitive.

And of course… you know where this is going.

Merv could’ve been the ultimate rom-com dog movie if the movie actually gave him enough screen time. There are no silly or funny canine gags, and the story gets bogged down with unnecessary side plots that don’t really support the main theme. Anna and Russ each have best friends to confide in, but those scenes amount to little more than polite filler.

There’s also a detour in the middle act to visit Russ’s parents at a senior community presumably a chance for the couple to reconnect but it feels more like going through the motions than anything that makes us genuinely root for them. Another dog owner at the resort develops a crush on Russ, which could’ve added some spice, but that subplot gets brushed aside before it can matter.

Deschanel and Cox make for a fresh pairing, especially with Cox reverting to his original British accent. Still, the reason for their supposedly bitter breakup and their constant bickering feels undercooked. Add to that the on-and-off presence of Merv himself, and you’re left with a movie that tries to be romantic, funny, and adorable but ultimately manages none of the above.

In the end, it’s just another forgettable holiday rom-com.

MOVIE RATING:

Review by Linus Tee

SYNOPSIS: Benoit Blanc (Daniel Craig) returns for his most dangerous case yet in the third and darkest chapter of Rian Johnson’s murder mystery opus.

MOVIE REVIEW:

The Knives Out mystery thriller crime series has proven that Rian Johnson should steer clear of anything that has to do with Star Wars and instead focus on telling his own original stories and making his own movies.

In this third instalment, private detective Benoit Blanc (Daniel Craig) is summoned by police chief Geraldine (Mila Kunis) to the small town of Chimney Rock after a Monsignor (Josh Brolin) is murdered under mysterious circumstances. The prime suspect is Father Jud (Josh O’Connor), a young priest and former boxer who can’t seem to align with the vision and ideas of Monsignor Jefferson Wicks.

Wicks’ small group of faithful followers including his right-hand woman Martha (Glenn Close), Dr Nat (Jeremy Renner), Vera (Kerry Washington), the town’s lawyer, her illegitimate brother Cy (Daryl McCormack), has-been novelist Lee (Andrew Scott), Simone (Cailee Spaeny), a sickly cellist, and Samson (Thomas Haden Church), the church’s groundskeeper however believe Jud is behind the murder, setting the exasperated priest on a quest to clear his name.

After dealing with the rich and famous in the flashy second instalment, Johnson returns to a more intimate whodunnit in Wake Up Dead Man. By setting the murder in a church, Johnson uses the opportunity to explore themes of faith, religion, and guilt. And indeed, over the film’s nearly 2.5-hour runtime, there is an ambitious dissection of the intriguing world of faith through the eyes of a believer (Jud) and the notoriously eccentric and likely atheist Blanc, whose only concern is upholding the truth.

Wake Up Dead Man is more of an in-depth character study, lightly dosed with humour, than a straightforward Agatha Christie–style mystery. One can’t help but wonder about Johnson’s true intention with the film, as the murder mystery ultimately unfolds more mechanically than naturally. The gravity of the case at hand is often undermined by Johnson’s need for irrelevant humour, including jabs at Scooby-Doo and even Star Wars, resulting at times in an unbalanced and contrived effort.

Craig’s Blanc doesn’t appear until nearly 30 minutes into the movie, giving Josh O’Connor the herculean task of headlining the mystery thriller for most of its runtime. O’Connor, who from certain angles resembles a young Adam Driver, arguably outshines many of his peers with a raw and unflinching performance as a man desperate to shake off his past and become a caring priest worthy of God. Close is a close second with her committed turn as a devoted church worker. The rest of the star-studded cast elevates the material despite their limited screen time, especially Renner and Scott.

For all its worth, Wake Up Dead Man fails to live up to the satire and sharpness established in the previous two films. The twisty murder mystery is often overtaken by Christian theology, and our Southern-accented detective takes a noticeable step backward here. It’s definitely not the best entry in the series, but we wouldn’t mind hanging out with Benoit Blanc again if Johnson and Craig agree to another instalment.

MOVIE RATING:

Review by Linus Tee