Genre: Comedy
Director: Jason Lee
Cast: Xixi Lim, Wang Weiliang, Lau Leng Leng, Patricia Mok, Henry Thia, Adele Wong, Usha Seamkhum
Runtime: 1 hr 28 mins
Rating: PG13 (Some Sexual References)
Released By: Shaw Organisation
Official Website: 

Opening Day: 29 January 2026

Synopsis: Having fled to Malaysia after falling victim to a scam, Kai Xin, a struggling Singaporean influencer played by Xixi Lim, unexpectedly reunites with Zi Hao, played by Wang Weiliang, the boy who once stood up for her when no one else did. A series of comical mishaps and chance encounters follow as the duo navigates a high-stakes, million-dollar pineapple-tart competition organised by a Thai matriarch. Together, they bake their way through a million-dollar pineapple-tart competition - and discover what “good fortune” truly means.

Movie Review:

It’s that time of year again when cinemas are filled with festive releases vying for your ang pow money — light-hearted, star-studded films designed to match the celebratory mood of Chinese New Year. Among this year’s lineup is A Good Fortune, a Singaporean production released just over two weeks ahead of the Chinese New Year rush, aiming to be part of the seasonal tradition of feel-good films that families can watch together.

A thoughtful opening monologue touches on the Causeway between Singapore and Malaysia, portraying the bridge not just as physical infrastructure but as a symbolic pathway for people who commute back and forth — whether for work or to reunite with family during festive seasons — setting the tone for a story rooted in family connections.

Directed by Jason Lee, A Good Fortune marks his first feature film, following years of shorts and independent work. Lee reportedly made this as a fully independent, self-funded passion project, backed by sheer determination and creative vision. His leap into a Chinese New Year movie feels like a strategic and heartfelt choice: the genre’s broad appeal and box-office potential provide the perfect canvas for a story about resilience, luck, and family ties during the most festive period of the year.

The storyline centres on Kai Xin, a struggling Singaporean influencer who flees across the Causeway to Malaysia with her mother after getting into trouble with loan sharks. In Malaysia, she unexpectedly reunites with her former classmate Zi Hao, the boy who once stood up for her when nobody else did. The pair are drawn into a million-dollar pineapple tart competition — a contest that carries both financial promise and symbolic weight in the context of Chinese New Year, where pineapple tarts are often associated with prosperity and good luck.

Headlining the film are Xixi Lim and Wang Weiliang. Xixi Lim’s bubbly screen presence will delight her fans; she embodies Kai Xin with a vibrant, relatable charm that matches the film’s upbeat, festive spirit. Wang Weiliang, better known for his comedy performances, surprisingly heads into more dramatic territory here, delivering several emotional scenes with sincerity. Their chemistry grounds the film’s heart and is undeniably sweet.

Joining them are familiar comedy faces Lau Leng Leng and Patricia Mok, whose performances brighten up moments that could otherwise feel slow or predictable. The film’s big draw, however, is Usha Seamkhum in her second feature film appearance — following her wildly popular turn in How to Make Millions Before Grandma Dies (2024) — adding international flavour as a formidable Thai matriarch overseeing the competition.

While A Good Fortune offers nothing revolutionary in the crowded genre of Chinese New Year movies, it remains a no-frills, 88-minute treat that families can share in the cinema with laughter and warmth. There are funny lines — such as the joke about ten people being needed just to kidnap Kai Xin’s character — though some quips do slow the pace slightly. Still, the film’s heart and humour make it a decent festive effort by Lee, and a reminder of why audiences continue to flock to feel-good films this time of year.

Movie Rating:

(An easygoing festive comedy filled with familiar faces and family laughs, made more endearing as Jason Lee’s commendable debut feature)

Review by John Li

Genre: Horror/Mystery
Director: Christophe Gans
Cast: Jeremy Irvine, Hannah Emily Anderson, Evie Templeton, Robert Strange 
Runtime: 1 hr 46 mins
Rating: NC16 (Horror and Violence)
Released By: Shaw Organisation
Official Website: 

Opening Day: 29 January 2026

Synopsis: RETURN TO SILENT HILL brings the iconic horror franchise back to the big screen. When James receives a mysterious letter from his lost love Mary, he is drawn to Silent Hill—a once-familiar town now consumed by darkness. As he searches for her, James faces monstrous creatures and unravels a terrifying truth that will push him to the edge of his sanity. 

Movie Review:

Return to Silent Hill marks two things: first, another big-screen outing for the Silent Hill franchise and second, the return of director Christophe Gans, who makes a comeback after helming the first atmospheric Silent Hill back in 2006.

Based on Konami’s 2001 game Silent Hill 2, the story follows James Sunderland (Jeremy Irvine of War Horse), a depressed, alcoholic artist who returns to the town of Silent Hill after receiving a letter from his ex-girlfriend, Mary (Hannah Emily Anderson). What greets James is a deserted, desolate place where ash constantly falls from the sky instead of rain or snow. While searching for Mary, James encounters several suspicious-looking residents and yucks, monsters of all sorts as well.

Return to Silent Hill, in short, is a love story. Boy meets girl. Boy and girl have a misunderstanding. And boy and girl go through several grieving obstacles to meet again. There’s no doubt Gans is a big fan of the horror franchise, as he has been talking about Silent Hill since the beginning of time, so you can’t really blame the man for trying his best to adapt the gist of the original video game for the big screen.

But the result turns out to be a dreaded affair. Instead of an emotional love story that captures your attention right from the start, the romance between James and Mary feels like an emotionally empty vacuum, as the story constantly transcends between what’s real and what’s not. It’s also supposedly a psychological horror film, yet it’s never truly terrifying nor does it delve deep into the psychological side of things. With all the constant flashbacks, it’s no wonder James looks disheveled and confused all the time.

James’ encounters with the various bizarre Silent Hill residents such as Angela, Laura, and Eddie are meant to be figments of his imagination, perhaps manifestations of his baffled mind. A cult ritual is also introduced midway for no exceptional reason. Perhaps under more capable hands, these elements might have resonated better, rather than Gans presenting them as mere nonsensical exposition.

If you’re here for the visuals, we’re sorry to say they look terribly worse than the 2006 version. It’s obvious James is stuck in an empty greenlot most of the time, running through badly designed corridors. Despite being touted as practical effects and makeup, the creepy monsters like Pyramid Head, Armless, and Spider Lady seem lifted straight from early Konami video games instead. Flat and insipid.

Without any significant visuals to boast of or a worthwhile story to tell, there’s no point returning to Silent Hill after the dismal Silent Hill: Revelation 3D. While Gans’ passion is appreciated, this outing simply lacks the terror and emotion needed to bring audiences or fans of the game back.

Movie Rating:

(Lacking in both visuals and story, there’s no point making a return to Silent Hill)

Review by Linus Tee

Genre: Comedy/Romance
Director: Boi Kwong
Cast: Simonboy, Mayiduo, Tommy Wong, Fah Chatchaya, Grace Teo, Germaine Chow
Runtime: 1 hr 47 mins
Rating: PG13 (Some Sexual References & Coarse Language)
Released By: Golden Village 
Official Website: 

Opening Day: 12 February 2026

Synopsis: Jeremy is on the brink of marriage, but his love story is anything but smooth. Like the legendary tale of Kwan and Riam, he’s a poor man in love with a woman whose mother is determined to keep them apart. His best friends, Mike and Ah Bao, each carry their own marital burdens – Mike struggles with constant arguments and tension at home, while Ah Bao longs to start a family but clashes with his wife, unable to understand what she truly desires in life. Desperate for luck and clarity, Jeremy visits the mystical Shrine of Kwan and Riam, hoping for blessings. After a few solemn prayers, the trio decided to drown their worries at a local bar, where the night turns into a blur of laughter, drinks and hazy memories… 

Movie Review:

Director Boi Kwong’s 3 Good Guys arrives with a concept that feels less like a gamble and more like a calculated masterstroke. In an era where digital influence translates directly into ticket sales, bringing together three major content creators to headline a feature film is a savvy business move. Their combined online following virtually guarantees a built-in audience willing to show up in cinemas.

From a commercial standpoint alone, the idea is genius and the timing makes it even smarter. Released during the lucrative Valentine’s Day and Chinese New Year window, the film positions itself perfectly between romance and festive cheer, maximising its box-office appeal.

Unlike many Chinese New Year comedies that rely on predictable, family-centred conflicts and sentimental reconciliations, 3 Good Guys attempts something more inventive. Rather than anchoring the narrative in a single household, the story throws its three leading men into wildly different scenarios within a fantasy setting. The alternate reality framework allows the film to explore contrasting perspectives on romantic relationships — commitment, insecurity, sacrifice, and communication while still delivering broad humour.

Tommy Wong’s character anchors one of the more emotionally grounded arcs. Struggling with constant arguments and simmering tension at home, his relationship issues are cleverly mirrored through a Muay Thai boxing match in the fantasy realm. It’s one of the film’s more thoughtful touches, offering commentary beneath the comedy.

Elsewhere, the tone swings gleefully into slapstick absurdity. Simonboy’s character finds himself inexplicably naked in the alternate universe, while Mayiduo’s character faces the outrageous predicament of being pregnant in this surreal dimension — a twist played largely for laughs. These sequences sometimes feel like they exist purely to generate humour rather than advance the narrative, and there are moments where the plot seems content to drift from one comedic setup to the next. Still, the laughter they provoke is undeniable, especially for audiences already familiar with the stars’ online personas.

Despite the occasional narrative looseness, there is a palpable sincerity behind the project. The director and his team approach the material with enthusiasm. The movie plays like an earnest attempt to bridge digital stardom and mainstream cinema. That sincerity helps smooth over some of the storytelling rough edges.

Technically, the production value is stronger than one might expect. The CGI is eye-catching and polished enough to support the film’s imaginative premise. The visual effects elevate the experience beyond a simple influencer showcase.

As for the leading trio, they deliver performances that are surprisingly competent. While none are asked to stretch dramatically, they display natural screen presence and comedic timing. Their relatability — the very trait that built their online followings — translates well to the big screen. If given future projects that align with their established personas and audience base, it would not be surprising to see them dabble further in film.

Movie Rating:

(An influencer-powered comedy that swaps predictable CNY family drama for chaotic romantic misadventures, this unabashedly silly and commercially savvy crowd-pleaser delivers easy laughs with heart)

Review by John Li

Genre: Thriller/Comedy
Director: Sam Raimi
Cast: Rachel McAdams, Dylan O'Brien, Edyll Ismail, Dennis Haysbert, Xavier Samuel, Chris Pang, Thaneth Warakulnukroh, Emma Raimi
Runtime: 1 hr 53 mins
Rating: NC16 (Some Violence & Coarse Language)
Released By: Walt Disney
Official Website: 

Opening Day: 29 January 2026

Synopsis: "Send Help" is a survival horror thriller about two colleagues who become stranded on a deserted island, the only survivors of a plane crash. On the island, they must overcome past grievances and work together to survive, but ultimately, it’s a battle of wills and wits to make it out alive. 

Movie Review:

On the surface, ‘Send Help’ is a survivalist thriller of two colleagues who are stranded on a deserted island somewhere off the coast of Thailand following a plane crash; but those who know Sam Raimi will know better than to expect a straightforward outing. True enough, Raimi’s first non-franchise gig after ‘Drag Me to Hell’ sees him at his gleeful and twisted, fashioning a part survival horror-comedy, part female revenge fantasy from a delectably screwy premise by Damian Shannon and Mark Swift (whose last claim to fame was reimagining the ‘Baywatch’ series).

For the most part, ‘Send Help’ is a two-hander between Rachel McAdams and Dylan O’Brien. As strategy and planning whizz Linda Liddle, McAdams is terrifically funny playing a long-suffering employee who has spent her career trying to get ahead by working late and grinding out quarterly reports through lunch at her desk, only to see the credit stolen by her contemptible colleague Donovan (Xavier Smith). Worse, the promotion to vice-president she had been promised is promptly disregarded by the late company CEO’s odious son Bradley Preston (O’Brien), who awards it instead to his old college buddy Donovan.

As consolation, Bradley invites Linda to accompany his bros to a client meeting in Bangkok, although everything changes when the private jet they are on crashes into the ocean near the aforementioned island. That Linda happens to be a ‘Survivor’ superfan is no coincidence; neither for that matter is Donovan's brutal demise, being sucked out of the cabin and having his head smashed against the windows just minutes after mocking Linda on board the flight with her clumsy audition tape for the reality TV competition. Oh yes, it is crazy violent all right, and shall we say a curtain raiser for the rest of the gory scenes to come.

Unlike Bradley, Linda soon relishes the opportunity to be in her element. She builds a shelter, starts a fire, collects water, goes fishing, weaves a backpack for herself so she can collect fruits on the island from further inland, and even carves her name into a wooden cup she makes. On the other hand, Bradley has no choice at least at the start to accept her graces given his leg wound, and for a while after he’s recovered, undertakes a number of pathetic attempts at surviving on his own before finally swallowing his macho pride.

To his credit, Raimi never defines Linda or Bradley in the form of convenient stereotypes. As sympathetic as we are to her fate, there is good reason why Linda is difficult to embrace; and the later scenes demonstrate how she can be a monster. Meanwhile, Bradley isn’t the total asshole you’d probably be expecting him to be, and over the course of the movie, shows that he is capable of decency, perhaps even more so than Linda is. Raimi maintains an intriguing tension between Linda and Bradley throughout the entire movie, choreographing the various twists and turns into a symphony of unexpected, and increasingly violent, power shifts.

McAdams proves to be a genius stroke of casting. One of her most memorable roles is that of queen bee Regina George in ‘Mean Girls’, and McAdams once again displays her penchant for sharp satire as Linda flaunts her survival competence in front of Bradley; in fact, she more than leans into the role, McAdams pounces on it with lip-licking relish. On his part, O’Brien happily plays along without overdoing the part, allowing Bradley’s torment and even torture at Linda’s hands to be earned, especially after betraying her trust in a scene that has one of the standout gross-out scenes in the film.

Like we said at the beginning, this is Raimi’s first non-franchise gig since ‘Drag Me to Hell’, and the auteur takes the opportunity to return to his cult-favourite roots to deliver a number of gore and gross-out moments - without giving too much away, let’s just say one of them has Linda hunting a warthog for meat and another has Linda alternately throwing up on Bradley’s face while performing mouth-to-mouth resuscitation after he almost drowns. Even so, Raimi never tips into indulgence; instead, he carefully calibrates the tone of the film, walking a fine line between cruelty and catharsis and never letting the proceedings tip into nihilism.

We will warn you that not everyone will love ‘Send Help’, in part because it refuses to conform to any sort of genre or audience expectation, but that is also the reason why we absolutely love it. In fact, we would go so far as to say that this is Raimi’s most purely enjoyable film in years, untethered from Marvel’s strict filmmaking demands and free to once again combine pop-comic precision with his signature gruesome ingenuity. It is also a showcase of comic talent from McAdams especially, her animated portrayal of Linda no less than a highlight of her impressive career. Even though you’re never really sure where the film will end up or how you’ll feel when you get there, trust us when we say this is a rollercoaster ride of rollicking fun that is well worth the journey.

Movie Rating:

(Gleefully untethered from any franchise expectation, 'Send Help” finds Raimi at his most mischievous—splicing survival thriller, splatter-comedy and sharp gender satire into a vicious two-hander that turns competence, cruelty and catharsis into a wildly unpredictable ride)

Review by Gabriel Chong

SYNOPSIS: In THE WRECKING CREW, estranged half-brothers Jonny (Jason Momoa) and James (Dave Bautista) reunite after their father's mysterious death. As they search for the truth, buried secrets reveal a conspiracy threatening to tear their family apart.

MOVIE REVIEW:

If you’re looking for an example of how streaming has changed moviegoing, look no further than ‘The Wrecking Crew’. Two or three decades ago, this energetic buddy cop action comedy would probably be a big summer release; but today, this is all but relegated to a late January release on Amazon Prime Video. Fortunately, that hasn’t in any way moderated director Angel Manuel Soto from mounting a vigorous genre piece that harks back to the classics from the ‘80s and ‘90s.

This is in large part due to the inspired casting of Dave Bautista and Jason Momoa as estranged half-brothers who team up to investigate their father’s mysterious hit-and-run against the scenic backdrop of Honolulu. Though both appeared together as warrior brothers in Apple’s dystopian sci-fi series ‘See’, this is their first tailor-made co-starring vehicle; in fact, the real-life friends had instigated the project and serve as producers, and their chemistry and passion for the joint endeavour carries the movie from start to finish.

Indeed, from its vintage title card to its retro jukebox soundtrack (including one by Phil Collins, as a reference to ‘Miami Vice’ for good measure), ‘The Wrecking Crew’ is an unapologetic throwback to say buddy-cop films like ’48 Hours’ and ‘Tango and Cash’. The mystery itself is fairly predictable, involving a shifty English-accented real-estate businessman played by Claes Bang, Yakuza-led mobsters and government corruption; but what its purpose is ultimately to escort Bautista and Momoa from one set-piece to another, which both stars gladly indulge with unabashed glee.

Making the best out of the (limited) budget they have, Soto stages three bravado set-pieces with elan – an early fight where Momoa fends off knife-wielding Yakuza in his bathrobe, when he is caught unawares in his Louisiana home; a highway chase involving a minivan and a helicopter with cars exploding, grenades exploding and limbs getting separated from bodies; and last but not least, an ambush on the said businessman’s compound that includes a bloody and brutal hallway fight where Bautista faces off with a horde of Yakuzas in a clear homage to ‘Oldboy’.

Even as the storytelling serves merely as impetus for the action, Soto and writer Jonathan Tropper (of the upcoming ‘Star Wars: Starfighter’) give Bautista and Momoa the space to flesh out their respective characters, and in particular their contrasting personalities – Bautista as the ultra-disciplined, straight-laced Navy SEAL commander who is by nature analytical and methodical; and Momoa as the wayward, somewhat irresponsible man-child who gets around in biker leathers and is in a failing relationship with a fed-up partner (Morena Baccarin, who makes the best of a supporting role especially in the over-the-top highway chase scene).

On their part, Bautista and Momoa inject the proceedings with genuine emotion, especially in confronting their history as half-brothers, culminating in a knock-down, drag-out fight between them that turns out surprisingly poignant. Their barbed exchanges also bounce off with zing, testament again to the infectious dynamic between the two co-stars that fire off each other. Though their supporting ensemble (and it is a talented crowd all right) get short shrift, you can hardly begrudge Soto for keeping the focus quite squarely on his lead actors.

So even if it hardly breaks any new ground, ‘The Wrecking Crew’ visits familiar buddy-cop action comedy territory with bravado and gusto. You can hardly question the commitment that both Bautista and Momoa bring to the table, and their energy, professionalism and sheer star power is more than enough to win over genre fans. Like we said at the beginning, this would have been popcorn-worthy summer fare two or three decades ago, and even though times have changed, there are some guilty pleasures that are evergreen. 

MOVIE RATING:

Review by Gabriel Chong

Genre: Drama/Romance
Director: Emerald Fennell
Cast: Margot Robbie, Jacob Elordi, Hong Chau, Alison Oliver, Shazad Latif, Martin Clunes, Ewan Mitchell, Amy Morgan, Jessica Knappett
Runtime: 2 hr 16 mins
Rating: M18 (Sexual Scenes)
Released By: Warner Bros
Official Website: 

Opening Day: 12 February 2026

Synopsis: From Warner Bros. Pictures and Academy Award and BAFTA-winning filmmaker Emerald Fennell comes “WUTHERING HEIGHTS,” starring Academy Award and BAFTA nominee Margot Robbie opposite BAFTA nominee Jacob Elordi. A bold and original imagining of one of the greatest love stories of all time, Emerald Fennell’s “WUTHERING HEIGHTS” stars Margot Robbie as Cathy and Jacob Elordi as Heathcliff, whose forbidden passion for one another turns from romantic to intoxicating in an epic tale of lust, love and madness.

Movie Review:

Emerald Fennell’s "Wuthering Heights" (note how the title is stylised with quotation marksarrives with the weight of literary legacy and the expectation of provocation. Full disclosure: this reviewer has not read Emily Brontë’s original novel, and only later discovered that a substantial portion of the source material has been omitted for this adaptation. Yet that narrowing of scope may not be a flaw. By centring the film almost entirely on Catherine Earnshaw and Heathcliff, Fennell distils the story into something feverish and intimate — less a sprawling gothic chronicle and more a volatile portrait of obsessive love.

Literary purists will undoubtedly have complaints about what has been trimmed, reshaped, or reinterpreted. Fennell, however, has never been a filmmaker interested in reverence for its own sake. As with Promising Young Woman (2020) and Saltburn (2023), her third feature is bold, stylised, and unapologetically sensual. Here, she transforms a classic text into a cinematic experience that sizzles, driven largely by the magnetic pairing of Margot Robbie and Jacob Elordi.

Robbie’s Catherine is headstrong, impulsive, and emotionally ravenous. She is not designed to be easily liked, and that is precisely what makes the performance compelling. Robbie leans into Catherine’s contradictions — her vulnerability and vanity, her longing and cruelty — creating a woman who feels dangerously alive. She is entirely believable as someone who would burn down her own world in the name of love, regardless of the cost.

Elordi’s Heathcliff matches her intensity with smouldering restraint. The character’s brooding bitterness and wounded pride could easily tip into caricature, but Elordi’s natural charisma keeps him watchable even at his most morally dubious. With a face that seems engineered for longing glances and quiet menace, he exudes charm even when Heathcliff behaves abominably. Together, Robbie and Elordi anchor the film, ensuring that despite their characters’ indulgence in toxicity and less-than-noble impulses, the audience remains captivated.

Visually, the film is intoxicating. Cinematographer Linus Sandgren crafts images that are lush, windswept, and almost tactile in their beauty. The moors are not merely a backdrop but a living presence. Interiors glow with candlelight and shadow, amplifying the sense of intimacy and doom. Every frame feels deliberate, painterly, and sensuous.

Fennell’s storytelling is sly and subversive. The film opens with what appears to be a sex scene, only to reveal something far darker: a body on the brink of hanging. Throughout, she employs close-up shots of objects that initially seem suggestive, only to reframe them into unexpectedly beautiful compositions. These visual feints mirror the narrative itself — love that masquerades as passion but carries the seeds of destruction.

If "Wuthering Heights" romanticises anything, it is not love as a noble ideal but love as an all-consuming force. This is not a tale of virtuous devotion; it is a portrait of desire that corrodes as much as it exalts. And yet, despite the toxicity that defines its central relationship, the film sweeps you away. Fennell proves once again that she can make morally murky territory feel alluring, crafting a gothic fever dream that is as seductive as it is unsettling.

Movie Rating:

(Margot Robbie and Jacob Elordi ignite the screen in a sensual, toxic love story that’s impossible to look away from)

Review by John Li

Genre: Action/Comedy
Director: Luke Greenfield
Cast: Kevin James, Alan Ritchson, Banks Pierce, Benjamin Pajak, Alan Tudyk, Paul Walter Hauser, Sarah Chalke, Stephen Root, Hiro Kanagawa
Runtime: 1 hr 33 mins
Rating: PG13 (Some Coarse Language and Violence)
Released By: Shaw Organisation
Official Website: 

Opening Day: 5 February 2026

Synopsis: After being fired from his job, Brian, instantly becomes a reluctant stay-at-home dad to his step son. On his very first day, Brian accepts a random invitation for a playdate from another stay-at-home dad, Jeff. Jeff definitely seems a little bit...off. And as the playdate begins, Jeff turns out to be someone Brian never expected and they immediately have to go on the run from a very dangerous situation. It's a playdate from hell as the two fathers and their sons spend the day trying not to get killed and solve a conspiracy.

Movie Review:

This buddy action comedy pairs Alan Ritchson (Reacher) with Kevin James (Mall Cop) for the first time with James playing a forensic accountant before he got fired from his job. So his wife, Emily (Sarah Chalke), suggests he take a break and spend some quality time with his stepson, Lucas (Benjamin Pajak), who much prefers dancing to lacrosse.

One day at the park, Brian gets to know another father-and-son duo, Jeff (Ritchson) and CJ (Banks Pierce). However, their supposedly harmless playdate soon turns into a series of chaotic events. There are apparently bad guys after Jeff, and Brian and Lucas are unwillingly dragged into the whole fiasco.

We shall be brutally honest about Playdate. There are movies made for streaming that deserve the big-screen experience and there are those that deserve to be watched on your television or handphone. Playdate certainly belongs to the latter category.

There is a decently silly twist to why the bad guys are after Jeff or CJ, but often the narrative is just plain silly. Just when you think Kevin James is back as yet another Mall Cop or Zookeeper character, he is somewhat overshadowed by Ritchson, who surprisingly steals the spotlight as the zany, comedic Jeff. No worries here, Ritchson still does what he does best, meaning he continues to beat the crap out of everyone that stands in his way. That said, the action sequences look passable and cheap, including some rough physical choreography and subpar visual effects.

Surprisingly, there are a number of notable faces here like Stephen Root and Paul Walter Hauser, with Alan Tudyk playing an evil tech mogul. Even Isla Fisher appears in no fewer than three scenes as a “mama mafia,” whatever that means.

There is also a whole laundry list of minivan jokes and references to famous movies, proving that Playdate struggles even to fill its less-than-90-minute runtime. This sort of mismatched buddy comedy has been done to death, and this one certainly isn’t going to give us much hope. At least Ritchson is doing great in a role that probably belongs to John Cena if he’s not too busy making other crap. 

Movie Rating:

(A mismatched buddy comedy that fails to engage and entertain)

Review by Linus Tee

Genre: Comedy
Director: Eric Wong
Cast: Richie Koh, Tay Ping Hui, Cynthia Li, Yang Shi Bin, Nick Shen Weijun, Rurusama, Tan Ting Fong, Joey Swee
Runtime: 1 hr 43 mins
Rating: PG13 (Gambling Content and Some Sexual References)
Released By: Golden Village 
Official Website: 

Opening Day: 17 February 2026

Synopsis: Zhuo Tian Cai is born on the mahjong table and has a smooth and lucky life. However, his arrogance costs him dearly and he loses his luck when he disrespects the game of mahjong. He realizes that if he is unable to regain his luck before the leaves of a mysterious money plant withers completely, he will be cursed with bad luck forever. With time running out, Tian Cai embarks on a journey of redemption and self-discovery, guided by his love interest Xin Yi and four enigmatic mahjong masters – Principal Wu, Ji Ge, Cat, Ah Shu – each with their own unique skills and philosophies. Together, they challenge Tian Cai’s beliefs about luck, humility, and respect as his strives to regain his luck by defeating the elusive and legendary mahjong champion Gu Lei. As Singapore’s first mahjong movie, the film celebrates the cultural significance of the game while explore themes of fate, personal growth, and the distinct identity of Nanyang-style mahjong.

Movie Review:

‘Luck My Life’ may refer to its protagonist’s extraordinarily good fortune in life, but offscreen, that describes director Eric Wong’s stroke of luck in casting Richie Koh as Zhuo Tian Cai.

Fresh from his Golden Horse–nominated turn in A Good Child, Koh pivots into a lighthearted, festive lead here, and it is his sheer charisma that holds this well-intentioned but structurally basic film together.

From the outset, Koh’s easy charm gives life to Tian Cai – a cocky, unbelievably lucky young man whose wins at the mahjong table are as effortless as his self-confidence. The early scenes play his rascal energy for laughs without making him obnoxious, and the physical comedy — from bird poops to over-the-top misfortunes — lands better when Koh commits to them with full enthusiasm.

Plot-wise, Luck My Life trades bold surprises for broad emotional beats. After Tian Cai casually dominates mahjong (even playing two tables at once), a stern encounter with legendary champion Gu Lei (Tay Ping Hui) suddenly strips him of all luck, prompting a fall from grace and a journey of self-discovery.

In keeping with its intent as comfort food for the Lunar New Year, the narrative is straightforward, and it often feels safe and predictable. It is amusing in parts all right, but you’d wish it had decided to take things a little more madcap. Likewise, you’d also wish that Wong had put in more effort into the titular mahjong matches, which come off less inspired than perfunctory, and hardly seem the stuff of any true-blue mahjong competition.

Still, you cannot fault its simplicity, especially its intent of being simply a warm, accessible story about humility, resilience, and the value of effort over oblivious luck.

The supporting ensemble adds flavour and local colour. Players like Cynthia Li’s Xin Yi, a former schoolmate and Tian Cai’s romantic interest, and cosplayer-actor Rurusama’s feline-inspired Cat, make for congenial additions — though some arcs (like the romance between Tian Cai and Xin Yi) feel more obligatory than inspired.

There are also playful touches that gesture toward something slightly deeper – such as an early animated sequence that tells of the origins of mahjong and hints at the game as a cultural social anchor – but these elements typically remain decorative rather than fully thematic.

What elevates Luck My Life is Koh’s performance. He imbues Tian Cai with an inherent likability — even at his most arrogant — and makes his eventual humility feel earned and touching rather than punitive or didactic. This inner kindness keeps the character’s arc from feeling mean-spirited, and it’s easy to see why reviewers have pointed to Koh as the film’s strongest element.

In the end, Luck My Life may not reinvent the Lunar New Year comedy, but it succeeds at what it aims to be: a feel-good, accessible, and uplifting story, fortified by a likable lead and a playful — if familiar — narrative arc. Its humour doesn’t always hit big, and dramatic stakes remain low, but the film’s sincerity and charm make it a pleasant seasonal outing.

For audiences seeking a light, locally flavoured tale of luck, loss, and what lies in between — with plenty of Mahjong antics to boot — this is a confidently familiar bet that pays off just often enough. 

Movie Rating:

(A predictable but good-natured Lunar New Year comedy where Richie Koh’s buoyant performance lifts a familiar tale of luck, loss, and humility)

Reviwed by Gabriel Chong

SYNOPSIS: An idealistic young woman juggles her family and work life in a comedy about the people you love and how to survive them.

MOVIE REVIEW:

It took famed director and producer James L. Brooks almost 15 years to make another movie. His last feature was the Jack Nicholson misfire How Do You Know, released back in 2010. Not that he actually needs the money, since his production house still churns out the ever-lucrative The Simpsons.

Anyway, Ella McCay is, well, about Ella McCay (Emma Mackey), an ambitious and idealistic young woman who suddenly finds herself promoted to governor after her mentor, Bill (Albert Brooks), accepts a cabinet position.

Ella’s life, it seems, isn’t exactly glowing. She has an estranged, womanising father, Eddie (Woody Harrelson), and her mother, Claire (Rebecca Hall), died when she was young. Thankfully, there’s her supportive aunt Helen (Jamie Lee Curtis), who backs her in every way possible. Her husband Ryan (Jack Lowden), whose family owns a pizza chain in town, on the other hand, is anything but supportive.

The movie tries to play like a witty screwball comedy on the surface, cramming in a bunch of dysfunctional characters all fighting for screen time. Everyone slips in and out of Ella’s life, and somehow we’re expected to care about their involvement. So is it supposed to be a political satire, with all those long speeches about making the world a better place and all that? Not really. Is it a rom-com mixed with family drama? Not that either.

Instead, the whole thing is stuffed with inconsequential subplots, including Ella’s agoraphobic younger brother (Spike Fearn) and her bodyguard/driver (Kumail Nanjiani), who looks like he might turn into a love interest if the movie drags on for another hour. None of these threads add much, they just make the film feel longer than it already is.

And Ella herself isn’t particularly interesting. Sure, she wants to build a better world with limited resources, but she’s constantly weighed down by her past. For a movie named after her, she never feels like someone we can truly root for or care about. There’s nothing in Brooks’ script that really grabs our attention. To put it bluntly, it’s a deliberately long drama with nothing exceptional to say.

Sad to say, it’s yet another misfire for the 85-year-old Brooks. It’s hard to tell what he was even going for with Ella McCay. In the end, it’s a misguided, plodding film that’s probably best avoided.

MOVIE RATING:

Review by Linus Tee

Genre: Horror/Thriller
Director: Zak Hilditch
Cast: Daisy Ridley, Brenton Thwaites, Mark Coles Smith, Matt Whelan
Runtime: 1 hr 35 mins
Rating: NC16 (Some Violence And Coarse Language)
Released By: Shaw Organisation
Official Website: 

Opening Day: 26 February 2026

Synopsis: After a catastrophic military disaster, the dead don't just rise - they hunt. The military insists they are harmless and slow-moving, offering hope to grieving families. But when Ava enters a quarantine zone searching for her missing husband, she uncovers the horrifying truth: the undead are growing more violent, more relentless, and more dangerous with every passing hour.

Movie Review:

While We Bury the Dead is touted as a zombie horror thriller, it’s more of a character-driven, apocalyptic drama that deals with grief and humanity.

Daisy Ridley stars as Ava, an American physiotherapist who volunteers for a “clean-up” mission after a catastrophic explosion devastates Tasmania, Australia. Her main motive is to look for her husband, Mitch, who had gone there on a business trip. As a result of the EMP, most if not all of the residents have been turned into the undead though slow-moving and harmless as warned by the military.

Ava teams up with a fellow volunteer, Clay (Brenton Thwaites), to retrieve and dispose of bodies around town. At some point, both agree to abandon the group and ride across the island to search for Mitch.

Writer-director Zak Hilditch doesn’t dive deep into the zombie genre the way pioneers like George A. Romero did for zombie cinema, or what Edgar Wright and Danny Boyle pulled off with Shaun of the Dead and 28 Days Later. In the end, Hilditch is more concerned with the living than the dead. As the movie progresses, we learn there’s more to Ava and Mitch’s relationship. Ava isn’t simply searching for her beloved husband’s whereabouts, but for closure as well. She’s haunted by his abrupt departure, by words left unsaid and matters unresolved. It’s perhaps more dramatic than what you’d expect from a zombie thriller.

At one point, Ava and Clay stumble upon a sex dungeon, though again, it’s not the kind of adrenaline-fueled stakes you might anticipate. Later, the duo meet a soldier named Riley (Mark Coles Smith), who promises to bring her to Mitch. You know there’s something off about this guy when Ava finds out his wife, pregnant with their unborn child has turned into the undead. It’s moments like these that set the film apart from typical zombie tropes that usually descend into total chaos and bloodbath.

Still, We Bury the Dead has a few select scenes of dread and genuine scares. One of the more unsettling traits of the undead is the loud grinding, chittering of their teeth, which comes across as deeply unnerving and uncomfortable. We’re told prior the zombies are slow-moving, but there are a few surprises here and there.

For a modestly budgeted Aussie horror, We Bury the Dead is well-shot and atmospheric, making good use of the vast emptiness of its locations in Hobart and Perth. Daisy Ridley shines in her post-Star Wars career as a character navigating a monstrous journey among both the living and the dead. This is definitely arthouse horror not one to mistake for bloody popcorn entertainment.  

Movie Rating:

(More of a haunting, thoughtful road trip than a carnage-filled zombie movie)

Review by Linus Tee