Genre: Action/Comedy
Director: Giddens Ko
Cast: Leon Dai, Kai Ko, Berant Zhu, Gingle Wang, Liu Kuan-ting
Runtime: 2 hrs 7 min
Rating: M18 (Violence & Coarse Language)
Released By: Golden Village
Official Website:
Opening Day: 13 February 2026
Synopsis: A high-school underdog, Yuan (Kai Ko), intervenes to help a homeless man on his way home-only for both to get beaten up. The bloodied vagrant claims to be Huang Jun (Leon Dai), a once-great warrior now weakened and recovering. When Yuan gets home, still flashes on how bad the day has been, the homeless man appears outside his 4th-floor window, leaving a cryptic demand: “Make Me Your Master.” Yuan recruits his buddy, Ah-yi (Barent Zhu), to pledge themselves as Huang’s disciples. They learn how to defy gravity, dancing across eaves and walls, and harness inner qi to shatter stone walls. They also discover the grievances between Huang and his fellow junior disciple, Lan Jin (Liu Kuanting), 500 years ago. At first, Yuan and Ah-yi revel in their newfound power- playing heroes, righting petty wrongs with fists and flair. But their idealism cracks as brutal killings stain the city’s shadows- Lan Jin, now a demon king, is awakening. A storm of blood looms, and with it, Yuan uncovers the big secret behind “Kung-Fu”…..
Movie Review:
‘Kung Fu’ isn’t the movie it sells itself to be, nor therefore the movie you would be expecting it to be. In some instances, that can be a pleasant surprise; but in this case, it is an infuriating turnoff.
At least for the first act, director/writer Giddens Ko stays true to its stated premise of two high-school students, Yuan (Kai Ko) and Yi (Barent Zhu), who stumble upon a homeless vagrant beaten up by a bunch of local street bullies, show him a spot of kindness by offering him a clean shirt, and are suddenly given the chance to acquire superhuman ‘kung fu’ abilities. ‘Make me your master”, scribbles the vagrant Huang Jun (Leon Dai), outside Yuan’s fourth-floor window, interrupting Yuan’s masturbation to a sexy magazine.
Though they initially reject his offer, Yuan and Yi are persuaded to give it a try after personally encountering the group of bullies, who demand protection money from the neighbourhood red bean ice seller and threaten to beat them up unless they swallow their leader’s spit on their bowl of dessert. It is gross-out humour all right, but admittedly laugh-out-loud amusing; unfortunately, it also happens to be the best scene of the movie.
From that point early on in the movie, it starts to go downhill, as Huang Jun’s method turns out to be a cringe-worthy mixture of snake venom and ‘qi’, which result in plenty of frothing from the mouth and hissing from every orifice. Yuan and Yi’s antics also garner the attention of Yuan’s love interest Jing (Gingle Wang), the daughter of the red bean ice seller, who happens to be Yi’s love interest. Yes, the setup is a little bizarre to say the least, but relative to everything else that comes after, the very definition of normal.
Ko takes us through the usual beats with a series of training montages showing us how Yuan and Yi – and later on, Jing – learn to make the most of their powers. These scenes are still fairly entertaining, and that includes an extended sequence in which Huang Jun recounts how he had been bestowed his Master’s powers after his fellow disciple Lan Jin (Liu Kuan-ting) grew obsessed over trying to master divine ‘kung fu’ and ended up going on a killing rampage.
Not surprisingly, Lan Jin makes a return in the third act, although that is also where the movie goes completely off the rails. It even manages to eviscerate what the second act had set up as potentially the film’s main villain, a corrupt politician that terrorises her constituents into voting for her or for crossing her path, by impaling her, after dismembering her goons. Oh yes, the sudden turn of violence midway through the movie is disconcerting to say the least, and we dare say, unnecessary.
What really takes the cake is the late-stage shift into a bio-experiment horror and without giving too much away, let’s just say that it not just pulls the rug from under your feet but in fact throws the very premise on which it was constructed out of the bus. We’d give Ko brownie points for not being constrained by genre convention, but the about-turn here is otherwise absolutely infuriating, revealing ultimately that Ko never had any intention to pay tribute whatsoever to martial arts cinema, treating it instead as a joke to be chewed on and spitted out.
By the time Yuan bursts out of his clothes to transform into a bulging superhero on the shoulders of a huge Buddha statue, we can say we had totally had it with this piece of trash. Not only does it squander any goodwill it had accumulated in its first act, it will leave you exasperated at its seemingly indifferent attitude to violence and brutality, which we are sure will hardly go down well with the Lunar New Year crowd.
It’s a ‘Con Fu’ all right, and one that leaves such a bitter taste in your mouth you feel like spitting on it despite the festive mood. This is not homage, not even a spoof; it is just the wanton self-indulgence of a filmmaker who thinks his own excesses are our definition of funny. Word of advice? Stay far far away from it, if you do not want to ruin your Lunar New Year.
Movie Rating:
(A crass, genre-baiting bait-and-switch, Kung Fu squanders its fun premise in a jarring spiral into gratuitous excess and self-indulgent chaos)
Review by Gabriel Chong
SYNOPSIS: Written by Ethan Coen and Tricia Cooke, this comedy caper follows Jamie, an uninhibited free spirit bemoaning yet another breakup with a girlfriend, and her demure friend Marian who desperately needs to loosen up. In search of a fresh start, the two embark on an impromptu road trip to Tallahassee, but things quickly go awry when they cross paths with a group of inept criminals along the way.
MOVIE REVIEW:
Renowned filmmaker Ethan Coen steps away from his usual “partner-in-crime,” Joel Coen, and teams up instead with his longtime editor and producer and wife, Tricia Cooke for this queer-themed road trip movie that aims to be a crime comedy but ultimately feels pretty underwhelming.
Set in 1999, the film opens with a mysterious man (Pedro Pascal, in a cameo) getting killed in a back alley, his briefcase stolen by someone dressed as a waiter. We’re then introduced to Jamie (Margaret Qualley) and her best friend Marian (Geraldine Viswanathan), who are planning a road trip to Tallahassee, Florida. Due to a rental car mix-up, they end up driving off with belongings that actually belong to a slick but shady crime boss (Colman Domingo), who promptly sends two goons to retrieve them.
Who exactly is the man killed in the opening scene? And what’s in the briefcase — drugs, money, something worse? The movie keeps teasing these questions but never builds enough momentum for the mystery to really land.
While Drive-Away Dolls sometimes feels like a Coen Brothers movie in style, it’s clearly missing that classic balance. Without Joel, Ethan seems less focused, and the film feels scattered. Instead of sharpening the crime-comedy angle, the story often drifts into extended scenes of sex and nudity that feel more excessive than meaningful, which is surprising given the tight 84-minute runtime.
What’s meant to be a quirky crime caper involving a corrupt politician and some very silly contraband ends up competing for attention with Jamie and Marian’s coming-of-age misadventures — nights at lesbian bars, hookups and romantic chaos. There’s nothing wrong with that focus, but tonally it feels like two different movies smashed together: part raunchy teen-style comedy, part cartoonish crime farce. The pieces never quite blend.
Being industry veterans, the Coens still pull in big-name cameos like Matt Damon and Miley Cyrus, which add some novelty. Qualley is great as the carefree, horny Jamie, bringing plenty of chaotic charm. Beanie Feldstein gets some laughs as a hot-tempered cop, while Viswanathan plays the more reserved, bookish Marian with a gentle awkwardness that works.
There are flashes of the sharp wit you expect from a Coen project, but too much of the humor falls flat. Instead of the dark, tightly crafted crime comedy it promises, the film leans heavily into broad, sex-driven gags and uneven storytelling. It’s not without moments, but it feels like a missed opportunity and you can’t help expecting a lot more from a Coen.
MOVIE RATING:
Review by Linus Tee
Genre: Horror/Thriller
Director: Kevin Williamson
Cast: Neve Campbell, Courteney Cox, Isabel May, Jasmin Savoy Brown, Mason Gooding, Anna Camp, Joel McHale, Mckenna Grace
Runtime: 1 hr 54 mins
Rating: M18 (Violence)
Released By: UIP
Official Website:
Opening Day: 5 March 2026
Synopsis: When a new Ghostface killer emerges in the quiet town where Sidney Prescott (Neve Campbell) has built a new life, her darkest fears are realized as her daughter (Isabel May) becomes the next target. Determined to protect her family, Sidney must face the horrors of her past to put an end to the bloodshed once and for all.
Movie Review:
Some critics may scoff at the slasher genre, dismissing it as repetitive or formulaic, but the continued success of the Scream series proves that audiences still have a strong appetite for masked killers and meta-horror thrills. The fact that Scream 7 exists at all is evidence of that demand. Three decades after the original revitalised the genre, the franchise remains one of horror’s most recognisable brands, built on a blend of suspense, self-aware humour, and the enduring menace of the Ghostface mask.
The previous two entries, Scream (2022) and Scream VI (2023), attempted to usher in a new era by focusing on younger characters and fresh faces. Much of the narrative energy shifted toward a new generation of survivors, headlined by Melissa Barrera and her co-stars. Notably absent from Scream VI was longtime franchise heroine Neve Campbell, who stepped away from the sixth film due to a widely reported salary dispute. That absence marked a significant turning point for the series, signalling a willingness to move beyond its original cast.
However, the road to Scream 7 proved complicated. Barrera, who had effectively become the new central figure of the franchise, was removed from the project following public controversy surrounding her social media posts. The resulting shake-up led the studio back to familiar territory, bringing back legacy stars Neve Campbell and Courteney Cox. Their return underscores a simple truth about long-running franchises: nostalgia sells, and audiences are often eager to reunite with the characters that defined earlier chapters.
Yet while their presence is welcome, the film itself feels oddly restrained. For a seventh instalment in a series known for pushing its own formula in playful ways, Scream 7 often seems as if it is holding something back. The energy never quite escalates into the kind of gleeful chaos fans might expect. Whether this cautious tone stems from last-minute rewrites or an effort to keep the story broadly accessible is difficult to say, but the result is a film that rarely feels daring.
The screenplay leans heavily on references and callbacks to earlier entries, peppering the narrative with nods to past characters and surprise cameos. For devoted fans, these moments provide a pleasant sense of continuity and recognition. However, much of this fan service ultimately feels cosmetic rather than essential. When the mystery of the new Ghostface killer begins to unfold, those nostalgic touches do little to deepen the suspense or strengthen the story.
In fact, viewers well-versed in slasher conventions may find it surprisingly easy to guess the identity behind the mask. The franchise has long prided itself on clever misdirection, but here the reveal lacks the shock factor that once defined the series. By the time the climactic confrontation arrives, the surprise feels more dutiful than exhilarating.
Still, Scream 7 delivers on the basics that fans expect. There are decent jump scares, several tense stalking sequences, and bursts of reasonably graphic violence that remind audiences why the Ghostface legend persists. The film remains watchable and entertaining in the moment. Yet it also leaves the lingering impression that this instalment could have been far more daring — a sharper, bloodier, and more unpredictable return for one of horror’s most iconic franchises.
Movie Rating:
(The seventh instalment in the franchise is proof that the Ghostface legend still sells, even if this chapter holds back its sharpest blade)
Review by John Li
Genre: Drama
Director: Josh Safdie
Cast: Timothée Chalamet, Gwyneth Paltrow, Odessa A'zion, Kevin O'Leary, Tyler Okonma, Abel Ferrara, Fran Drescher
Runtime: 2 hr 29 mins
Rating: M18 (Sexual Scenes and Coarse Language)
Released By: Shaw Organisation
Official Website:
Opening Day: 26 February 2026
Synopsis: Marty Mauser, a young man with a dream no one respects, goes to hell and back in pursuit of greatness.
Movie Review:
At first glance, Marty Supreme sounds like the sort of rousing sports drama built for applause — a scrappy city kid defying the odds to conquer the world of table tennis. But this is no conventional underdog tale. The film is directed by Josh Safdie, one half of the filmmaking duo behind Good Time (2017) and Uncut Gems (2019) — stories that revel in chaos, moral murkiness, and protagonists who test the limits of audience empathy. With that pedigree, it quickly becomes clear that Marty Supreme is less about inspiration and more about obsession.
Timothée Chalamet sheds any remaining traces of boyish charm to play Marty as an unapologetic douchebag. He is brash, self-absorbed, manipulative, and often exhausting to be around. Yet, against all odds, Chalamet makes him riveting. Over the film’s lean 149-minute runtime, the young actor commands attention with a performance that is equal parts grating and magnetic. His charisma here is relentless — it barrels forward, refuses to soften, and never loosens its grip on the screen. Even when Marty is at his most insufferable, Chalamet’s presence is so forceful that you find yourself locked into his rhythm. It is the kind of bold, vanity-free turn that could very well make him an Oscar winner at the 98th Academy Awards.
The premise is deceptively simple. Inspired loosely by the real life of 1940s and '50s tennis table star Marty Reisman, the film follows Marty Mauser, a small-time New York dreamer who becomes fixated on turning ping pong into a ticket to fame and fortune. What begins as backyard ambition spirals into a relentless pursuit of validation, status, and the illusion of greatness. Safdie frames Marty’s journey not as a clean climb to glory but as a manic scramble powered by ego and desperation.
Marty is the kind of acquaintance everyone recognises: the guy who talks too much, name-drops endlessly, and insists he was destined for bigger things. He clings to the narrative that life short-changed him. Yet there is something perversely admirable in his refusal to settle. He goes all out — often in misguided ways — to force the world to notice him. At times he drags others into his schemes; at others he stoops to petty crime or humiliates himself in public. His drive borders on toxic, but it is undeniably potent.
Chalamet captures this contradiction superbly. He makes Marty irritating yet compelling, pathetic yet strangely aspirational. The performance almost feels confrontational, as if he is daring the audience to keep up. His energy doesn’t merely carry scenes — it dominates them. The camera seems drawn to him instinctively, often in extreme close-ups, and even in moments of silence, there is a buzzing intensity that suggests Marty’s mind is racing toward the next scheme. He almost forcibly makes you go on this chaotic ride to greatness with him.
The supporting cast played by Gwyneth Paltrow, Odessa A'zion and Kevin O'Leary provides strong counterweights to Marty’s frenetic momentum. Yet this is undeniably Chalamet’s film. Marty Supreme may not offer traditional uplift, but its intoxicating pulse is undeniable. By the end, you may question Marty’s methods — but you might also feel a reckless urge to chase your own ambitions with the same unstoppable, if dangerous, conviction.
Movie Rating:
(Timothée Chalamet’s relentless, magnetic charisma turns toxicity into pure screen electricity, powering a chaotic anti-hero tale that’s impossible to shake)
Review by John Li
Genre: Comedy/Drama
Director: Wai-lun Ng
Cast: Dayo Wong, Sammi Cheng, Louise Wong, Fish Liew, Yeung Wai Lun, Lo Chun Yip, Ho Kai Wa, Renci Yeung, Mandy Tam, Li Sum Ling, Hazel Lam, Tang Lai Ying
Runtime: 2 hr 13 mins
Rating: NC16 (Sexual References)
Released By: Sony Pictures
Official Website:
Opening Day: 16 February 2026
Synopsis: The year is 2012. The once-glamourous Club EJ suddenly experiences a hostile takeover. Much like the nightclub industry, the glory days are over for the club’s manager, Foon (Dayo Wong), despite having stood tall in East Tsim Sha Tsui for decades.
To make things worse for Foon, the club’s new CEO is none other than his cutthroat ex-wife, Madame V (Sammi Cheng)! Determined to change things up, she leaves Foon and his hostesses with no choice but to transform and modernize in order to breathe new life into their business. Little do they know, a powerful conglomerate has been pulling the strings all along to shut down Club EJ for good.
To save their neon empire, Foon and V must join forces and make an epic last stand with the hostesses against what seems to be inevitable doom.
Movie Review:
While it does acknowledge the prolific number of nightclub-heavy dramas, often mixed with triad and underworld themes, of the 1980s and 1990s, ‘Night King’ is hardly another trashy throwback to that era. Instead, it is deliberately set in the early 2010s when the nightclub scene in Hong Kong was in decline, struggling to define its existence at a time when the once booming economic territory underwent a period of cultural, political and societal transformation.
That is the fate of its lead protagonist Foon (Dayo Wong), the club manager of the once glamourous Club EJ, whose glory days – alongside that of East Tsim Sha Tsui – are fast fading. An extended opening scene shows the seasoned veteran Foon managing each night’s operations around its various client personalities with clockwork polish, and above all, taking care of his female employees not just because he would not otherwise have a business without them, but out of genuine care.
Foon’s thoughtfulness is in sharp contrast to that of his ex-wife Madame V (Sammi Cheng), who thinks Foon is too soft and wants to take over EJ in order to shake things up. For a good first hour, Foon and Madame V bicker and banter like married exes who are still very much in love with each other even if they would refuse to admit it, and if you’re lucky enough to catch this in its original Cantonese dialogue, you’ll delight at how Wong and Cheng spar with vim and vigour.
Madame V’s plan to assume control of EJ however goes up in flames after she is played out by her wealthy benefactor’s egotistical and thin-skinned son Prince Fung (Lo Chun-yip), paving the way for V to team up with Foon in order to take the tables on Fung. Nothing beats a common enemy to unite a pair of exes, and the last half hour unfolds a thoroughly satisfying ruse within EJ, where Foon executes an elaborate scam to rescue Madame V from her debts owed to Fung, as well as to regain control of the nightclub that means more to them than just a business transaction.
Having had the benefit of hearing from director-writer Jack Ng Wai-lun about the creative process of the movie, you’d appreciate why this 133-minute version that we are seeing feels like more than a film in one. Indeed, the first half is an energetic, largely comedic, affair that sees Foon try to boost the fortunes of his club before Madame V wields her axe to sack underperforming employees; and thanks to Wong’s signature sardonic wit, as well as the excellent deadpanning of Yeung Wai-lun as his assistant, is probably the more crowd-pleasingly entertaining section.
In contrast, the second half is a combination of a number of not always complementary subplots, which while adding texture to the movie, also unfortunately ends up bloating it. There is Coco’s (Louise Wong) budding relationship with Prince Fung, which eventually forces her to choose loyalty or a life of riches; there is also Mimi’s (Fish Liew) affection for Foon, despite knowing that he is still in love with Madame V; and last but not least, there are a bunch of rich/ influential/ powerful types, each searching for their own escape or solace from the real world, whose paths will intersect in the intricate heist that Foon and Madame V engineers to save EJ from Prince Fung’s hostile takeover.
To be fair, it is never boring, especially with veteran cinematographer Anthony Pun’s dynamic camerawork; but those expecting a similarly tight and compelling movie as ‘A Guilty Conscience’ will probably be disappointed. What we did appreciate though is how Ng uses EJ as a microcosm to examine a once illustrious Hong Kong in the throes of change, revealing not just a fond nostalgia for the days of old but also a need to transform in order to survive and thrive in the new world. The same can be said of Hong Kong cinema, for which Ng also intends his film to be a metaphor of.
‘Night King’ isn’t your typical Lunar New Year movie, nor for that matter, the sort of nightclub-themed movie that was a staple genre in Hong Kong cinema in the past. Rather, it is a lively battle-of-the-exes comedy, a scrappy underdog caper about bruised veterans clawing back relevance in a city that has moved on without them, and a wistful parable about the necessity of reinvention in an era when nostalgia alone is no longer enough to survive. Even if its sprawl makes it messy and uneven at times, it remains a captivating watch, elevated in no small part by the crackling chemistry between Wong and Cheng, whose banter gives the film both its bite and its bruised, beating heart.
Movie Rating:
(A fading nightclub manager and his sharp-tongued ex-wife reunite to outwit a hostile takeover, in a messy but engaging romantic caper about love, loyalty and reinvention in a changing Hong Kong)
Review by Gabriel Chong
Genre: Comedy
Director: Vince Chong
Cast: Song Bill, Mark Lee, DaHee, Morn Liew, Anthony Ng, Kim Chen Wu, Adeline Wong, Yuriko, Yuniyce, Zuvia, Michie Lam, Judy Pang
Runtime: 1 hr 36 mins
Rating: NC16 (Mature Theme and Some Drug References)
Released By: Golden Village
Official Website:
Opening Day: 26 February 2026
Synopsis: An invisible man living under the gaze of others. When fate hands him a coat that does not belong to him, he chooses to put it on. For the first time, Ah Loong tastes respect and indulges in the thrill of power. He thought he had finally escaped a life dictated by society, only to realise that this new identity is slowly consuming him. As he walks this reckless, parasitic path, is he in control of his choices, or has fate dragged him from one trap into an even deeper one?
Movie Review:
The less you know about Im Not Gangster, the better your experience will be. At the preview screening, members of the cast took pains to remind the audience not to spoil the film for others — and we echo that request here. This is one of those rare comedies where the payoff depends heavily on surprise. When the twist lands, it doesn’t just amuse; it genuinely brightens your day.
On the surface, the film appears to be a straightforward story about Ah Loong, a man who has spent his life overlooked and defined by the judgements of others. When fate forces him to step into the shoe of a gangster boss, he experiences respect, authority, and the intoxicating rush of power for the first time. The premise unfolds like a familiar underdog comedy, peppered with misunderstandings and escalating situations that hint at something bigger beneath the surface.
Then comes the turn.
Without revealing details, the narrative flips in a way that feels both cheeky and cleverly engineered. It’s a twist you may have encountered in another film before, but that doesn’t make it any less enjoyable here. What matters is execution, and director Vince Chong orchestrates the reveal with confidence and comic timing. The build-up is deliberate enough to plant subtle clues, yet breezy enough for you to follow the storyline.
So what else is there to talk about beyond that twist? Quite a lot, actually.
For audiences unfamiliar with Dissy — the hugely popular Malaysian content creator group — Im Not Gangster serves as an entertaining introduction. Their energy translates well from digital platforms to the big screen, and there is a natural camaraderie that cannot be faked. Those who loved the hit Close Ur Kopitiam (2025) will likely find even more to enjoy here, as the film doubles down on the group’s signature style: grounded, cheeky, and distinctly Malaysian.
Song Bill takes on the role of Ah Loong, once again embodying the archetype of the everyday man — flawed, slightly insecure, and occasionally out of his depth. He plays the role with an authenticity that makes the character instantly recognisable. Many guys might see a bit of themselves in him, even if they hesitate to admit it.
Placed within the film’s increasingly outrageous scenario, his relatability becomes a powerful comedic tool. Watching the poor guy drift through life trying to stay out of trouble, yet somehow always finds himself entangled in chaos, is where much of the humour flourishes.
The film is peppered with Easter eggs that reward attentive viewers, and casual audiences may miss some of these layered jokes. Singapore’s very own Mark Lee, whose media company also invested in the production, brings a welcome touch of familiarity for regional audiences. His presence bridges markets and reinforces the cross-border appeal.
Ultimately, Im Not Gangster thrives on its ingenuity. It is a Malaysian comedy that understands timing, surprise, and the importance of not overstaying its welcome. The twist alone makes it worth the ticket price, but the performances and local flavour ensure it remains engaging throughout. It is highly recommended — just remember not to spoil it.
Movie Rating:
(What starts as an underdog tale flips into something far more ingenious and unexpectedly satisfying — smart, sly, and best experienced as the best-kept secret, Im Not Gangster delivers a twist you won’t see coming)
Review by John Li
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WISHING ALL OUR READERS A HAPPY CNY 2026 & 马到功成!Posted on 15 Feb 2026 |
Genre: Comedy/Crime
Director: Zhou Difei
Cast: Eddie Peng, Allen, Zhou You, Yan Peilun, Yang Haoyu, Jiang Xueming, Fu Hang, Pan Binlong, Bu Yu, Zhang Qi, Huang Yan, Xu Dong, Yang Zhen, Cynthia Yang, Prem Yadav
Runtime: 1 hr 44 mins
Rating: NC16 (Some Violence And Coarse Language)
Released By: Shaw Organisation
Official Website:
Opening Day: 24 January 2026
Synopsis: In a small Southeast Asian town, police officer Yu Dahai (Eddie Peng) works tirelessly from dawn to dusk, striving to maintain a zero-crime rate for seven consecutive years. However, due to the lack of cases, the entire police force faces dismissal — their "iron rice bowls" have turned into "plastic bowls." In a bid to save their jobs, Yu Dahai decides to collaborate with his teammates to fabricate a major case. Meanwhile, a real crisis is unfolding: Luo Hao and Niu Dalun, a family of tomb raiders who have come to seek refuge with Luo Siji, have set their sights on a legendary treasure-filled ancient tomb — located directly beneath the police station...
Movie Review:
To be honest, Busted Water Pipes is not exactly the kind of movie one would associate with Eddie Peng, who is best known for his frequent collaborations with Hong Kong director Dante Lam in high-octane action blockbusters. However, Peng has recently been stepping away from his action-hero image, choosing instead to work with mainland filmmakers on more unconventional projects.
In Zhou Difei’s first full-length feature, Peng plays Yu Dahai, a former SWAT commander demoted to a small-town village cop after a mission goes disastrously wrong. Life in Ho Ping town offers little excitement for Dahai. When a senator announces plans to cut down the local police force due to low crime rate, Dahai and his fellow officers hatch a desperate plan: fabricate a major case to justify keeping their jobs. Meanwhile, a group of tomb raiders arrives in town, seeking help from local wellness retreat owner Luo Siji (Allen) to recover a legendary pirate treasure rumored to be buried beneath the police station.
Unlike Peng’s usual heroic screen persona, Busted Water Pipes gives the 43-year-old actor little opportunity to flex his action muscles. Instead, the film plays out as a chaotic crime comedy packed with random tropes and scattered plot threads, resulting in an experience that is both distracting and amusing. There’s a modest amount of violence, but the tone leans heavily toward absurdity.
The film’s strongest asset is undoubtedly its colorful supporting cast. A stuttering tomb raider henchman, a foolish uncle with hilariously bad ideas, a policeman who cannot hit his target, and a recurring gag involving an angry bull all inject steady doses of slapstick humor. Without these gags, the already thin plot might struggle to hold attention.
Adding to the mayhem is the ultra-violent escaped convict Luo Hao (Zhou You), whose psychopathic tendencies escalate the chaos. The director seems intent on delivering a bombastic action finale, but the third act descends into a confusing flurry of shootouts. The sudden inclusion of an armed gang of loan sharks and accountants feels particularly unnecessary and contributes little to the story.
One cannot help but wonder if there is a clause in Peng’s contract requiring him to play a single father yet again after The Rescue. Here, he has a precocious daughter, Xiaohe, who conveniently disappears for most of the runtime, only to reappear as a hostage in the finale. Peng delivers a serviceable performance, but he is largely overshadowed by the film’s quirky ensemble.
Overall, Busted Water Pipes is a convoluted mess but in a somewhat entertaining way. The movie struggles to decide whether it wants to be a straightforward heist film, a treasure-hunting adventure, or a full-blown goofy comedy. Nevertheless, if you go in with low expectations, it remains a mildly enjoyable, cartoonish romp filled with equally cartoonish characters.
Movie Rating:
(A chaotic blend of genres with a thin plot, elevated by eccentric characters and slapstick humor)
Review by Linus Tee
Genre: CG Animation
Director: Daniel Chong
Cast: Piper Curda, Bobby Moynihan, Jon Hamm, Meryl Streep, Dave Franco, Nichole Sakura, Sam Richardson, Eduardo Franco, Kathy Najimy, Isiah Whitlock Jr., Vanessa Bayer, Ego Nwodim, Aparna Nancherla, Melissa Villaseñor, Demetri Martin, Steve Purcell
Runtime: 1 hr 45 mins
Rating: PG (Some Intense Sequences)
Released By: Walt Disney
Official Website:
Opening Day: 12 March 2026
Synopsis: What if you could talk to animals and understand what they’re saying? In Disney and Pixar’s all - new feature film “Hoppers,” scientists have discovered how to “hop” human consciousness into lifelike robotic animals, allowing people to communicate with animals as animals! The adventure introduces Mabel, an animal lover who seizes an opportunity to use the technology, uncovering mysteries within the animal world that are beyond anything she could have imagined.
Movie Review:
In recent years, Pixar has faced a curious challenge. While its sequels and franchise titles continue to perform reliably, several original films like Elemental (2023) and Elio (2025) have struggled to capture the same cultural lightning that once defined the studio’s golden era. These movies are often well-made and charming, but some fade from memory soon after the credits roll. With Hoppers, however, Pixar appears to have rediscovered the spark that made its storytelling so special in the first place.
The film centres on an imaginative scientific breakthrough that allows humans to temporarily transfer their consciousness into robotic animal bodies in order to observe wildlife more closely. When a young girl seizes the opportunity to inhabit one of these animal “hoppers,” she finds herself plunged into the bustling ecosystem of a forest community. What begins as a simple mission of saving a forest glade soon evolves into an adventure involving survival, cooperation, and a deeper understanding of the natural world.
The first thing that immediately stands out is the cast of animal characters. Pixar has always excelled at crafting creatures audiences want to hug (and inevitably buy merchandise), and the furry beavers in Hoppers are no exception.
Among the ensemble, one unexpected scene-stealer is a wide-eyed lizard named Tom. His role in the story is relatively small, yet his deadpan expressions and hilariously awkward movements have already taken on a life of their own with countless online memes.
But adorable characters alone would not make Hoppers memorable. What truly elevates the film is Pixar’s storytelling craft. Beneath the colourful adventure lies a thoughtful narrative about perspective — literally seeing the world through another species’ eyes. As the protagonist navigates life among the animals, the film gently explores ideas about empathy, coexistence, and the delicate balance of ecosystems. These themes never feel heavy-handed. Instead, they emerge naturally through the plot, allowing audiences to absorb the message while enjoying the adventure.
The humour is another highlight. The script is packed with laugh-out-loud moments that work equally well for children and adults. One “shark out of water” sequence ranks among the funniest set pieces Pixar has delivered in years. The escalating chaos of that scene alone is worth the price of admission.
Meanwhile, Jon Hamm provides a standout vocal performance as a greedy mayor. With slick confidence and a slightly greasy charm, his delivery recalls the charismatic swagger that made his portrayal of Don Draper in Mad Men so iconic. Hamm clearly relishes the role, injecting the character with both authority and comedic flair.
Surprisingly, Hoppers also ventures into moments of genuine intensity. There are sequences that invite viewers to imagine what might happen if animals truly possessed the power to overpower humans — a playful but slightly unnerving thought experiment that adds tension to the story. These scenes balance the film’s lighter moments with a sense of scale and danger.
Ultimately, Hoppers succeeds because it blends entertainment with reflection. Without ever becoming preachy, the film encourages viewers to reconsider their relationship with nature and the creatures that share our world. It offers laughs, excitement, and meaningful insight in equal measure — the kind of storytelling Pixar built its reputation on. For both young audiences and adults, it’s a reminder that when Pixar gets it right, the results are still magical.
Movie Rating:
(Cute, clever, and heartfelt, Hoppers is Pixar back in its storytelling sweet spot)
Review by John Li
SYNOPSIS: A "gray zone" lawyer Li Qi (Tan Jianci) born in a deaf family, finds himself entangled in a fraud case targeting the deaf community. While leveraging the case to gain both fame and fortune, he soon realises that the scheme is far more complicated than it first appeared. This time, caught between desire and conscience, what choice will he make? The film is partially inspired by the true cases of CODA lawyer Zhang Qi.
MOVIE REVIEW:
There are real-life heroes who don’t wear capes, and lawyer Li Qi (played by Tan Jianci) is one of them. Supposedly inspired by a true story, Sound of Silence tells a moving tale about the poor and the oppressed.
Ironically, Li Qi does not initially set out to fight for the vulnerable. A small-time lawyer working in a cramped office tucked away in an alley, he craves success and wealth. This ambition explains why he first refuses to represent a deaf girl, Xiao Rui (Lan Xiya), whose family and the wider deaf community have been ensnared in a Ponzi scheme. Lured by the influential head of the fraudulent investment company, Jin (Wang Yanhui), Li Qi begins climbing the corporate ladder and even establishes his own law firm. But at what cost? The betrayal of his conscience and moral compass?
Sound of Silence is an impressive piece of storytelling. While the narrative may follow a somewhat predictable David-versus-Goliath trajectory, the film powerfully highlights the vulnerability of the deaf community, as well as the less educated and working poor. Li Qi himself is a CODA (Child of Deaf Adults). Having been bullied and ostracised because of his background, all he longs for is a respectable and comfortable life, a desire he pours out in a heart-wrenching scene opposite Xiao Rui.
The film does not revolve solely around Li Qi. Supporting actors are given substantial material to work with. Wang Ge, who plays Li Qi’s partner Xiao Tang, shares an intense shouting match with him inside a lift in one of the film’s most charged moments. Pan Binlong portrays Lao Ma, a community grocery store owner whose touching past with Li Qi explains why the latter feels closer to him than to his own parents. The drama stands out for allowing both main and supporting characters to shine, with clearly defined motivations and impactful dialogue.
Tan Jianci delivers a poignant and layered performance as the morally conflicted Li Qi, while Lan Xiya is utterly convincing as the resilient Xiao Rui. If there is one noticeable flaw, it lies in the portrayal of the main antagonist, Jin. Also a CODA, his motivations for exploiting the vulnerable feel somewhat underdeveloped and hazy.
Although the film features courtroom sequences, they are not its central focus. The legal showdown serves more as a swift resolution that ensures Jin finally faces justice. Despite its modest budget, the movie excels in its meticulous use of sound design. Sign language is prominently and respectfully integrated throughout, creating a dynamic and emotionally immersive viewing experience. While it may not boast an A-list ensemble, Sound of Silence is a superb and tense drama, elevated by powerful performances and its compassionate spotlight on the disadvantaged.
MOVIE RATING:
Review by Linus Tee
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