iamianiman

Kahar: Kapla High Council (2024)

A Gritty Prequel (and Sequel) That Pulls No Punches

Kahar Kapla High Council is not just a prequel; it's an unflinching dive into the brutal and chaotic world that shaped one of Project High Council's most iconic characters. This film doesn't hold back-it's raw, relentless, and packed with intensity, offering a visceral cinematic experience that's both thrilling and haunting.

From the opening sequence, you're thrust into a world defined by violence, survival, and unspoken codes of honor. The fight scenes in this movie are a masterclass in choreography and sound design. Each punch lands with a force that feels palpable, every hit reverberating with authenticity. There's nothing glossy or staged here-just raw, gritty combat that feels painfully real. For fans of action and high-stakes drama, Kahar delivers some of the best fight sequences seen in Malaysian cinema.

At the heart of the chaos is Amir Ahnaf, who gives a tour de force performance as Kahar. He fully embodies the character's madness, pain, and ferocity, delivering a portrayal so compelling that it's impossible to look away. Amir's ability to oscillate between seething anger and haunting vulnerability is nothing short of brilliant. Whether through his expressive eyes or the sheer physicality of his performance, he commands every scene he's in.

Alongside Amir, Aedy Ashraf brings depth and tension to the screen, although there are moments when the dialect choices feel slightly forced. The supporting cast-Sky Iskandar, Khenobu, Thompson Goh, Fazziq Muqris, and Fadhli Masoot-add layers to the narrative, each carving out memorable moments. While Sky and the newcomers hold their own admirably, a few characters feel underutilized. Certain story arcs vanish mid-film, leaving intriguing potential unrealized.

Visually, the film is ambitious. It utilizes dynamic techniques like slow-motion, close-ups, and arc shots to heighten its dramatic beats. One standout sequence near the end recalls the energy of West Side Story, as opposing groups converge in a mesmerizing display of shadows, tempo, and choreography. These creative decisions elevate the movie's cinematic quality, making it clear that this isn't just another local action flick-it's a carefully crafted visual experience.

However, not everything lands perfectly. The first act struggles to establish the emotional weight needed to fully invest in Kahar's transformation. While the film hints at mental health struggles and societal pressures, it doesn't explore them deeply enough to leave a lasting impact. This lack of emotional grounding means that some pivotal moments, meant to evoke tears or introspection, fall flat for certain viewers. There's a story there, but it feels like it's rushing to the finish line rather than letting us sit with Kahar's pain and evolution.

The film also misses an opportunity to lean into a grittier aesthetic. The color grading, while polished, feels overly saturated for a story meant to portray rawness and despair. A more muted palette could have amplified the film's themes and matched its brutal narrative tone.

Despite its shortcomings, Kahar Kapla High Council remains a gripping prequel that expands the Project High Council universe with flair. The action is visceral, the performances-particularly from Amir Ahnaf-are standout, and the story offers enough twists and tension to keep audiences hooked.

Verdict: Kahar Kapla High Council is a bold and gritty exploration of what shapes a man into a monster. While it stumbles in fully fleshing out its emotional core, the film's breathtaking fight sequences, creative direction, and standout performances make it a must-watch for fans of the original series and action cinema alike. It's a gritty, unflinching exploration of violence, power, and survival-a captivating journey into the origins of a legend.

Wicked: Part I (2024)

Wicked Brings Oz to Life Like Never Before

There's something special about a story that takes the fantastical and makes it feel achingly real. Wicked, starring Cynthia Erivo and Ariana Grande, casts a spell that doesn't just transport you to the world of Oz-it pulls you into a tale of friendship, resilience, and self-discovery that lingers long after the final note fades.

From the very first scene, it's clear that Wicked isn't just a musical-it's an experience. The songs don't overwhelm the story; they blend seamlessly with the dialogue, creating a rhythm that's as natural as it is enchanting. This balance is rare in musicals, and it's what makes Wicked so exceptional. Think The Greatest Showman... yes, now you get it.

At its heart are two women who couldn't be more different yet are bound by a connection that changes them forever. Cynthia Erivo's Elphaba is a powerhouse of vulnerability and strength, a character who's been cast aside and judged for her differences. Erivo doesn't just play Elphaba; she becomes her. Every note, every glance, every heartbreak feels raw and real.

And then there's Ariana Grande as Glinda. If you've ever doubted Grande's acting chops, prepare to be proven wrong. Her Glinda is charmingly narcissistic, with a heart buried beneath layers of self-absorption that only Elphaba can bring to the surface. Watching Grande navigate Glinda's quirks and insecurities is pure joy. She's funny, lovable, and utterly magnetic, and her voice? It soars.

But what truly sets Wicked apart is its portrayal of friendship. There's no need for grand speeches or clichéd declarations-the story unfolds through actions, unspoken emotions, and, of course, music. Every shared glance, every sacrifice, every melody is a testament to the bond between these two women. It's rare to see a musical lean so heavily on the power of relationships without veering into sentimentality, and Wicked nails it.

Visually, the film is a marvel. The sets are grand yet immersive, bursting with color and life, making Oz feel like a place you could reach out and touch. It's fantasy at its finest-vibrant, majestic, and brimming with energy. You can feel the effort poured into every frame, from the sweeping landscapes to the intricate costumes.

Of course, no film is without its flaws. At nearly three hours, the runtime is indulgent, and a few scenes drag more than they should. And while the songs are beautiful, they don't have the staying power of The Greatest Showman or La La Land. Some emotional moments are slightly undercut by abrupt musical transitions, making them feel less impactful than they could have been.

But these are minor quibbles in a film that delivers so much. Wicked is more than a musical-it's a celebration of humanity, filled with themes of acceptance, equality, and the power of friendship. It's a story that resonates, especially for anyone who's ever felt like an outsider.

By the end, you won't just be humming the tunes-you'll be reflecting on the journey, the emotions, and the connections that make life meaningful.

Verdict: Wicked is a spellbinding journey of friendship, identity, and perseverance, brought to life through stunning visuals and heartfelt performances. While its runtime occasionally lingers and its songs may not all be instant classics, the film's charm, emotional depth, and magical storytelling shine through. Whether you're a lifelong fan or new to this world, Wicked offers an unforgettable cinematic experience that will leave you inspired, enchanted, and humming long after the credits roll. However, for those who aren't fans of musicals, this one may not cast the same spell.

This Land of Mine (2024)

Brave Experiment: This Land of Mine Struggles to Balance Innovation and Execution

This Land of Mine boldly ventures into uncharted territory for Malaysian cinema, presenting an ambitious mix of mockumentary and found footage genres-a rare sight in the local film landscape. Helmed by a passionate indie team, the film brings a compelling premise to the table: a deep dive into humanity's darker instincts, all set against the mysterious and ominous backdrop of the Malaysian wilderness.

Visually, the film struggles with its limited budget. The CGI, used heavily for the central creature, feels cartoonish and out of place, often detracting from the intended suspense. While the effort to bring such a project to life with minimal resources is commendable, the execution leaves much to be desired. The creature design itself feels underwhelming, lacking the originality or shock value needed to captivate audiences. Without context-such as a prologue referencing the supposed "real-life evidence" that inspired the creature-the reveal falls flat, failing to deliver the impact it seems to aim for.

The film's storytelling is its Achilles' heel. While the concept is intriguing, the plot fails to sustain interest over its runtime. The mockumentary format, coupled with the found footage aesthetic, initially promises an engaging narrative, but the subplots and revelations never rise above the ordinary. The movie stumbles in answering a crucial question: how do you stretch a great idea into a full-length feature? The result is a series of moments that, while not outright dull, lack the tension or novelty to hold the viewer's attention.

Despite these shortcomings, This Land of Mine does offer thematic depth. The narrative explores issues such as greed, ethics in medicine, and the fragile balance between human ambition and morality. These elements give the film a thoughtful edge, elevating it beyond a mere popcorn flick. The inclusion of such themes shows the filmmakers' desire to spark meaningful conversations, which is a refreshing change in the landscape of local cinema.

The performances are serviceable, considering the challenges faced by the cast. Many are newcomers, and their inexperience shows in some of the dialogue delivery and emotional beats. Filming on-location in the dense Malaysian forest while imagining a CGI creature must have been no easy task. Still, there are moments of raw intensity that suit the gritty found footage style, even if the overall character dynamics lack chemistry.

One notable drawback is the film's color grading and lighting choices. Many scenes are overly dark, making it difficult to discern key moments on screen. Whether intentional or a technical limitation, this decision ultimately detracts from the viewing experience, leaving audiences frustrated rather than immersed.

Verdict: This Land of Mine is a brave attempt at innovation within Malaysian cinema, bringing a unique genre and thought-provoking themes to the forefront. While the concept is promising and the moral undertones resonate, the execution falters in key areas like pacing, visual design, and narrative depth. It's an admirable effort that showcases potential, but falls short of becoming a must-watch. For fans of indie filmmaking and experimental storytelling, it's worth checking out as a step forward in local cinema, even if it's not without its flaws.

Gladiator II (2024)

Brutal Battles and Power Plays - But Can It Live Up to the Original?

Gladiator II, led by the brooding intensity of Paul Mescal, emerges as an epic, brutal adventure that captures the raw energy of its predecessor while daring to tread new ground. The film immerses viewers in a visually intense and violent journey, presenting gory, blood-splattered battles that feel gritty and visceral. While some of the blood is CGI, the attention to sound, with the slicing of swords and crushing of armor, draws the viewer straight into the heat of the Colosseum-a real thrill on an IMAX screen.

The film does, however, lean heavily on the original Gladiator template. Familiar elements like power plays, themes of justice, and the unyielding brutality of the Colosseum are all present, with the sequel echoing some of the iconic scenes from the first movie. But Gladiator II knows when to take risks, stepping out of the shadow of its predecessor to establish its own voice. The film's balance of thematic depth with power dynamics and struggles keeps the plot intriguing, with its "game of chess" between characters unmasking the complex motives behind each strike and decision. The layers of patriarchy, power, and humanity are woven well into the narrative, adding a sophisticated touch to the bone-crunching spectacle.

Yet, the pacing isn't always on point. While the balance between dialogue and action is mostly well-maintained, there are instances where conversations overrun their welcome, drawing out scenes that could benefit from a tighter cut. Though this approach lends weight to character development, the film occasionally sacrifices momentum, especially for audiences craving a fast-paced spectacle. Nonetheless, the strong performances, notably from Paul Mescal and Denzel Washington, elevate these moments. Mescal's rugged, raw appeal is perfectly suited for a gladiator's role-less of a polished hero, more of a battle-scarred fighter. Denzel, on the other hand, commands the screen with a menacing, almost passive-aggressive intensity, embodying the antagonist with a frighteningly restrained anger.

While Gladiator II offers thrilling, bloody spectacle, some of the action sequences take liberties that stray from the grounded combat of the original film. Many opponents are animals, and while this adds an element of unpredictability, it leaves fans of human-on-human combat feeling slightly underwhelmed. The final battle, which builds up with impressive hype, ultimately falls short. Despite the massive setup, the climax feels contained, with the main conflict seeming diminished in scope compared to the grander scale promised throughout the movie.

Visually, however, the film nails the setting. The intricate set design and landscapes of ancient Rome feel richly authentic, with detailed set pieces that transport viewers to a time of imperial splendor. The monuments, vast landscapes, and sun-drenched arenas heighten the film's atmosphere and lend emotional weight to the gladiatorial battles. Despite its impressive visuals, however, Gladiator II stumbles with occasional historical inaccuracies-such as a bizarre scene involving a newspaper, and an unnecessary animal inclusion, which disrupt the otherwise immersive Roman aesthetic.

Verdict: Gladiator II is a brutal, visually stunning sequel that honors the original's legacy while forging its own path. With standout performances from Paul Mescal and Denzel Washington, it immerses viewers in the violent world of the Colosseum, though pacing issues and a less impactful final battle hold it back. While historical accuracy wavers, the film's visceral intensity and thematic depth make it worth the watch.

Red One (2024)

The Rock and Chris Evans Bring Charm, But Where's the Action?

Red One, starring Dwayne "The Rock" Johnson and Chris Evans, was set to be a holiday action-comedy that could bring the best of both actors to the screen-think epic fight scenes, holiday nostalgia, and lighthearted laughs. But despite the film's promise and a unique concept, Red One somehow misses the mark on delivering a truly fun popcorn experience. For a movie with Johnson and Evans at the helm, it has all the right ingredients but lacks the punch we expected.

The main setback of Red One is its reluctance to take advantage of its cast and concept fully. Johnson and Evans could have made an iconic action-comedy duo, but instead, the film leans too heavily on dialogue that feels more like filler than witty banter. Instead of ramping up the action scenes, we get lengthy exchanges that detract from the momentum, often feeling like the setup for a gag or action payoff that never quite arrives. The movie attempts humor through some goofy, lackluster sequences, which don't quite live up to the thrill of seeing these two powerhouses share the screen. It's fun in a family-friendly way, but in trying to appeal to a wide audience, it sacrifices the potential for high-energy scenes and memorable moments.

Lucy Liu's role in Red One is another missed opportunity. As a character who could have brought a fierce edge to the action, she's only given a brief, 10-second moment to shine. For someone with her talent and action-hero chops, it's disappointing to see her sidelined. A bit more screen time and some dynamic action scenes would have allowed her to balance out Johnson and Evans with her own brand of energy.

On the positive side, Red One does have a few standout elements. The depiction of Santa Claus is fresh and surprisingly engaging, adding a unique twist to the holiday character that feels both modern and nostalgic. Plus, the addition of mythological creatures in the film adds to its whimsical, fantasy edge. While these creatures aren't used to their full potential, they do keep the viewer guessing as to who (or what) might show up next, adding a sprinkle of charm to the narrative.

Pacing is another point that detracts from the film's appeal. Despite being a popcorn flick, the film's slow, careful pacing makes it feel like it's aiming for something more profound than it actually is. However, this approach does help build a solid character arc and backstory for Johnson's character, showing a softer side of him that we don't often see. Johnson's portrayal is nuanced-less the brawny action hero and more a character with heart.

Chris Evans, meanwhile, does an "okay" job here. He brings his charm and signature on-screen appeal, but his performance feels a bit uninspired. Yet, his charisma adds life to the film, making it hard to look away whenever he's on screen. Evans brings an undeniable charm that almost makes up for the slower pace and lack of action.

Verdict: Red One is a film that has its moments but doesn't quite reach its potential. For fans of Johnson and Evans, there's enjoyment to be found in watching these stars interact, and the film's holiday twist is heartwarming. However, those looking for a fast-paced action-comedy may find Red One just a bit too tame to make it memorable.

The Secret (2024)

Shhh... The Secret is Out: A Game-Changer in Malaysian Entertainment

Rarely do we see a show like The Secret in Malaysia's entertainment landscape-bold, unafraid to speak its mind, and unapologetically different. This brilliant series boasts an excellent concept that not only aims to make a societal impact but also sets a new benchmark for our entertainment industry, and it does so wonderfully. While it might remind you of shows like 13 Reasons Why or Pretty Little Liars, The Secret stands on its own, with its unique identity and DNA. And yes, it's that good.

The Secret is an important show with significant substance, weaving in multiple themes and messages that resonate deeply with the audience. It tackles issues like sexual harassment, depression, mental health, corruption, the flaws in our education system, the gaps and loopholes in our legal systems, power dynamics, the role of mass and new media, and the influence of social media on today's society, peer pressure to name just a few. Despite the abundance of themes, the show never feels overcrowded or forced. Instead, everything flows naturally, allowing the story to shine without feeling heavy or preachy.

Kudos to the scriptwriters for giving the main character, Jo, played by Siti Saleha, such a well-rounded and complete arc. Jo's development throughout the series is beautifully done, and Siti Saleha delivers a standout performance, portraying Jo's strength and vulnerability in equal measure. From her demeanor to her emotional depth, Jo embodies true female empowerment, and Siti Saleha nails every aspect of the character. Jo is the definition of women empowerment in the right way.

Alongside Siti Saleha, Remy Ishak, Nadiya Nisaa, and Fatimah Abu Bakar anchor the series with equally powerful performances. This quartet brings out the best in their characters, delivering natural yet deeply dedicated portrayals. A special shoutout goes to Nadiya Nisaa, who truly shines here. Her subtle creativity in every expression and gesture sets her apart, making her the standout performer. The other actors all did well, but admittedly, each had their cringe-worthy moments on screen. And it's our role to spot what to improve so to Sara Mack Lubis, we want to say that your acting is good. However, we'd like to give you an advice; that is 'try not to push the emotions you want/have to project but instead, learn how to feel those emotions from the inside and let it naturally out'. We could see a big potential in you so we're hoping to see you improve your acting on the next project! We see great potential in you, and we're excited to see how you grow in your next project! ✨

That said, not every character hits the mark. Yusof, played by Nain, feels somewhat underdeveloped, existing more as a sidekick to Nini without his own story or impact on the plot. There's even a hint of hidden depth in later episodes that never fully materializes, leaving his character feeling incomplete. It feels like it sweeps the idea under the rug. Yusof does his best with the material, but the script misses an opportunity to give him more substance.

The Gen Z characters, too, get sidelined as the series progresses. It's good that they are focusing on characters that are more important and prominent for the story but it feels like all the build up that they have established from previous episodes felt like a waste or in fact, a gimmick to prolong the story. It's as if they are using these Gen-Z characters to diverge from the main storyline. The script could have been more polished by creating a sub-plot or thinking a way on how these characters can help contribute to the main storyline; how each of them play a role in the bigger story, how they could help or exacerbate the situation but instead, a lot of them got sidetracked and in return, it felt unnatural and gimmicky.

The Secret delivers an almost-perfect conclusion. While many local shows struggle to wrap up cleanly, this series nails the formula. It leaves you with a huge satisfaction once the credits roll. It leaves you wanting more but in a good way. Projek High Council, Nafsu, i-Tanggang, Takdir Yang Tertulis are all excellent local shows but they all stumble and couldn't find the formula. The Secret breaks the curse and finds its way to provide audience with a good ending. Just like From Saga With Love. The final episode alone feels like a Hollywood or K-Drama level quality. It is that good!

Verdict: The Secret is a breath of fresh air in Malaysia's entertainment landscape, bringing bold storytelling and important themes like mental health, corruption, and social media's influence. Siti Saleha delivers a powerhouse performance as Jo, with Nadiya Nisaa shining as the standout, adding layers of subtlety and creativity. The show has a unique identity, setting a new standard for local productions. While a few characters felt underdeveloped, particularly in the Gen Z plotlines, the series manages to keep things engaging with a gripping, almost Hollywood-or-K-Drama-level finale that wraps up in the most satisfying way. The Secret leaves you wanting more, but in the best way possible. This is the show Malaysia has been waiting for, and it's that good! WELL DONE!

It Ends with Us (2024)

Blossoms, Blooms but sometimes Wilt...

It Ends With Us really takes its time to build the story and let us get to know the characters, which is honestly one of its biggest strengths. The structure is solid, keeping us in the loop about Lily Bloom-her love life, how she met her best friend, and her past. The movie really makes you feel like you're on a journey with Lily, seeing the world through her eyes. It's her story, her POV, and that's what makes it so engaging. Sure, it can feel a bit slow at times, but the way Lily's life unfolds and how she handles everything kept us hooked.

The main theme of the movie doesn't really kick in until the second half, but that buildup is actually kind of awesome. By the time it gets there, Lily and Ryle's relationship is already so developed that everything that happens after hits even harder. The deeper you get into the story, the more interesting it becomes. It's like a slow burn that just keeps getting better as it goes along.

It Ends With Us also does a great job as a character study, especially for those who have gone through domestic violence and abuse. It gives a realistic look into why some women stay in abusive relationships, answering those tough questions like, "Why doesn't she just leave?" or "Why not go to the police?" It's eye-opening and gives you a new perspective on those tough choices.

One thing we loved is how the movie balances Lily's relationships-not just with Ryle, but with her mom, her best friend, her best friend's husband, her ex, and her dad. Each character has a big impact on her life, both the good and the bad, making the story feel well-rounded and real.

And let's talk about Lily Bloom herself. She's just so relatable-she loves flowers, enjoys dressing up, and has that elegant yet slightly shy vibe. By the end of the movie, she has this powerful, empowering moment that's all about breaking free and owning her life. It's one of those scenes that just makes you want to cheer her on.

Now, on to some of the misses. The casting didn't really hit the mark for us. The actors don't quite match the characters we pictured from the book. If you imagined someone like Theo James as Ryle or Logan Lerman as Atlas, you might be a bit let down. The casting feels a little off, and that takes away from the authenticity.

Another letdown was the costuming. The outfits didn't capture Lily's style the way the book described. Instead of that chic, "less is more" vibe, her wardrobe in the film felt kind of chaotic and uninspired. It just didn't do her character justice, and that's a shame.

When it comes to the heavy themes of domestic violence and abuse, the movie handles it with care. They kept it minimal and avoided going graphic, which we respect, but that subtle approach might leave some viewers feeling like the message wasn't strong enough. Compared to more intense local shows, It Ends With Us might seem mild, but that doesn't mean it's any less important. We just wish they'd pushed it a bit further to make Lily's decisions pack more of a punch.

In the end, It Ends With Us had the potential to be something even more powerful. It could've gone beyond the typical melodrama and really delivered stronger messages. They had the chance to switch things up, maybe even mix in some lighthearted moments like Parasite did before hitting us with the heavy stuff. But that opportunity wasn't fully taken, and the message ended up feeling a bit watered down.

Verdict: It Ends With Us blossoms with compelling storytelling and nuanced character arcs, gracefully navigating the thorny issues of domestic violence and trauma. It offers a thoughtful character study of those who have endured such harrowing experiences. However, the casting and costume design wilt under scrutiny, missing some of the vibrancy that fans of the best-selling novel might expect. Despite not fully blooming into its potential, the film still delivers a bouquet of empowering moments, making it a must-watch, especially for women.

Alien: Romulus (2024)

I LOVE this film as much as Facehuggers love latching onto us!

Alien: Romulus demonstrates that exceptional body horror and slasher films can still be crafted today. Sometimes, all it takes is a return to basics, honoring the film's traditions while introducing fresh elements for the audience, reminiscent of the original. This film serves as a requel to the classic Alien and stands as the best installment since James Cameron's Aliens.

The gore in this film is outstanding. It's bloody, brutal, and features scenes that feel fresh and innovative. Even as devoted fans of body horror and slasher films, we found ourselves both disgusted and taken aback by some of the creative choices made. What we truly appreciate is how the director and creative team have studied this franchise; they clearly understood their assignment regarding these gruesome elements. Many filmmakers might have opted for gore purely for shock value, without considering its appropriateness for each scene. However, Alien: Romulus ensures that every moment of gore embodies the Alien identity, showcasing creativity while remaining true to the aliens' method of slaughtering their victims-not merely for bloodshed's sake.

Let's be honest: when it was revealed that this film would include an android, our initial thought was, "Oh, here we go again." We found it somewhat disappointing that every Alien film feels the need to feature an android. However, as the story progressed, we noticed significant effort put into developing this character. This isn't just "another" android; it grapples with the complexities of existential crises, morality, and the blurred lines between good and evil. We appreciate the human side of this new android, so kudos to the screenwriters for their creativity.

Additionally, we have a group of teenagers who largely make sensible decisions and avoid the typical rookie mistakes seen in many horror films. Watching them with the understanding that they are unaware of their cinematic reality-and thus oblivious to what's coming-enhances the experience. These characters are notably more competent than those in other slasher films, such as Evil Dead (2013), I Know What You Did Last Summer, or Texas Chainsaw Massacre. It's refreshing to see the scriptwriters acknowledge this trope and actively work to minimize it. While there are still some questionable choices, they stem largely from desperation, which we can overlook.

The visual effects are truly remarkable. If you think Dune Part Two will easily claim the Oscar for Best Visual Effects next year, think again-Alien: Romulus could very well take that honor! Not only are the visuals stunningly realistic, but they also evoke a sense of beauty. The vastness of outer space is portrayed with breathtaking detail, allowing viewers to almost feel the texture of the visuals.

When not relying on VFX, the filmmakers opted for physical sets, miniatures, and practical effects, including animatronics to bring the aliens to life. This choice pays homage to the traditions of older films, where less CGI translates to a more effective horror experience. The decision to prioritize practical effects enhances the overall realism, amplifying the sense of dread and contributing significantly to the film's ominous atmosphere.

However, Alien: Romulus could have benefited from a broader cast. The limited number of main and supporting characters presents a challenge, as the film prioritizes a rollercoaster of fear and gore over storytelling. It leans more towards a haunted-house experience than a narrative-driven one. To maximize the impact of this approach, we believe adding two to three more characters would have enriched the film. For instance, Prometheus was engaging partly due to its diverse cast, which added depth and raised the stakes.

While Alien: Romulus may lack substantial storytelling, it compensates with strong character interactions. The chemistry among the cast is commendable, with each actor effectively fulfilling their roles. Their performances evoke genuine emotions-fear, anxiety, curiosity-that amplify the sense of dread. The cast's ability to convey these emotions enhances the film's overall impact.

Alien: Romulus proudly embraces its origins and remains true to its artistic vision and identity. However, as a complete product, it falls short of the creative ingenuity needed to expand the franchise. While it demonstrates cleverness, it lacks the inventiveness that could elevate it further. Though there are some fresh aspects, especially in the final act, the film still feels like it's holding back from reaching its full potential. With a bit more originality, this film could have been a truly bloody masterpiece!

Verdict: Alien: Romulus is tantalizingly close to achieving masterpiece status in its genre. It masterfully blends nostalgic homage with fresh horror, delivering brutal gore, strong character dynamics, and breathtaking visuals. While it honors the franchise's roots, it falls a tad short in storytelling and innovation. With a few more risks, it could have been a modern classic, but it remains an impressive and terrifying ride - definitely a must-watch in IMAX or 4DX!

Deadpool & Wolverine (2024)

Deadpool would say, 'An Orgasmic Experience'

Remember back in 2022 when Dr Strange: Multiverse of Madness came out? That was when everyone was so pumped up after No Way Home that they were expecting another bang from the MCU? Especially when 'Multiverse' was attached to it, everyone thought they would be tons of cameos, many WOW moments and the scope would be bigger before everyone was kinda disappointed because it was not what we expected it to be though... the film is still good. Just the hype that actually killed the film.

Now, after watching Deadpool & Wolverine, it felt like Disney and MCU had learned from that because oh boy, everything you wanted in Dr Strange back in 2022, you will get it here in this third installment. This is a love letter to all the fans. It's a movie that's going to SAVE future MCU movies. From the moment the film began, we knew that everyone in it had so much fun making this. It's quirky, it's jaunty and it's all about giving back to the society.

Did I hear cameos? Yeppy, the number of cameos here is the one you would be satisfied with. It's a lot for a 2-hour film. And what's great is that the cameos aren't just limited to the characters, but also to objects, physical references, locations and etc. A lot of the brainstorming and creative processes go to making sure they bring the best out of these cameos. And believe us when we say that they honour the cameos so much more they what they did for Multiverse of Madness. They took note and made sure they delivered the cameos the right way that it should be.

Previous Deadpool showed a lot of gore. Now, add Wolverine into it and this is the goriest we've seen MCU pulled in their movie since Iron Man 1. It's satisfying. What we've been hoping from Disney not to tone down anything, they even made this one even better. Blood is this movie's middle name and we're in for a treat.

Is the plot interesting enough? Well, it's a bit more complicated to answer this one. Definitely, this is a fun wild ride from beginning until the end, it's like walking down the memory lane. But we cannot overlook that this film does rely on those cameos and fan services to make an impact in its storytelling. Throw all the fan services out there, will it still be good? Might be but it will be another post-covid MCU film. But hey, one thing's for sure, it opens to A LOT of doors for future MCU films. The right doors. But hey, Deadpool & Wolverine has plenty to look out for. The stakes are higher, the villain is formidable and the titular characters' arcs are just golden.

Deadpool being Deadpool, it's such a treat watching him having fun. It really feels like Deadpool is directing this movie. And writing it. And putting all the jokes in it. All the jokes are mostly on point. Some are verbally explicit, some really got us laughing out loud, some are even fresh from the oven, it's unheard of. The movie really knows what the fans want.

But one thing to note of, you need to have a good pop culture knowledge for you to understand a lot of the jokes or references here. This may be a downside for some especially the general audience. It is a bit hard if you don't follow the current trends or news that's happening. You may be left a tad bit confused.

While the fun is there, sometimes they might be having too much fun? To the extent that some scenes felt way too parodied. It took us out from the experience a bit. The CGI felt off at times, with the scenes and contexts became too ridiculous. It's like they had total freedom to do what they wanted without really thinking through where the story should go next. I mean, having total freedom is a rare but great thing in Hollywood but if it's too much, then it's too much.

Adding to that, it did feel like it was a 'free roam' film. It's not properly thought out through. It's empty at times, relying on cameos and jokes to sustain audience's interest. It's sort of like a museum filled with artifacts and vintages and rarely seen treasures but there wasn't really a strong cohesive narrative to end it with a bang. It meanders without a clear direction for the bigger scope of the MCU. Not to say that the plot isn't interesting, it still is but just not on par with everything else we're getting in this film.

You might think this is a nitpick but we felt there's one particular music that is in the track list that had so much potential but was enormously wasted. They could have done so much more with the song! Like, SO MUCH MORE. Why put it out there if you're gonna properly use it? Might as well just cut the song entirely. Such a wasted opportunity. Sigh.

Verdict: Deadpool & Wolverine is like a fanboy's wildest dream come true! It's the ultimate love letter, packing in all the juicy stuff we wished for from Dr. Strange: Multiverse of Madness-think epic cameos, fan service galore, and gore that makes Iron Man look like a teetotaler. It's a zany, nostalgic joyride that flings open doors for future MCU madness. If you're itching to relive the epic feels of Infinity War, Endgame, and No Way Home, buckle up, buttercup-you're in for a rollercoaster of epicness. Chef's kiss muahhh-this one's a riot!

Furiosa: A Mad Max Saga (2024)

More CGI & less Practical Effects.

Remember when Mad Max Fury Road came out and everyone was talking about how everything was almost completely clean with practical effects? Almost everything looked so damn realistic, the action, the camera works, the landscape, everything. But Furiosa is different. Some of the world's reviewers mentioned that not everyone who liked Fury Road was going to like this movie and we agreed. This, in particular is why; Furiosa was a toned down approach when it comes to practical effects. It isn't nearly as good as Fury Road. It loses 'that' thing that made Fury Road what some people might call a classic. If you're expecting everything practical, you're going to be disappointed.

What Furiosa offers is something else. And you need to be able to accept it before you can even start liking the film. While Fury Road is more grounded and raw, Furiosa feels like a dream-like reality. It is more CGI-ed, the texture is more artsy, and at times, you'd probably realize that it feels like the editors have painted it to look a bit more cartoony. There's nothing wrong here but when you have Fury Road that's just miles better, it's hard to for people not to compare to its predecessor.

But here comes one aspect that Furiosa aces more than Fury Road. It has a story to tell. An origin worth investing in. Fury Road lacks this part, it serves only the basic and the rest is action. Furiosa is more story and character-driven than action. From the moment it starts, you know this has a real weight put towards it. A lot of effort were put in the script. And yes, the story is interesting. We needed her origin because Fury Road didn't tell us much about her. How? Why? Who? A lot weren't explained so this prequel was made for that.

However, it just doesn't feel neat. The story starts off really good, the direction is clear. But as the movie progresses, it begins to crumble bit by bit. The pacing is uneven, the story sometimes loses its focus and at times, there are a lot of things going on, it feels a bit too crowded. But nowhere do we say that this movie is bad. It isn't bad but it could have been polished more.

And we were expecting more for the finale. It isn't grand enough. It isn't as emotional as how we expected. And it's even inconclusive. We understand that Furiosa's origin is a lore but the ending is kept open and loose. So your interpretation of 'that' one thing is kept ambiguous, letting you decide based on the character study you've seen for the past 2 hours. If you're expecting for an explosive grand finale, just don't because it's not going to give you that. It's more personal. It's more centred on the characters' emotions and motivations rather than an action-packed climax.

And let's not forget Anya Taylor-Joy, she's just so good in this role. You can see the resemblance with Charlize Theron with how she brings her character to life. She's gritty. Furiosa is someone who follows that 'revenge is a dish best served cold' handbook and Anya nails it in her role. Chris Hemsworth also looks and acts very differently than his previous roles. He's selfish, menacing, mischievous in his own unique ways. Kudos to him and the makeup team.

Verdict: Critics were right. Not everyone who loves Mad Max: Fury Road is going to love Furiosa, and we know exactly why. Furiosa takes a toned-down approach, using fewer practical effects and relying more on CGI, creating dream-like, fantasy landscapes that look like a beautiful canvas. While it excels in storytelling and character development, the film suffers from uneven pacing and a bland finale, which is completely opposite to what Fury Road offered almost a decade ago. Nevertheless, Furiosa is still worth watching for die-hard action movie fans, or at least for Anya Taylor-Joy.

The Fall Guy (2024)

Stuntmen injured so that Tom Cruise could shine

The Fall Guy acts as a homage to all the stuntmen and stuntwomen out there. This is a love letter to the stunt team, a film dedicated to showing the grittiness and the roughness of the industry and how the movie industry will fall apart without them. Not only that, this is also a film for anyone who loves films or filmmaking in general.

Just like how Barbie was meta for the toy industry, The Fall Guy is meta for the filmmaking industry. Plenty of subtle and hidden messages that were incorporated in the script. Ex: There was one scene that spontaneously mentioned on how the stunt team didn't get any recognition at the Oscars. There was even distinct mentions or references of Taylor Swift, Dune, Kill Bill and Miami Vice amongst many others. Plenty were about the movie industry that if you spotted those things, you would truly have a good time in the cinemas.

Marketed as an action rom-com, this film didn't fill its promise with the comedy. It's an element that's just lacking from beginning 'til the end. Of course, it wasn't empty, it had its moments but for a comedy film, it didn't achieve the bar it was supposed to. You might be smiling or left out a few chuckles, but they weren't anything that were just worth bursting out loud. Again, comedy is extremely subjective.

The Fall Guy did very well the first 30 minutes of the film. Everything you wanted it to be was conveyed really well. David Leitch opened the film about a film who's working for that film. It fully maximizes everything exciting regarding this subject. The main focus was about filmmaking and the stunt community. It shed light on these unsung heroes, showcasing their dedication and talent in bringing action-packed scenes to life. And damn, it is very good and entertaining.

When the second act came in, we started to lose a bit of interest in this movie. Mainly due to its shift of focus that it somehow turned into a murder mystery genre. First act was very good that it talked a lot on filmmaking, and almost every scene was located in a production set. The dialogues were also heavy on that. But the middle part focused more on the murder mystery and romance. While they still included a lot of the meta elements here but they turned its way into a more generic film when it could have been so much more.

Even most of the dialogues during the romance scenes were just not as good as the rest of the script. They just didn't maximize the stuff they were talking about. Some dialogues felt meaningless. Some were just flat out boring. Some have meanings but if only they could polish them, this movie would have been so much better.

Luckily, Ryan Gosling and Emily Blunt sparked a good chemistry on set. Even with a moment of no dialogues, just when they're looking at each other, you'll know well enough their chemistry is just electrifyingly good. There were moments they weren't physically together, but the film showed them on a split screen and etc. But the palpable connection between them remained strong.

The movie redeems itself at the third act. It's a very epic ending and you rarely see this kind of ending in an action rom-com movie. The action and the scope were big and the messages were all very on-point with the whole theme of the film. It's bombastic but it's lovely at the same time. It's less on fighting or punching, but more on the performing of stunts. 2-3 scenes felt and looked like they came straight out from old classic films. There's just a certain way that the ending was shot that it gave a homage to old action movies. It's indeed a sight to behold.

Verdict: A love letter to the unsung heroes, The Fall Guy pays homage to the stunt community, exploring their hardships behind the scenes through the lens of both a director and a stuntman. While it falls short on delivering promised comedy, its first act shines with interesting filmmaking commentary. Despite a weak second act, strong chemistry between Ryan Gosling and Emily Blunt along with an epic finale elevate the film, delivering a visually stunning tribute to classic cinema.

P. S: There's a mid-credit scene! Stay tuned!

Dune: Part Two (2024)

A Sandstorm of Cinematic Brilliance

• This is a remarkable feat of a movie that sets the bar very high for future sci-fi films, especially targeted towards mature audiences.

• Dune Part Two is an exemplar of a great 'show, don't tell' film. It treats its audience very intelligently. It knows you're wise enough to get the gist of every scene. It gives you just enough exposition and leaves the rest for you to think. It lets you experience the almost 3-hour journey by yourself without shoving down information into your throat or telling audience what everything means like you're reading a description from a book.

• Using a lot of religions and beliefs to support the base of the story, the script (and novels) really takes inspiration from Islam. The terms, the costumes, the designs, a lot of them resemble with the intricacies of Islam. Even the story moves in a way that was inspired heavily by Islam. There was even this one scene in particular, that the idea, strategy and the art of war were borrowed by the true story of the Conquest of Mecca, how Prophet Muhammad gave Mecca the freedom it needed from the influences and practices of the ignorance.

• Tis has got to be the most gigantic film this year. Yes, we know it's only February but damn, the scale of this film is so epic, you would feel the need to have an IMAX screen that is 10 times larger than what we have now. It's super massive and the camera shots really emphasize the scope the way it meant to be. Greig Fraser, the Director of Photographer knows his way in-and-out of the desert. He knows how to capture the perfect angle; the arc shot, the one shot, trucking shot, close-ups, extreme close-ups etc. He's a master at enhancing our experience by using different types of shots. He truly knows what to do with the camera. This is not a generic Hollywood filmmaking. This is art at its finest.

• As this film heavily emphasizes on the 'show, don't tell' approach, we have to admit that a few tiny parts had us confused. There were some things that felt unclear to us. There were things that we felt, 'Well, maybe if they could have explain to us just a bit more, we would have gotten what they were trying to tell us'.

• Similar to Dune Part One, Dennis Villeneuve masters at crafting environments and atmospheres that are just rich with textures, depths and dimensions. When you see it, you can feel it. When they are in the desert, you can somehow feel the warmth of the basking Sun even if you're seating cold at the cinema. When sand touches Paul Atreides' face, you can feel the sensation. When Shai al-Hulud makes an appearance, you can feel how mighty this beast is. Everything feels realistic. There's a certain weight this movie carries that immerses you completely in its world.

• Austin Butler nails it in his role. Out of all, he's the most outstanding. He is a vile creature that kills others for sports. His charisma is top notch. And his character alone is captivating and chilling, leaving a lasting impression on the audience. Butler's portrayal adds a layer of complexity and intensity to the film, making his scenes particularly memorable.

• Let's talk about the climax battle. It's ah-mazing. It's a Godzilla-sized scope that demands the widest shots you can ever possibly get. But here's the thing; it fails to maximize the build-up and scope of the action. Just when you thought things are about to get very very exciting, it ends there and moves forward with a smaller scope. All the scope they have created can be stretched with longer action scenes, specific choreographies, more spectacle visual to get the good pay-off. Tone down your expectations for the climax, if you're expecting Lord of the Rings or Infinity War duration-like action, you're gonna be underwhelmed.

• Timothee Chalamet's performance here is outstanding. But, we have a slight issue with his character's arc; Paul Atreides. His arc graph is well-written, up until the final 30 minutes where we felt that his character gave a bit too much emotions that don't jive with his overall arc. Towards the end, his emotional intensity escalates quite abruptly, detracting from the otherwise seamless development. While this film is already long, we felt that if they could have extended another 15 to 20 minutes to give breadth and depth to his character in the third act, it would be complete and... we would even say, sacred.

• His counterpart; Zendaya feels a bit lost here. She's great but she couldn't really carry her role. She's the lead, playing a prominent character but she seems superficial when she's with Timothee, which is about 80% of her screen time. She doesn't know how to balance her character with Timmy. She's timid. She appears 'less skillful' than what she's supposed to do. She doesn't understand when to give and take the spotlight to and from Timmy. Again, she's great but her acting here is just not on part with Timmy.

• New characters in this don't really do much for us. Well, some of them do like Stilgar who appeared at the end of Part One. But others like Princess Irulan (Florence Pugh) and Margot Fenring (Ley Seydoux) are unfortunately underused. First, their initial appearance of these characters are quite bizarre. They just sort of appear. They could have done a better way at hooking the audience with richer contexts. While the existence of the characters are important to drive the story forward, their roles feel rather superficial and lacking in depth. It leaves us much to be desired. Hopefully, they'll have more screen time in Part 3.

Verdict: A cinematic tour de force, Dune Part Two is an immersive and exotic odyssey that epitomizes the enchantment of storytelling on the big screen. An epic oeuvre, it worms its way into complex narratives and Godzilla-sized dunes with a scale and scope so vast, it doesn't fit an IMAX screen. Yes, there are flaws but a novel adaptation of this magnitude is bound to have sand grains in the wind. Nevertheless, Dune Part Two's grandeur and ambition remind us why cinemas exist in the first place. This is a sandstorm of cinematic brilliance.

Argylle (2024)

Fur-tunately, this isn't a Cat-astrophe. It was Purr-fect for a movie released in February.

Packed in a way that is engaging, Argylle offers a story that felt rather simple. But as you went further and further into it, it became something more than that. You will become more intrigued. Your interest in the movie will be better. It will be anything beyond your expectations. They surprise you with the storytelling, it became soooo interesting halfway through the movie. What started as an 'okay' premise turned into something captivating that got really interesting.

There's a certain appeal we like with the way the story was told. They're good at containing and revealing the surprise elements. They knew how to structure the story. It was exciting knowing that the scriptwriters and directors knew what they're doing. We felt that the script was polished from time to time, tightening loose ends and only when it's ready that they started to greenlight the production.

However, the third act felt... a bit too much. The beginning of the story had this blend of normality and ridiculousness. It was a great combination but the second act came in and it got interesting but slightly replicated the world of Kingsman. But came the third act and it was wayyyy too ridiculous, even more ridiculous than Kingsman I would say. The tone just fell apart there. It became too cartoon-ish, we wondered, 'What happened to all the logics they had established in the beginning?'. If only the beginning was a bit more boisterous in its tone, we could have enjoyed more of the third act.

Another thing that Argylle suffers from is that for a movie this ridiculous, it just doesn't have that much energy to supplement the tone and action portrayed. It became increasingly weirder and ridiculous but the thing is, the energy was flat, if not, increased only mildly. If you felt kinda numb watching the action scenes or you felt that they did everything right but you still felt that something was off or missing, then yeap, it's the energy that's lacking. Kingsman had a vibrant energy and that's what made it a very good film, it jived with the tone of the film. This one, not so much.

Its strong lies in the dynamic of almost every character, particularly the main leads played by Bryce Dallas Howard & Sam Rockwell. These two carried the movie with the support of the whole cast. Bryce and Sam really shined through and through, delivering performances that stay true to what their characters are supposed to suggest to the audience. They are the leads but they don't necessarily have to be charming or elegant. They don't need to be on par with the beauty standards set in Hollywood because their characters just are not meant to be. Personality wise, both of them have different qualities that made their presence strong when together. Their characters really felt out of place to be the leads but it's interesting to have them both put in the situations they're in. Ohhh, and the cat is just sooooo purr-fect.

While a lot of characters are interesting, we indeed have a problem with one character. The character played by Samuel Jackson. His character was very flat for someone who seemed very important. It wasn't fleshed out enough. He barely had any screen time that it won't really affect the story if... he's not thereeee? For a great actor to have a minimal role and did him dirty while other characters have more significance in their presence for the story is kinda like an insult.

Even Dua Lipa has more screen time than him! Or so we thought according to our calculation. This movie markets Dua Lipa as the supporting character but rest assured, she's not. If you guess she's here as a cameo, then you're right. Her acting was okay at best, but she's very pleasing to watch. If only we could get more from her, the movie might have been more fun.

There's a certain cartoon-ish and comical element that comes with the visual effects. But knowing how this movie is going to make us feel and how it's going to look like, the imperfect look just became the right fit for this kind of movie, might even be intentional somehow, that they made the CGI looked exactly the way they appeared to be because it jived with the whole Kingsman-like tone since it's directed by the same guy.

We also need to give credits where it's due to the people who came with the idea and the people who made it happen. The first 45 mins, especially the train scene has superb transitions. It plays with this element a lot and we could see they had so much fun shooting the scenes. The transitions were hard to do but it was smooth. It's something that amplified its entertainment value and we love it.

While the story is packaged and told in a fascinating way, we are not eager to head to the theater for a second viewing. In our opinion, this movie doesn't have the rewatchability factor. It doesn't have the elements to hook us in for a repeat. Action is great but not 'wow' enough. Comedy is there but was pretty bland. There just wasn't anything visually memorable that would want us or we're guessing, most audience for a repeated viewing. The only reason to go again if you'd like to spot all the tiny little details that happened and analyze it better in case you overlooked it during your first viewing. Our advice is, focus on all the little hints this movie is giving you because it is important for the story.

Verdict: What Argylle masters is in its art of crafting its storytelling filled with surprising moments alongside its colourful character dynamics. This Kingsman-like world reflects on and subtly criticizes past action movies tropes in an engaging, somewhat meta manner. Where Argylle lacks is the absurd finale, weak energy and the zilch interest of rewatching it again. But then, Matthew Vaughn again created a world so unique we cannot overlook the fact that this is the most original of a film we can get in 2024.

W: Two Worlds (Malaysia) (2023)

Great but Episodes 7 Until 10 Bore Us to Death

Wrapping up all its 12 episodes, W: Two Worlds offers a refreshing take as its story is altered halfway through, taking a risky move that can make or break the show.

A story that gives itself more autonomy and freedom, parting away from the original source material the deeper it goes into, W: Two Worlds is an entertaining ride from beginning until the end. Mixing romance, action and sci-fi is something not easy to pull off. The story started with a lot of world-building elements essential for the audience to understand. Was it audience-friendly enough? Without a doubt, yes. It wasn't complex.

The first six episodes were good enough, we wanted to know more once the cliffhanger revealed. The setup was amazing, it had a great build-up, revealing one layer to the next, the character developments for some character were well-established though a few fell a but left behind like Hanna. Entertaining value was quite high considering it kept the audience hooked as we'd like to know what's coming next for the characters. The main characters had a high stake of dying. The CGI for a local show, was quite impressive.

The four leads did a great job, they had a great balance between one another. No one had a bigger spotlight, everyone's acting was great and this includes Tony Eusoff, Faizal Hussein and Shahkimin. We could feel that they all understood the art of dancing in acting and everyone passed over the dialogues gracefully. This shows they had a strong bond off cameras. We knew by how they all acted.

A special hats off to Shahkimin who played Rafi in this. Usually a comic relief character is just annoying that doesn't help the story. It's there for the sake of comedy. Full stop. But here, Shahkimin delivered his role well, it's actually quite difficult to create his character the way he did. And the scriptwriters didn't forget him as they put him in as the wingman of the main characters that actually helped to boos the story's values and developments.

Also, kudos to the people who were in charge for Hun and Elizabeth's characters, they both really looked like Koreans! If we were to look only by the still images of the show, we'd believe that they are Koreans.

However, if we had to give an advice, we would give it to Hun Haqeem because this is not the first time we saw him and there was one particular thing that he needed to improve. With all due respect, Hun, you played your roll well as Aliff Hadi. You studied his character. But, everytime when you have to act angry or in rage, your character(s) became one-dimensional. The graph you have built for your character just fell off once you have to act furious. The graph suddenly became non-existent, it became flat that there was little to no logic that the character(s) has to be THAT furious. Being angry doesn't mean that you need to constantly shout or your face needs to look very pissed. Same goes with other emotions encapsulated in a character, it has a graph as well.

Episodes 7 until 10 are episodes where we can say they do not meet our expectations. These episodes are weak compared to the others for a number of reasons. The background actors, especially those who have dialogues, did a very poor job in delivering their lines, to the extent where we just had to pause and laugh (for the wrong reasons) before we press 'Play' again. Pacing issue is another major thing. These 4 episodes felt very tedious, that the problem is they weren't sure which sub-stories or scenes they should give more time and space. Some scenes should be short but remained longer and vice versa. Some stories should have more focus but were overshadowed by other stories that were unnecessary to stretch on.

It also seems that when they started to control the narrative starting Episode 7, keeping away from the Korean version, they had no clue how to make the show interesting. It just felt very bland, nothing was memorable. Nothing felt special and the key tone and identity that the show had for the past 6 episodes were missing. It became like any other drama.

However, it was a huge relief that they managed to make a comeback with the final 2 episodes; 11 & 12. It redeems itself back and proves to the audience that it will have a good pay off. And... it certainly did. We're impressed how they fell off for the past four episodes and decided to just swing back right at the top with the finale. It knows how to make a closure. It understands what it means to have a good ending. The scriptwriters and director are aware on how to leave a profound impact where viewers would feel empty once the show has ended, meaning it has truly succeeded in doing what it's supposed to do.

For Viu's Malaysia Original Series, most of their show have good pay offs, encapsulating an overall good story. However, there was one issue, when it comes to that FINAL MINUTE, that final 60 seconds, their shows don't really know how to give a great scene that ends its story. Examples include Alter-Naratif & Nenek Bongkok Tiga. Their final scenes didn't give you much satisfaction even though their stories are well-rounded. But recently, their final scenes have somewhat improved with From Saga With Love that had an almost-perfect closure and now, W: Two Worlds that gave an impactful final scene a few seconds after the credits roll. It might be predictable for some, but we needed that. And the character needed that as well. It certainly is an important scene that captured the essence of the character's emotion that he/she's been yearning to have which will make viewers happy, ending it on a high note.

Verdict: W: Two Worlds takes bold risks, reinventing itself midway and finishing strong despite some rough patches. While it grapples with pacing and inconsistent episodes that felt rather tedious, its standout performances, alongside commendable CGI and a redemptive final act, ensure a memorable journey. W: Two Worlds is a testament that we have what it takes to create and produce high-quality sci-fi contents, moving away from the typical genres of mere romance and drama we always bow down to. It certainly is one of the most unique and ambitious local shows in 2023.

Saltburn (2023)

Oliver TWIST is what this is...

Went in almost completely blind, avoiding the trailers and only stumbling across a few still images, Saltburn is... weird and disgustingly good movie. There's unlike anything you've seen this year. It's a twisted and remarkably enthralling cinematic experience that defies expectations, delivering a bizarre yet strangely captivating narrative.

Saltburn makes you feel uncomfortable and unnerving, in the best possible way. It is a movie that when you go in, you'll think of drama or romance or dark comedy but it subverts your expectations the further you get into the experience. Exaggerating we are not, it is a journey into the deep unknown and whichever turn that the film will take, you must be able to anticipate and adapt as it will challenge your perceptions and thoughts.

For us who adore Call Me By Your Name, the first act of this movie resembles A LOT with Elio and Oliver's classic love story. We felt that it's somehow inspired by it and considering that Barry Keoghan's character is also named Oliver, it's just evident where this is coming from. The palpable tension, the atmosphere, the tone and the dominant-submissive energy the leads were giving speak volume to the similarities with Call Me By Your Name. Only in the first act, though.

Speaking about the leads, Barry Keoghan as Oliver & Jacob Elordi as Felix were outstanding in their roles. Barry Keoghan is the highlight, if this movie has had received more spotlight from the Awards, he would have gotten that Best Actor award. There's a certain charisma and charm he brought to his character and the transformation that he gave was just brilliant. He didn't break away from the holistic nature of his character but he made him almost unrecognizable compared to the first scene you knew him from. Jacob Elordi also oozes his character's charisma that's different from Barry's. His charisma comes from a rich family with kindness at heart. The chivalry, the positivity and the free will embodiment shined through him so much that you might just fall in love with his character (unless of course, if things took an unexpected turn).

As daring as it is, this film relies on shock value. We don't want to go any deeper as it will spoil the movie, but there are scenes that may make you think 'well, of course they won't do it, but then they did it anyway'! The craft that they are putting is bold and confident, you'll be aware this is a movie where it knows no boundaries and limits, using and exploring the creative freedom they have and put everything into it. Viewer discretion is advised. Don't watch this with your family. Just don't.

We love how the director and writer took their approach on the script and story. This is a film that isn't entirely driven by character study, but it subtly explores intricate human emotions, interwoven within a captivating narrative that transcends mere character analysis. It's a perfect mixture of the main plot narrative and character insights. It has a story to tell while also delving into the nuanced exploration of the characters involved especially Barry Keoghan's Oliver.

While almost everything is brilliant, we cannot overlook the fact that this film's overall message is lacking. We understood the story, we learned so much of the characters but Saltburn was not providing in return that audience could gain something from. Once the credits roll, that's it. Of course, everything you just saw, you will have to process them afterwards because the movie is so weird and uncomfortable but the entire message, the added value for you, isn't really there. If there's a theme and message behind it, it would be about class, wealth and status but it's told very subtly and not explored enough.

We also found that certain storylines weren't fully developed. Some plots were built up since the beginning but halted midway through the movie and never really brought up again. Those plots did establish some grounds for the characters but they weren't fully cooked, just left hanging for audience to individually analyze their significance.

And with every dark comedy film that exists in this world, there's one universal truth and this film is no exception; it is definitely not for everyone.

Verdict: Blown away, Saltburn is an audacious and shockingly unconventional film that subverts expectations and norms. While the entire cast delivers impressive performances, Barry Keoghan stands out the most, delivering an Oscar-worthy portrayal that steals the spotlight. Utilizing shock value as its weapon, Saltburn fearlessly reveals humanity's darkest thoughts and emotions, powerfully translating them into boundless, tangible manifestations that transcend boundaries and limits, making this one of the top 5 films of 2023.

Aquaman and the Lost Kingdom (2023)

It felt like Aquaman had a day at Disneyland going into different kind of movie themed rides

Aquaman and The Lost of Kingdom suffers THE SAME problem with the first installment; it DOES NOT have a distinct identity. We were shocked to see that the major problem they had in Aquaman 1 was again manifested in this sequel. If you watch a film, you know the kind of tone and feel that a movie is giving you. But this movie feels like a jumbled medley of imitations from different kinds of films, almost like a parody. There's a 10-minute scene where you felt like this is from an Indiana Jones world, and then the next thing you know, you're stuck in the realm of Journey 2: The Mysterious Island. We can name a lot of different movies that this film takes its tone and design and pastes it into the movie. War of the Worlds, The Matrix Revolutions, Ridley Scott's Aliens and... okay, we'll stop now. The result is an endless patchwork of downgraded recreations from various movies. It felt like Aquaman had a day at Disneyland going into different kind of movie-themed rides (minus the 'fun').

Adding to that, the first act felt like it was venturing into a documentary style format mixed with Ridley Scott's Alien style of exposition. Alien was a masterpiece but like we said, this is a dumpster reiteration, it was slow, it had little to no suspense, it tried to build momentum but it didn't work. They could have cut 10 minutes but they didn't. It was unnecessarily drawn out as they spent time showing the entirety of their journey into the deep unknown like this is some kind of art house film.

Now, a lot are asking, is Amber Heard in it? Well, yes. Did she have many scenes? Her presence was only about 15% of the whole film. Her character, Mera did play a pivotal role for the story but James Wan, the director knew when to show her on screen. The question, 'Is her presence important on screen?' seems like what James Wan would ask himself before making the decision to put her in. She only had few dialogues but her performance was still flat.

We also have a problem with how much they made use of 'space'. Especially in the first act, we saw they're a lot of wide shots used but the issue here is the space that filled in those shots; the surroundings, locations or/and environments were only there because... they were made to be there. It barely did anything to the story. But when it comes to scenes that were crowded or had various props or extras, the cameras ddin't give audience the time to breathe and process the visuals. A lot of mid to fast cuts, there wasn't much of a sense of appreciation to enjoy the visuals they have built. In the end, we felt discontented.

First Aquaman at least had villains that were enjoyable to watch. This time, the villain or again, villains were just forgettable. The motivations were weak. The main villain didn't really drive the story forward. It had a backstory and conflict that were created merely for the purpose of this movie's existence. We couldn't care less because it's nowhere interesting, let alone enjoyable.

And talking about that final battle... oh man. It was unbearable to the point that it turned laughable. Was it because of the reshoots that they suffered here? The whole movie, led to the final battle, it was a journey between Aquaman and his brother, only for us to find out that the villain was feeble and it gave the benefit of the plot armor for Aquaman and his weapon. It's just bad storytelling on top of bad execution overall.

And the movie draggggggsssssss so much, we even questioned, 'What happened to James Wan?' From the beginning up until the climax, we were just waiting for something cool or unique to happen, but it didn't. It drags until the final battle where it should be longer but then that's when they decided to just cut things off and ended it abruptly the moment the exciting thing was about to pop up. We're confused.

Amidst these flaws, one thing that truly stood out is its message on brotherhood. A beautiful message combo with good pairing, Jason Momoa and Patrick Wilson have commendable chemistry, we can see it from the way they talk to each other. There's certainly some dedication they put into establishing their relationship. It's nothing that you can remember for years but it's enough to at least carry this movie despite the many bad outcomes this movie turned out to be.

Ultimately, Aquaman 2 seems tailored for a younger audience who just want to enjoy monsters and sea creatures fighting against literally anything or anyone, rather than catering to teenagers or adults seeking a compelling narrative.

Verdict: Similar to its predecessor, this sequel fails to find its identity, drowning in an ocean of borrowed tones and styles from previous movies. With a shallow story, forgettable villains and inconsistent pacing, this film struggles to stay afloat. While it's a tidal wave of disappointing results, the portrayal of brotherhood between the two leads stands out as a beacon, carrying the entire movie. Overall, this final chapter from the DCEU serves as a testament we're in dire need for a total reboot of these superheroes.

From Saga with Love (2023)

So Much Better Than 90% of Hollywood Rom-Coms

Now with all 10 episodes wrapped, we would like to say that it has been such a veryyyy longgggg timeeeeee since we've gotten a rom-com show that is just this good and meaningful. From Saga With Love shows that you the rom-com is not dead and we can do more than just the dead clichèd formula everyone's getting tired of. It goes beyond the boundaries by crafting a story worth telling. It cares about the audience so much that it wants you to cherish this show and hold it dearly to your heart. It is NOT just another money grab story or a story that is lazy, they're doing it because they have to. The team behind From Saga With Love does it because they want to.

We all know that rom-com is relatively the easiest to make (Disclaimer: Filmmaking is not easy); you need a fairly low to moderate budget, a simple story, a bit of jokes and a good chemistry between the leads. Any filmmaker can take this for granted, you don't need an in-depth knowledge to make a rom-com. But to make a very good rom-com, that's an entirely different story. Why? Because you need to think outside of the box, be creative and make sure that it has a right balance between reality and fantasy. From Saga With Love is indeed a masterpiece in the rom-com genre.

What makes this better than most rom-coms is that it treats the audience well. It knows the audience is intelligent. So it brings to the question, 'How can we impress them?'. An instance, those who have seen a lot of rom-coms, looking at the poster, we bet you can tell the ending to the story already, who will fall in love with who. But this show takes it up a notch. 'How about if we trick but still respect the audience?'

We all know the Projek High Council has the best Malaysia ensemble cast this year but hey, From Saga With Love comes as a runner-up with the help of Siti Khadijah, Sophie Koshka, Fimie Don, Ikmal Amry & everyone else. We can see they were given time to develop their chemistry and friendship. And Umi Salwana as the director also helped them a lot. How can we know that? Well, before this, Sophie and Ikmal were okay-ish actors, Siti Khadijah was good in almost everything that she does and Fimie has been talented since he was young. But under Umi, these four leads are all as great as the other equally, with no one trying to outshine the others or holding back in their remarkable performances.

And the thing we love most is that it wasn't trying to portray who's good or who's bad. Each character has their own good deeds and wrongdoings, and their way of showing this is unique enough that it wants us to realize that we're all humans. We can act in kindness while we make mistakes with others. We can be thoughtful and hurt the same person the next minute. Its brilliance lies in the script, where every character learn about the meaning of life in multifaceted aspects and different journeys. At the end, they're all humans just like us, trying to find our Ikigai.

Now, with most rom-coms, it's hard to get away with the corny parts. The 'Yikes' or 'Erghh' you always make if you stumble across scenes that are just plainly corny. Or scenes that would make your little hair on your body just stand straight because of how cheesy they are. But for From Saga With Love, it stays away from this. Of course, there are few moments where they are cheesy but it's forgivable. Appreciating other parts and scenes, the team really spells a lot of magic here. The dialogues, the songs, the acting, the emotions, the context, everything is done with a clear mind to make sure that cheesy and corny are not in the dictionary of this show. Kudos!

We feel that each episode is just impressively made except for 7 & 8. They are good episodes but not as par as the others. 7 was where they moved back to Malaysia and 8 felt like a Part 2 of Episode 7. Just like Ikmal Amry's character, there's a certain culture shock that happened in the script. It was adjusting to the odds of not being in Japan anymore. Other episodes were always packed with sub-stories or laughs, but these two were filled with little gaps that felt a bit lost and stranded. It was a pair of episodes about coming to terms of their current reality which could be as impactful as Episode 9 & 10 but it somehow missed the mark.

Luckily, the final 2 episodes really saved everything. It was a rewarding experience especially during Episode 10. We think this is the first time that a Malay rom-com did its ending true justice, the one that it deserves. No cliffhangers and most of the stories have closures. Adding to that is the none predictability factor, it will make you guess unlike many rom-coms that you will already know the ending miles away.

And why does the ending is so good? This has to do with the script and the previous episodes that they have set up. There's a certain ambiguity that the script creates to keep us guessing. The connections between males and females here are equalized, if two were to spend their time alone together, each pairing would relatively have pretty much the same screen time. Each bonding is just strong that the pay off is served at the final episode.

Verdict: Dethroning Projek High Council, From Saga With Love now claims the title of Malaysia's best series in 2023. This masterpiece breaks free from rom-com clichés, offering a refreshing narrative by highlighting the complexities of human nature and reasonings, emphasizing the universal purpose of life (Ikigai) and ensuring the cheesiness is close to zilch. It treats its audience with respect, boasts strong performances, crafts a well-written storytelling and rewards a gratifying conclusion, making it a must-watch for everyone especially rom-com enthusiasts.

Gran Turismo (2023)

One of the best game adaptation films ever made!

• Based on the incredible true story, the film follows the life of Jann Mardenborough who was an avid gamer before his dream turned into a reality by becoming a car racer. What this film offers is something that can inspire everyone; both adults and children and both fans and non-fans of car racing alike. It is moving enough for you to care about the characters, it is inspiring enough for you to realize that it is never too late to achieve your dreams. It is stimulating to the point that you would want to play the titular game right after watching the movie.

• While the story is far from getting that Oscar nod, this film knows that's not what they're going for. It's not about telling the story in a very detailed way, unfolding each event or emotion scrupulously. It's about serving what the fans want. Fans of Gran Turismo and other-related car racing games like Need For Speed & Forza Horizon. And they did that very well. The film did an excellent job of identifying their audience and giving them exactly what they want; a good mixture of story and racing. What's even better is other audience would also enjoy this one as much as die-hard fans of GT.

• Almost half of the film's runtime is set in the car racing track. That's a lot. Watching the film, we know that Neill Blomkamp, the director of District 9 and Chappie did his research and study on a lot of stuff. There's a certain mood that he brought here. That nervous feeling you had when you wanted to pass your driving license? You would feel it again here. Those dangerous racing stunts you saw at the Le Mans race? You would see it here. That Playstation-trademarked sound and those Gran Turismo-customized symbols you would hear and see when playing the game? They're present here. Neill made sure you'll have the best experience in the racing track.

• And yes, you could feel the intensity of the racing scenes. This film gives you that standard upward graph, the further the film goes, the higher the intensity is, and the more heart pumping you will be as the film comes nearer to the end. Even the racing gets tougher and tougher as it progresses with more dangerous race courses filled with twists, turns & dips. Adding onto that, Neill was able to put the audience at the edge of their seats with the powerful camera works. There are some very excellent drone shots here that might just give you the boost for adrenaline rush.

• But... one problem we had during the racing scenes was that we felt that the pacing could be better. They could have shown longer takes between the cuts. If they did this, the intensity could be even bigger. Why Ford V Ferrari is such a masterpiece was because of its pacing. It knew how to give the anxiety in the racing track. Don't get us wrong, Gran Turismo is still excellent but to up the ante, they could have made the pacing better with lesser cuts. Sometimes, we thought that the film was in a super rush mood, that they cut too frequently that one lap was over before you even know it.

• Archie Madekwe as Jann Mardenborough is great. For an up-and-coming actor having to take the lead role, he did a good job portraying Jann. Orlando Bloom as the marketing guy, Danny Moore also did good but David Harbour was the scene stealer here. He plays as Jack Salter, an engineer who helped to train Jann and his fellow competitors. David made his character lively and he made the story more vibrant and colourful with his personality. This trio did carry the movie and it actually made it more interesting.

• However, some pieces of the characters' story were left untold especially for Danny Moore. Yes, this film is more about GT and Jann, but they could have offered us more on his background story or maybe a bit more screen time to get to know his personality and motivation. We felt this film didn't achieve that. Orlando did good but the script for his character was lacking. Same goes for Jann's mom and dad. Their acting are just superb but they weren't given a chance to flesh out their characters and made the audience understand their behaviours or/and actions. Luckily, the story for Jann was well told.

• We're impressed by the visual effects of this film. WOW! Their CGI is soooo much better than most Hollywood films nowadays. Even recent Marvel movies couldn't top this. It wasn't perfect for one but it's a very eye-pleasing viewing experience when you get to see CGI that is just as good as this. While some CGI looks a bit animated, that actually made it better. Why? Because it's a game adaptation film and the CGI made it as if we're watching a gameplay. It has one of the best CGIs this year. *Chef's kiss*

Verdict: An underdog film about an underdog person, Gran Turismo the Movie features slick car racing drama that serves exactly what fans want. It finds the right balance between telling an inspiring true story and adrenaline-filled racing sequences as the film progresses. While the loose storytelling and pacing can be distracting at times, it still manages to keep the audience engaged all the way until the finish line.

Barbie (2023)

You'll appreciate this 'life in plastic' film more than you can ever imagine. 💗

• Only Greta Gerwig can pull this movie off. She is the only one that can helm this movie right. No other directors can do what she did for this movie. Why? Because the others would end up making this movie as generic or as plain as possible aka 'just another commercial blockbuster movie'. Greta Gerwig was able to turn the wheels from the overly used direction, venturing into new territories most directors are afraid to go.

• Barbie the Movie sends out strong messages and contexts about a lot of different things. Some of them include patriarchy, male-dominated world, female-dominated world, perfectionism, teenage-phase life, adulting, gender equality, equity, sexual objectifications amongst many others. Now, you must be shocked to hear all of this are conveyed in this film. A Barbie film that talks about all this stuff? YES. This is Greta's X-Factor, having to bring these sensitive subjects into a movie for everyone catered for all audiences. And children will still be entertained and understood with the story and the messages that Barbie brings to the table.

• It is definitely not an easy job trying to recreate the world of Barbie and make it a reality. Life in plastic, the team has to build Barbie Land from scratch. Everything needs to look right; the environment, the designs and the outfits. And Greta and the team did their research and you can clearly see it from the movie. Everything just comes to life the way they are supposed to be. Everything is plastic and yet, it's gorgeously constructed. The atmosphere, mood and tone really give that Barbie Land vibes.

• You need to acknowledge that this is a very meta movie. While Warner Bros failed at doing this with The Matrix: Resurrections, Barbie the Movie is a whole different story. They did this justice! It is self-aware that this film is about toys, that toys are not living objects, that someone else is controlling the narrative and they use this opportunity to create a story around this meta-themed element and it works! It works so well because the film is carefully constructed and impeccably paced, knowing what to serve the audience, when to be self-aware and how to blend Barbie's storyline with all the meta together, making the film as a stand out compared to other similar themed features.

• Barbie the Movie, which prior to viewing, we thought that it was going all in for women empowerment. But it didn't. Instead, it's full with surprises that started off thinking it was going to be that but as the film progressed, it opened up to so many possibilities of perspectives and viewpoints because the story itself is not definite but subjective and timely. It touches on current issues that are important not only for women, but for men as well. It doesn't want to side with a certain group for people, what it wants is to get the message acroos right; to make sure that everyone gets the story they deserve.

• While the story unwraps, there are golden comedy moments of pop-culture references and sarcastic remarks that, if you knew what they're about, you'll be laughing because of how relatable it is with today's world or personal experiences OR because of you didn't expect that a film like this would have jokes so sarcastic. If you've ever played with any dolls or toys, if you always keep up with the news and if you truly understand what meta is, you'll get all the references.

• We had hoped when Ryan Gosling was casted as the main Ken. Well, we knew he was the perfect choice, to put it fair and square. His performance was good but because Margot Robbie was so freaking excellent and top-notch as the main Barbie, Gosling couldn't put his character on par with her, he overacted at times and the makeup department tried making him look young but the powder they put him on actually made him look the total opposite. If you'd asked, Glen Powell would have been a better choice as the stereotypical Ken. He suits as a blondie, originated from Texas, his six-pack is crunched as seen in Top Gun Maverick and he has great comedic timing, evidently from Scream Queens.

• Did at any time the message comes across as preachy? Holistically, no. But they did slip a bit somewhere at the end of 2nd act (middle) up until the beginning of 3rd act (finale) where it went a bit overboard. It became a bit 'on your face' and these scenes may be the reason that social media will explode with controversial discussions and arguments because of some viewers who feel threatened by the way the subjects are brought to the spotlight. We're all okay with this film but this bump they have makes it uneven from the remaining duration, in which everything is told very, very well.

• Almost everything with Barbie the Movie is great, even the tiniest elements. The colour palette plays a huge part in this movie, the dialogues know how to be impactful, the music is ear-soothing and the extras are just as important as the supporting, everyone actually plays a part in maintaining the mood of the film.

Verdict: Filled with contexts and messages as rich as Oscar-nominated films, Barbie the Movie is a whole different game as it is full with surprises and hard-hitting truths about the world we live in today. It is self-aware of what it is and Greta Gerwig daringly takes charge of crafting a masterpiece storytelling that capitalizes on the heavy subjects without downgrading anything or anyone, maintaining both its quality and substance the entire film. You'll appreciate this 'life in plastic' film more than you can ever imagine. 💗

Oppenheimer (2023)

While it is not Christopher Nolan's magnum opus, this is still one of his best works in history.

• Christopher Nolan, whose previous works use time and space as his playground, did it once again with this based on a true story film, something that we didn't expect. His way of storytelling proves that he's the greatest directors to ever live on the planet, mastering in building up the story all the while keeping the audience engaged by elevating its suspense, scope, atmosphere and music tempos, creating a masterpiece ouevre.

• Oppenheimer is a visceral experience. It is able to create and provoke tension and anxiety in their audience. Rarely do we ever get this type of films offering this kind of experience but Nolan did it, just like Interstellar or Inception. It is haunting. It is moving. It is evocative. It knows what it tries to deliver and it does so well in eliciting these emotions as you sit and witness through it all.

• Out of the 2 dozens of famous actors in this film, we have to give special shout outs to 4 of them namely Cillian Murphy, Emily Blunt, Robert Downey Jr. & Jason Clarke. Cillian Murphy is able to tell Oppenheimer's story largely from the looks and expressions of his face, a true work of art. His face just tells everything, like a grandeur painting that moves accordingly to the beat of the story and emotions. Emily Blunt as Mrs Oppenheimer is just impeccable. Her performance is so good, there was once scene that made us cried a bit. That 'it' scene that will appear on the screen as her name is called as one of the nominees for Best Supporting Actress and hell yes, we have high hope she will win next year's Academy Awards for this! Downey and Clarke are both impressive as well, 2 characters that are very good at spoken dialogues and they really did their homework to study the characters very well.

• We are truly in love with the dialogues. It is rich with contexts and it feels very densed. We just love the fact that the speed and pacing of the dialogues are almost similar to Aaron Sorkin's materials who directed The Social Network and Molly's Game. Dialogues are spoken incessantly, word after word, without putting a full stop for audience to breathe. And these dialogues really enrich and enhance the film's build-up, settings and mood that elevate the whole immersive experience.

• These dialogues, most of them, are necessary for the story and character developments. What are or have been said are the building blocks of both these elements, that by the end, they blossom themselves into something poetically but shatteringly beautiful; acknowledging of the broken humans living in a broken world, that these non-fiction characters are far from perfect, just like the rest of us.

• However, the dialogues may not be easily digestible for general audiences. If you're into science and history, you are at an advantage. If not, then these jargons and sometimes, poetic style dialogues would make your head spin. They are not friendly. Even when they did explain on quantum physics, it wasn't something that can be understood by everyone. We love the dialogues but to be safe, prepare a cup of coffee prior because this is one brain exercise film, the good kind, of course.

• If you're a Nolan fan, you'd know that plot twists are something he has in store for us. But did this biopic has one? Did Nolan take that risk? The risk that might jeopardize the authenticity of the story? Without revealing, we can say that the third act is very, very good. Something that most directors attempted but failed. However, Nolan did it naturally, the story unfolds excellently even with all the complexity that surrounds it. He did it smooth. Strong emotions were evoked, he left us something to ponder about. The experience was quite traumatic and he brought us along the journey to experience what it's like to be Oppenheimer. It is that good.

• This film is morally complex. It questions whether it's right or wrong. It questions whose side we are on. It delves deep and studies Mr. Oppenheimer and brings it along with us for the ride. Nolan was able to let us feel what he's feeling as if we're stepping in his shoes. Thought-provoking. Mind-wandering. Psychologists will have a great time in cinemas.

• A brilliant choice, Oppenheimer used both black-and-white and colour as it conveys different meanings with the former staying true to the real event that had happened in history with (mostly) exact dialogues, body language and circumstances powerfully acted mostly by Robert Downey and Alden Ehrenreich. The latter is used, to maximize its entertainment value while still maintains the actual events recorded in history. Not once we felt annoyed by the transition, it went well.

• Targeted for mass market, we felt this could have cut about 20-30 minutes short so that all audiences can enjoy. Although there was very little to none unnecessary scenes, we still strongly believe that Nolan could take out a few scenes. If this happened, the momentum and pacing would better for everyone. Also, the Trinity Test was purely excellent. The practical effects and sound designs were really executed well. The music score, composed by Ludwig Goransson, though not as masterpiece as Hans Zimmer, is breathtaking. It felt right with all the scenes, it elevates out immersive experience, it left us at the edge of our seats.

Verdict: Hauntingly beautiful, Oppenheimer feels like a ticking time bomb as it evokes a strong visceral and immersive experience. Almost everything is done right, Christopher Nolan makes sure this film blows us away with a rich story, stark character studies, strong dialogues, powerful music score, impeccable acting amongst many others. While it is not Christopher Nolan's magnum opus, this is still one of his best ouevre in history.

Mission: Impossible - Dead Reckoning Part One (2023)

This is why we go to the movies. 😎

Tom Cruise did it again! The last action movie star that just keeps getting better and better at what he does. His performance is golden as he makes sure that everything that appears on the big screen follows exactly like he wanted to. He provides constant thrills to the audience, serving us with death-defying acts that no other actor is as par as him, not even Hemsworth for Extraction or Keanu Reeves for John Wick. He is the man, the legend. ✨

Were all the practical stunts top-notched? Yes. Holistically, could the stunts top the previous installments? No. We believe that MI4: Ghost Protocol & MI6: Fallout are the benchmarks and these two still have the best amongst the best stunts we've seen in the age of filmmaking. Now, don't get us wrong, Dead Reckoning Part 1 still has those breathtaking, edge-of-your-seat stunts, putting it at number 3 of the MI list, with our favourite being the train-wrecking scene. These stunts are still gorgeously made and meticulously planned that will keep your heart beating fast.

The film does its job for having the narrative as realistic and grounded as possible including the practical stunts. But the rawness and grittiness are watered down by the overuse of music every single time action scenes pop up for us to experience. If we could recall, there wasn't ANY action scene without the background music. We were looking forward to this. Imagine a fighting scene, hearing only the banging, crashing, creaking, breaking, thudding and thumping, it could have been wicked. That's what made Fallout so good; an instance, the bathroom scene with Tom Cruise and Henry Cavill, ❌ music, just man-to-man fighting in all its rawness.

Bringing AI as the focal point, the storyline here is something that the franchise has never done before. It might have been for other movies, but the story here is well told as elements of past, present and future are the essentials for it to progress forward. Not only that but the higher stakes and the ubiquitous villain will get you to think, 'how can they defeat this?', making it unpredictable.

With 2 hours 40 minutes, Dead Reckoning Part 1 feels overly long as the FIRST HOUR is pretty much a slow-burner for a commercially made film. It takes its time to hit the engine running. While it's important for them to set up the world-threatening stakes and establish a grounded plot which they did, we feel that the way it could have been told can be more engaging and attracting every target audience like what Ghost Protocol and Fallout did. It's a slow burn, with minimal jaw-dropping stunts and incessant expository dialogues. Those expecting they're gonna get the same with 4 & 6, they're gonna be disappointed. Nevetheless, don't worry, the final 30 minutes is worth the ticket price, it's everything you're hoping for in a Tom Cruise action film.

There is one major problem that we're truly let down by. With the first act maximizing on expository dialogues, it has potential for this film to be rich with contexts and little details that can make the film much more interesting throughout. But the whole story is driven by Grace, played by Hayley Atwell. Her character, led by her actions and decisions is the steering wheel that pretty much sums up the reason why the film is soooo long. Her character feels unwelcomed and incongruous, like she doesn't belong here for the movie. She takes everything lightly and repeatedly messes things up, putting everyone and everything at risks. If only she could get herself together, the film wouldn't have been a drag.

However, we can't say that we didn't like her chemistry with Tom Cruise. There's a certain affection and admiration on the existence of their relationship that we felt we wanted more. We're fond of seeing them together, it sparks a good chemistry, establishing their character arcs and maturity, as if their get-together scenes are like the cherry on top to an already great action movie.

Normally when 'Part 1' is attached with any title of any movie, they would have an abrupt cliffhanger; this year alone, we have 5 movies, with a 'Part 1 or 2' title; Fast X, Across the Spider-Verse, The 3 Musketeers D'Artagnan, Buya Hamka and this film. But what made Dead Reckoning different from the others is its cliffhanger that is well-made and polished. It ends fittingly where it's supposed to be instead of just leaving the audience hanging while the ongoing narrative is left unfinished. This film should be the exemplar for any 'Part 1' movies, ending it at the right place, slowing down the film's momentum while also keeps the audience eager for the next one.

Verdict: A thrilling cinematic experience, Dead Reckoning Part One reminds us why we go to the cinema. It is a rip-roaring adventure filled with breathtaking action set pieces, pulled off by the last action movie star, Tom Cruise. Nevertheless, it misses the opportunity to reach the helicopter-level heights set by Ghost Protocol and Fallout due to its incessant expository dialogue, one important but incongruous character and overused background music. But should you still choose to accept this mission? YES.

Elemental (2023)

Something Original At Last!

Yes, our first thought when we saw this film was that this is a twin of Inside Out. We just got the vibe looking at the poster. And watching this film really reminded us with it. They were some similarities but we're not saying this is a rip-off, it's far from that. If Inside Out lives inside the brain of a person, the characters here actually live in their own-built world, civilized and cultured just like we live on planet Earth.

It puts a smile on our face knowing that we still have some originalities left in the creative team department. As far as we're concerned, Elemental is much likely an original made film, with a brilliant concept that helps viewers to understand what it means to coexist with others who have different ideologies, interests, skin colours, races, and ethnicities.

It follows Ember, a fiery young woman who lives in a city where fire, water, land and air residents live together. After an incident, she meets a go-with-the-flow guy and together, they embark on a journey of life, friendship and possibly, love. Reading the synopsis, you would think it's a run-of-the-mill movie. Well, the plot is nothing special, you may even compare it to Romeo & Juliet but the concept itself is what made the movie different from the archive. An animated movie with four different living elements? Count us in!

Aside from the original concept, we like that there's something for all of us. Something that each of us can get from the movie; both children and adults. It's more relevant now than ever. As a viewer, you get a lot from this; you'll learn how to coexist with others and of different races, navigate interracial relationships, immigration, and cultural appreciation amongst others. For children, they will learn how an element reacts to another element in the context of chemistry.

Bringing the subject of chemistry, they are a lot of chemical processes, formulas and reactions that are brought in very creative ways. They constantly show us how chemistry works visually and verbally like how fire and water reacts and if oxygen is important for Ember to live. This will be so much fun for viewers. Even if you hate chemistry (like we do), we promise you that you will enjoy all the 'fun facts' bits here.

Not only that, the characters associated with their elements fit nicely into who they are supposed to be. An example, Wade is a soft-hearted guy who loves to cry because he is naturally water which sums up the logic that goes with water. His whole family also loves to shed tears. Ember easily gets angry because she is fire. It's entertaining when you get to see they think, feel and do based on who they are.

But here's the thing, because the main characters here are Ember (fire) and Wade (water), they kinda ignore earth and air. We felt like they didn't have much screen time and they're just extras here. Should they be more scenes with them, this movie could have been better. They spent so much time on fire and water that they forgot the existence of the other two. Supposedly, they could have them be neighbours or friends, showing what it would be like if 4 of them interact with one another. It would have been so much fun.

It also didn't take its time to craft its world-building, the details of the surroundings and how all these elements come to be civilized. Of course they did at times but there was just something that left us unfulfilled. Somehow, we felt like we saw only a part of the world, like it was not explored down to the ground. There wasn't really exposition of the history of the world and how it came to be.

But Elemental has an overall good storyline and comedy as it follows the story of Ember and Wade and the journey that they go through together. Yes, the scope could have been better and the script could have been polished but the film itself is quite engaging as their personalities are what kept the story alive. Oh and also, we could see that they use two types of animation here. While everything is clearly 3D animated, the fire community including Ember has a 2D-like animation style that is just gorgeous to look at.

Verdict: While it is far from the standards of the best Pixar movies, Elemental champions itself with a well-made concept, an interesting cast of characters beautifully hybrid animation and 101 lessons catered for both adults and children. World-building and the almost-forgotten existence of Earth and Air communities may be the problems, but what really saves this movie is its intelligence in bringing the concept to life; showing the unique elements you wouldn't usually get from other worlds.

The Flash (2023)

Not As Fast As the Speed of Light, But It's Still Damn Fast

• We absolutely love the opening scene. What a way to start the movie! It is exhilarating, thrilling and superbly done. It felt like it wanted to give the audience a boost, like sipping a full can of energy drink to ensure we're awake for the whole movie. That was the impact we got from it. Heart-pumping!

• Ezra Miller. With all the controversy, he's getting more dislikes from us. Despite that, we have to admit that his acting here is sooooooo damn goooood. He has to play two versions of The Flash, one we're familiar with and one that acts as a quirky, witty lad who doesn't know how to get himself together. And he played both characters very well. Very, very well. There wasn't a single moment that we were confused by who is who. He played it very distinctly, it's crystal clear that his acting skill is better than most superhero actors.

• And we need to thank the scriptwriters for coming with such a brilliant setting. We know that this is The Flash's first standalone film in the DCEU. And a lot of people, including us was not impressed that he did not get his own film before Justice League. And here, when it's time to tell his origin story, the film finds itself in a unique direction. His origin was told in a way that put our main character in a non-linear setting, a world where he met his doppelganger. Audience was brought to understand his backstory through this doppelganger. They definitely have more creative freedom to write and we could see it in the final product.

• Not only that, but the first act was executed really well. A lot of elements; story, setting, characters and motivation were promising enough that we actually believed this was going to be one hell of a rollercoaster ride. It is able to hold our interest as it doesn't waste any time to develop the story.

• However, when middle part came in, it went downhill from there. The tempo started to slow, there was a bit too much interaction between the doppelganger-superhero and the action bit wasn't as strong as the first act. There wasn't anything remembering except for the character(s) that show up.

• We think the main problem is because there wasn't any conflict or fight between them. His doppelganger seemed like a puppet most of the time, following Barry's (Flash) orders without mostly asking 'why?' or 'what?'. At times, we questioned if their bonding was authentic or merely a fake friendship, was the bonding only created to exploit the other to get what they want??? The thing is, the build up to possible conflicts was there but the conflict itself was non-existent.

• It then started to get messy as the final 30 minutes began. It became more convoluted in the final 15 minutes that we had a feeling someone behind the scene was jeopardizing this movie. Questions weren't explain in details, all sub-plots were jumbled up, the stake was so high yet we couldn't really feel it. Everything felt so abrupt and rushed. All of a sudden there was this and that & here and there. What was that all about? First act was strong but third act was weak. Due to this, they had an ending that felt like this was a Part 1 movie. What's next? We didn't really see how this ending could help them set up James Gunn's DC Universe. Let's hope Aquaman 2 will.

• Throughout the whole story, we like the idea that they brought up three main themes; family, fate and consequences where each element is tied up to one another to establish its story. It manages to send a strong message to appreciate your family, accept your fate as it makes up who you are and always be ready to face for consequences, even if it's coming from you yourself.

• Overall, we're impressed by the CGI. It's far from perfect but if you watch the film, you'll know there are wayyyy too many frames to create its visual effect and it's not easy. IT'S NOT EASY. Yes, there were moments where the CGI felt way too cartoonish; all the babies in the baby shower scene. And the tracking movements of Batman and Supergirl in the final battle (felt unnatural). But man, they did the lightning and running really good. It's so satisfying to see Barry ran with all the slo-mo and flashing lights appearing from his suit. We also appreciate that they were cool moments coming from it.

• Was it just us or was the villain so dull? We didn't feel it at all. It was just there because he needed to be there. We understood they had told his/her backstory earlier in one of the previous DCEU movies, but c'mon, there was too little screen time for him/her. We felt no threat even though he/she's strong. Limited screen time for Supergirl also greatly affect her character, we couldn't really connect with her. Sasha did her job good but something just doesn't click. Luckily, Batman was great except that sometimes, his facial expression or reactions indicate ignorance as he doesn't really care about Barry or what's happening.

Verdict: Vibrantly beautiful, this doppelganger-superhero showcases a compelling first act, enjoyable action sequences, a terrific performance by the fastest man alive and a powerful message about family, fate and consequences. However, The Flash gets progressively worse halfway through, becoming a muddled mess at the end.

Transformers: Rise of the Beasts (2023)

Rise of the Sequels, Reboots, Remakes and Requels that Never Stop

• Rise of the Beasts opens with Noah who struggles to find a decent job to support his family and Elena who works in a museum and is interested in researching artifacts. But oh my, we couldn't care less about them. They really spent almost 30 minutes on their stories which as you can guess, are very bland and dull. Noah's story might seem relatable for some people as we're in a tough economy now but audience doesn't want you talking about finding a job. This ain't for the Oscar. And Elena barely has any story. We don't even know who she is. No really. Who is she? 😅😭

• They could cut to the chase and skip some of the parts in the first act. It becomes worse when there's no comedy, everything is just so serious. A total opposite of Sam Witwicky (Shia Labeouf) and Mikaela's (Megan Fox) where comedy was top-notch and the plot was simple and fun. Even Sam's parents were comical. We're not exactly sure why they chose the serious road this time around, but we prefer Sam Witwicky's world.

• On the other hand, the robots have better chemistry and a better story to tell. Mirage, voiced by Pete Davidson is goofy af. For the first time ever, we can tolerate with Pete Davidson. And we might even like him now. Bumblebee is Bumblebee, we all know we love him. Arcee is very acrobatic, she's the eye candy and yes, she can also fight. But the common thing that stands out is they actually have a soul. We feel close to them, we can relate to them, they are not JUST robots. They are living beings. And somehow, we care about them more than what Transformers 4 & 5 can offer to us.

• Without a doubt, there are plenty of actions from beginning until the end. You don't have to worry about that. But the question is, 'Are there good?' We could say you'll be entertained. But goshhhh, we miss Michael Bay so much so that this movie tries to do what Bay did but it doesn't work. Bay's skills and talents put him as the master of action scenes and we know that. His directorial left a big mark and we're dying to see something that is at least, on par with what Bay did. But what we saw something in the middle. They couldn't achieve the bar that Bay had set but it wasn't disappointing either. It is still entertaining.

• Entertaining being that this movie is action-packed especially when the middle part starts to kick in. Fun fact that it has more action than Fast X or Guardians of the Galaxy. You know when Bay did his Transformers films, there were plenty of WOW/WOAH moments (we are referring to the first three) because Bay included slow-mos that looked very cool, upbeat music that synced with the choreography, customized sound-design explosions that only he could pull off amongst many other elements. Rise of the Beasts has its WOW/WOAH moments as well (not as many) but it felt short compared to Bay's. Slow-mos were almost non-existent, music was okay at best but doesn't help with the action and explosions are explosions, nothing unique or refreshing.

• However, thanks to its choreography, they are able to create some truly WOW moments that will literally WOW you. Some of the stunts have been done many times before but we're pleased to see they are able to create a few action stunts that are purely amazing.

• Let's talk about tracking shots. This film does use this technique a few times where the cameras follow the characters from behind and it creates this sense of POV that we love coming from a sci-fi robot film. This may be a nitpicky thing and it deals with our preference, but this film could be so much better if they have more tracking shots especially with the two leads, Noah and Elena running for survival or on Arcee, the superbiker. But we really applause the use of tracking shots, just beautiful.

• There was a subplot/twist in Transformers 2: Revenge of the Fallen that apparently this film borrows and uses it almost quite the same way. Now this depends entirely on your opinion, being that it is rehashed, on whether you like it or not. If you're asking us, we have a mixed feeling because it seems super duper predictable, like we KNOW where it's headed.

• You know in every Transformers movie, Optimus Prime would give his closing speech and the credits roll as it ends? Well, this film offers a surprise. It is quite different than all the previous films. And what even surprise us is that the ending got us good. Real good. You won't know what's coming. And if there's a sequel, we don't know how they're gonna make it happen. The ending is worth watching this in cinemas.

Verdict: Incredibly better than Transformers 4 & 5, Rise of the Beasts offers itself to be quite entertaining with above-average action sequences and some genuinely WOW moments, thanks to its choreography and tracking shots. However, the uninteresting human drama and lack of comedy make this a subpar entry compared to the first three Transformers films.

Polis Evo 3 (2023)

Polis Evo 3 is speeding miles better than Fast X.

• With a duration of 1 hour 53 minutes, it doesn't feel like 1 hour 53 minutes. It felt shorter, much shorter. You will be intrigued with the story. Yes, the gist of the overall plot has been done before countless of times with buddy cop-themed movies but what impressed us is that there's an actual weight to the story. There's a strong substance along the way that just works with the story. It's apparent that Syafiq Yusof (director) made this film with heart. So many times we get to see sincere and heartfelt moments that Syafiq would include in the story and they all work. Something that viewers would get out of it. The film isn't pretentious and it doesn't try hard to do what it does. 👏🏻

• Was it action-packed enough? Well, not really. I felt that the first two had more action sequences compared to this one. This one is more story-centric than action-centric. It does feature some but if we can count, this has the least number of action scenes. Even the climax scene taking place at Bukit Bintang, KL where we thought would have a big action scene is minimized with heavy dialogues and substituted with an attempt of an intense scene (that is actually moderate). So don't go in thinking this is a non-stop melee combat and gun-fighting film. It's not. It's a balanced of both.

• What we do appreciate with this film is that the skills, the tactical movements and the choreographies are all done based on the official police training programme. We salute the efforts of them mirroring our national police force combats and skills.

• Shaheizy Sam & Zizan Razak's chemistry is off the charts! You know they're comfortable with each other. You know that they're having so much fun on the set. You know toxic relationship is non-existent. It feels they're really brothers even in real life. In PE3, we get to see that their friendship is tested to the limit which is a great element to wrap up a trilogy. All the bonding from the previous two are brought again here and continued with an opening that will surely make you laugh. If you enjoy brotherhood films, then go have a watch. You will appreciate it.

• We're surprised to see that Reza's character, played by Sharnaaz Ahmad was fleshed out and told very well. He has an interesting backstory which is linked to the main character and has a strong motive that deals with morality and justice. His motive is well-established to the point that we understand his characters & emotions. It makes you think that if you're in his shoes, would you have done the same thing? Because we're telling you, most of you would say 'yes' to it discreetly without admitting it. And Sharnaaz did a great job at portraying Reza. His portrayal might not land him an award, but Sharnaaz is great.

• There's this one particular scene involving a car chase that we thought could have been done a lot better. Syafiq Yusof (and Syamsul Yusof) has always cleared the roads/streets for the stunts of every of their movie, showing only cars and actors mainly involved in the car chase scene. But it's time to change the scenery. Make it more realistic. Have a bunch of extras driving regular cars as regular citizens, having to stop the car or go through everything, maybe even casualties as icing on the cake. Clearing the roads like there are no regular drivers takes us out of the experience. Like a gimmick that feels unrealistic.

• Syafiq Kyle, Farali Khan, Douglas Lim & Fauzi Nawawi all play as supporting characters helping the two leads fight over the the bad guy. We're okay with that. But it's difficult to root for these characters when we barely know about them nor they add any colors to the story. Yes, they had opportunities to shine as they were given time to breathe but there was nothing really interesting about them that we could say it warrants a spin-off.

• We have a problem with the tone. Opening scene was filled with jokes and humours followed by the whole of first act, like Polis Evo 1. Halfway through, it was a mixture of comedy, action and drama. And then the third act came along and it had a very serious tone, even dark maybe. We understood if they were trying to elevate the atmosphere that Reza brought with him as a demented, psychotic guy but... the tone left a bad taste in our mouth, we felt confused and dazed. It shifted drastically without a proper graph.

Verdict: Carefully structured, Polis Evo 3 showcases a compelling plot carried by two powerful leads with chemistry as strong as a covalent bond. While not as action-packed as the previous installments, the character-driven element adds an emotional weight to the story that makes the film worth watching. Overall, Polis Evo 3 is speeding miles better than Fast X.