Reviews

If Final Destination and Wish Upon had a child, it would be The Monkey. That was our immediate thought as we left the theater. This film blends supernatural horror, dark comedy, and absurdity in a way that feels both ridiculous and wildly entertaining. It's a film that knows exactly what it wants to be; an over-the-top, blood-soaked thrill ride that makes you laugh even as you cringe at its gruesome kills.

What sets The Monkey apart from its influences is its surprising dose of humor. Horror comedies are tough to pull off, but this film manages to create an odd yet satisfying balance between gory chaos and weirdly charming absurdity. You're not exactly belly-laughing, but there's this strange, undeniable urge to smirk and chuckle at the madness on screen. It has the energy of a violent children's fairy tale. Think of a silent-era slapstick comedy, but with splattering blood and twisted fates. It's bizarre, but it works.

Now, let's talk about what horror fans are really here for; the kills. And The Monkey delivers. It's gruesome, creative, and wacky in the best way possible. The deaths feel like something conjured from a child's chaotic imagination; illogical yet strangely poetic. The Monkey itself, this cursed toy at the center of the carnage, has a mischievous, almost gleeful way of orchestrating its victims' fates. If you love the elaborate, almost Rube Goldberg-esque deaths of Final Destination, you're in for a treat. It's all so over-the-top that it somehow becomes hilarious. The violence is exaggerated, stylized, and so absurd that it loops back around to being entertaining rather than just shocking.

Then there's Theo James, the ever-dashing star who's given the impossible task of playing an insecure, jittery father. And let's be honest; this man is too effortlessly suave for that. No amount of nerdy costuming can fully strip away his natural charm, and while he gives it his best shot, it's hard to fully buy into his transformation. He does a decent job, but there's a lingering sense that he's slightly miscast.

As for the story, it's simple... maybe too simple. The Monkey doesn't aim for deep narratives or complex character arcs. It moves along swiftly, focusing more on its chaotic spectacle than its plot. But credit where it's due: the film isn't just a copy-paste horror template. Unlike Wish Upon, which follows a predictable formula, The Monkey throws in enough surprises to keep things fresh.

That is, until the third act. This is where the film goes off the rails, not necessarily in a bad way, but in a 'Did we just jump the shark?' kind of way. It tries to up the stakes but ends up pushing the absurdity a bit too far. The motivation behind certain character decisions feels weak, and it loses some of the controlled chaos that made the first two acts so enjoyable.

Still, despite its flaws, The Monkey is a damn good time. The suspense is solid, the kills are outrageous, and the execution of horror-comedy is commendable. Could it have been better? Sure. A slower, more tension-filled buildup to the deaths would've elevated it further. But as it stands, it's an undeniably fun horror flick that doesn't take itself too seriously.

Verdict: The Monkey is a wild, ridiculous, and gory thrill ride that embraces its absurdity in the best way possible. It's like eating a sour candy; sharp, intense, but with a strangely enjoyable sweetness underneath. While Theo James struggles to shed his natural charisma for his role, and the third act goes a little off the deep end, the film remains a thoroughly fun and entertaining horror experience. If you love blood, chaos, and dark humor, you'll have a blast with this one.

There's a certain weight that comes with carrying the shield. And for Anthony Mackie's Sam Wilson, that weight isn't just a physical one, it's the pressure of stepping into the shoes of an icon.

Let's be real: Chris Evans left a legacy that is near impossible to match. His charm, his presence, that effortless embodiment of Captain America, it's what made Steve Rogers such an unforgettable character. So, naturally, Brave New World comes with the daunting task of proving whether Sam Wilson, our former Falcon, is truly ready to take the mantle and make it his own.

And honestly? He does a solid job. But is he the Captain America we were hoping for? Well...

Mackie's performance is respectable. He brings heart, effort, and sincerity to Sam Wilson's journey, and the film does a great job of leaning into that. It doesn't try to make him a Steve Rogers 2.0. Instead, Brave New World smartly acknowledges that Sam is a different kind of hero. One who must find his own way to lead, rather than simply mirroring the past. That's a powerful message in itself. But where Mackie falls short is in the sheer presence that Evans had. The charm, the commanding aura, that heroic gravitas, it's just not there. And it leaves you wondering: should someone else have taken on this role instead?

Interestingly, the real standout here is Danny Ramirez as the new Falcon. He steals nearly every scene he's in; charismatic, fun, effortlessly likable. He's got that 'boy-next-door cool' that makes you instantly root for him. In fact, it almost feels like he outshines Mackie in his own film. If this is Marvel's way of setting up the next generation, then Ramirez is more than ready to take flight.

Now, let's talk about Red Hulk. Without diving into spoilers... don't expect too much. The build-up is solid, the hints are there, but when the moment finally arrives, it just doesn't land with the impact it should. Remember that first Hulk transformation in The Incredible Hulk? That slow-burn tension, the creeping dread, the feeling that something huge was about to happen? Yeah, Brave New World doesn't quite deliver that. The reveal leans too much into fantasy, making it feel less grounded, less high-stakes. The rage is there, sure, but it's short-lived. And for a film that should make its main villain feel terrifying, that's a big miss.

On the brighter side, the action sequences are pretty fun. One particular jet fighter sequence gives off serious Top Gun vibes (which is fitting, considering Ramirez is in this movie). The stunts are sleek, the slo-mo shots actually work well, and the camera captures the intensity in a way that makes you appreciate what these heroes can do. It's stylish, it's cool, and it's one of the film's strongest aspects.

But then there's the script... and that's where Brave New World stumbles the most. It's messy. Too many villains, too many unresolved plot points, and too much crammed into one film. Given that this is Sam Wilson's first full outing as Captain America, the movie should have kept things focused; one villain, one clear story arc. Instead, it spreads itself too thin, leaving some threads hanging and others feeling underdeveloped. When you compare it to the previous three Captain America films, which all had strong, distinct narratives, this one feels far less structured.

That being said, is Brave New World still enjoyable? Absolutely. It's not groundbreaking, it's not the Winter Soldier-level masterpiece we were hoping for, but it's a solid, fun watch. It's one of those movies you go see with friends after hanging out, nothing too deep, just a good time. And sometimes, that's enough.

Verdict: Captain America: Brave New World is like passing the torch with slightly shaky hands. It gets the job done, but not flawlessly. While Anthony Mackie holds his own, Danny Ramirez shines even brighter as the new Falcon. The action is fun, but the script is cluttered. It's not a game-changer, but it's still an enjoyable ride. Just sit back, relax, and enjoy the show.

There was a time when Bridget Jones's Baby felt like the perfect send-off for our favorite clumsy, charming, and endlessly relatable heroine. So when Mad About the Boy was announced, there was a mix of excitement and hesitation. Did we really need another Bridget Jones movie? Was this going to undo the closure we had? But as soon as the film starts, you realize-there's still more to tell. And more importantly, there's still more to feel.

This final chapter of Bridget's journey is a bittersweet one. It deals with grief, loss, and moving forward in life even when it feels impossible. The film beautifully captures the struggle of giving yourself a second chance, of learning how to heal while still carrying love for the past. If you've followed Bridget since the very first film, you'll feel every bit of her emotions. She's still the Bridget we love, but she's more mature now, wiser, a little less clumsy, a little more self-assured. Life has shaped her, as it does to all of us. And that's what makes her story so heartbreakingly real-she's growing, changing, adapting, but at her core, she's still Bridget.

And honestly, this couldn't have worked without Renée Zellweger. There is no Bridget Jones without her. She slips back into the role like she never left, embodying every awkward entrance, every grand gesture, and even the tiniest mannerisms-the nervous smiles, the way she tilts her head when receiving bad news-it's all still so Bridget. Zellweger's performance is nothing short of stunning. She is Bridget Jones, and no other rom-com character can ever quite match what she brings to this franchise.

The film also introduces new love interests-Roxster (Leo Woodall) and Mr. Wallaker (Chiwetel Ejiofor). They bring fresh dynamics to Bridget's life, but they don't quite match the charm and chemistry that Mark Darcy or Daniel Cleaver once had. Roxster is fun but a little two-dimensional, existing more to push Bridget's journey forward rather than being a compelling character himself. Mr. Wallaker, on the other hand, is serious-maybe a little too serious. Unlike Mark Darcy, who had a dry wit that balanced Bridget's chaos, Wallaker feels a bit plain. It's hard to imagine him truly being the one for Bridget.

But Mad About the Boy isn't just about romance. It's about life. It's about parenting-the struggles of balancing kids, work, and personal happiness. It's about friendships-because Bridget wouldn't be Bridget without her loyal, slightly chaotic circle of friends. The film reminds us how much friends shape our lives, offering love, support, and, of course, comic relief. And speaking of comedy, the humor here is just right-not too over-the-top, not forced, just classic Bridget Jones wit.

That said, while the film gives us a solid and heartfelt ending to Bridget's story, the final scene feels a little... abrupt. It's good, but it's not as satisfying as it could have been. After everything Bridget has been through, she deserved a stronger, more definitive farewell.

Verdict Bridget Jones: Mad About the Boy is like Avengers: Endgame for our aunts and moms. It's a long-lost reunion that feels earned, deserved, and deeply emotional. Best sequel since Bridget Jones's Baby, this is the perfect film to watch with a cup of hot chocolate, wrapped in a blanket, feeling all the feelings. Bridget Jones, thank you for everything.

Love Hurts is a straightforward action film with a touch of drama, but make no mistake-this is a "one-man army" kind of movie. It's the type of film that thrives on plot armor, where the protagonist is outnumbered but somehow manages to take down everyone in his path. Is it better than John Wick? Definitely not. Is it better than Nobody? Not really. But does it beat some of Jason Statham's more forgettable action flicks? Surprisingly, yes.

The story itself is simple, almost too simple. At 83 minutes (credits included), it knows when to wrap things up without overstaying its welcome. But even with its short runtime, the pacing feels uneven. There's an unbalanced mix of action and drama, with the middle part of the film filled with repetitive dialogues that stretch out the story instead of adding depth. The film had the opportunity to introduce more compelling subplots but chose not to, leaving certain moments feeling dragged out rather than dynamic.

One of the biggest frustrations is how the film teases a truly interesting character, only to cut away just when things get exciting. There's a moment where you expect an intense, game-changing sequence, but instead, it's skipped entirely. It becomes a classic case of "tell, don't show," which feels like a missed opportunity.

That being said, Ke Huy Quan brings something fresh to the action genre. He's not your typical tall, muscular action star, but he nails his role in a way that feels both cheeky and authentic. He's quick, agile, and entertaining to watch. And while the plot armor is undeniably strong, at least the film acknowledges that his character, Marvin Gable, is human-he takes hits, gets knocked down, and even bleeds. This adds some believability to his fights, making them more engaging.

However, Marvin Gable as a character feels a bit two-dimensional. We get glimpses of his past, but not enough to truly understand who he is or why he's being hunted. There's potential for a deeper backstory, but instead of expanding on it, the film keeps circling around the same few details. It feels like it's dragging itself down with repetition rather than moving forward with meaningful character development.

Ariana DeBose, on the other hand, brings plenty of energy as his partner-in-crime. She's witty, charming, and completely self-serving in the most entertaining way possible. She's chaotic, but not quite Harley Quinn levels of crazy-more like a playful, opportunistic wildcard. She adds a layer of fun to the film, making her scenes a highlight.

As for the action, it's not as gory as John Wick or Nobody, but it's still brutal enough to satisfy action fans. The choreography is slick, yet somewhat goofy-kind of like Kick-Ass, where the fights blend both realism and over-the-top action. Not every hit lands perfectly, not every move is executed flawlessly, and that imperfection actually adds to the charm.

The film also tries to introduce a unique element with "love letters" as a recurring theme, tying it to a Valentine's vibe. But while the idea is interesting, the execution feels underwhelming. The letters don't add much emotional weight, and instead of feeling special, they come across as just another detail in the film.

Verdict: Love Hurts is a quite fun but flawed action film. The performances, especially from Ke Huy Quan and Ariana DeBose, bring life to the story, and the fight sequences are enjoyable in a raw, slightly clumsy way. But the uneven pacing, lack of depth in the protagonist's backstory, and missed opportunities hold it back from being truly great. It's entertaining for what it is, but don't expect anything groundbreaking.

If Ha Ha Ha Happy New Year had stuck to one genre, it could have been something special. Instead, it tries to juggle action, comedy, drama, and even sci-fi, and the result is a film that feels a little all over the place. While the futuristic concept of AI and cloning is interesting, it's not entirely convincing, and the mix of genres doesn't always blend well.

That said, the film does get the Chinese New Year atmosphere right. The bright colors, festive music, and celebratory tone all contribute to the holiday spirit. However, the emotional core-friendship, family, and togetherness-feels somewhat forced, making it hard to connect with the characters on a deeper level.

Performance-wise, the cast delivers an okay but forgettable effort. No one truly stands out, and some performances even feel stiff. The comedy, a major selling point, is a mixed bag-some jokes land well, but others feel awkward and cringey. The crime investigation aspect keeps things moving, but it lacks real tension or suspense.

Verdict Ha Ha Ha Happy New Year has moments of fun, but its messy genre mashup and weak emotional beats hold it back. While it delivers a festive atmosphere and an intriguing sci-fi premise, the execution feels unpolished. If you're looking for a casual holiday watch, it's passable-but don't expect anything groundbreaking.

Sometimes, you go into a movie with low expectations, bracing for a lackluster experience. And then, somehow, you come out entertained. That's Flight Risk in a nutshell. Directed by Mel Gibson, the man behind masterpieces like Braveheart and Hacksaw Ridge, this B-movie thriller is a far cry from his Oscar-winning works. Yet, even with its evident limitations, it's an enjoyable watch if you embrace it for what it is: a simple, low-budget, popcorn flick.

The story is straightforward, almost laughably so. You could explain the plot in a minute flat, and that's part of its charm. It doesn't try to be more than it is. The pacing keeps you engaged; not edge-of-your-seat thrills, but enough intrigue to prevent you from scrolling through your phone every five minutes. The plot unfolds quickly and efficiently, never dragging too long to get to its point.

Let's get this out of the way. Michelle Dockery is the reason this film works. She shines as the emotional core, delivering a performance that makes her character believable and relatable. Her backstory and struggles are genuinely compelling, and it's through her that the film finds its emotional weight. Dockery steals the spotlight from everyone else, including Mark Wahlberg, who, unfortunately, falls flat as the villain.

Wahlberg's attempt to play a psychotic, bald-headed antagonist feels uninspired. He's just... Mark Wahlberg being Mark Wahlberg, and that's not enough to sell a menacing villain. His character lacks depth, menace, and intrigue, leaving you more amused than intimidated. In contrast, Dockery's character carries the emotional stakes of the story, making her the standout by a mile.

Topher Grace delivers a serviceable performance as Winston, the film's comic relief. While he has his moments, his character feels like a missed opportunity. It's as if the role was written with someone like Tom Holland in mind, and Grace just doesn't quite hit the mark. His arc, while functional, could have benefited from more development to give his character a stronger payoff.

There's no denying it. Flight Risk looks and feels cheap. The CGI is unpolished, often glaringly so, especially during the big exterior shots of the plane. Instead of leaning into its limitations, the film tries to show too much, and the results are less than convincing. A smarter choice might have been to focus more on the characters' reactions than the external spectacle. Still, the resourceful use of tension within the confined space of the plane works well enough to keep the film afloat.

One of the film's saving graces is its clever twist. The reveal is subtle, relying on dialogue, tone, and word choice rather than flashy visuals or dramatic exposés. It's refreshing and feels akin to the delicate storytelling of a 911 operator piecing together clues. This nuanced approach shows that the film isn't completely devoid of smart ideas.

If there's one thing Flight Risk does right, it's creating stakes around the villain. While Wahlberg's performance is lackluster, the script at least justifies his prolonged presence. The film avoids the common pitfall of giving the heroes countless chances to end the villain, only to let him live for "plot armor." Here, his continued presence feels logical and integral to the story.

Verdict Flight Risk isn't here to revolutionize cinema. It's a film made for our own guilty pleasure. It's a low-budget thriller that delivers just enough to keep you entertained. It's not a movie you'll rave about, but it's certainly better than 90% of B-grade films. For a walk-in-the-park effort by Mel Gibson, it's surprisingly fun. Give it a shot with tempered expectations, you might just enjoy the ride.

When a movie tries to balance the adrenaline of competitive gaming with the weight of life's emotional battles, it's a fine line to walk. Soloz: Game of Life ambitiously steps onto that tightrope, delivering a film that's as much about brotherhood and resilience as it is about Mobile Legends. Directed by Syafiq Yusof, it's a heartfelt ode to gamers, but one that occasionally stumbles over its own lofty aspirations.

The opening scene is an instant win. It introduces the game mechanics of Mobile Legends in a way that's approachable for everyone, even those who've never touched a controller in their life. It's clear from the start that the filmmakers care about making this world accessible. This thoughtful start pulls you in, setting the stage for a story about passion, perseverance, and the unbreakable bonds of friendship.

But here's the deal: this movie isn't an action-packed thrill ride from start to finish. It's 70% drama, 30% gaming, and if you're expecting an esports-heavy narrative, you might be in for a surprise. The focus is on the lives behind the screens; the struggles, dreams, and relationships of the players. Think of it as a human story dressed in the colors of a gaming film, and you'll be better prepared for the journey.

The heart of the movie lies in its characters, particularly the team dynamic. The chemistry among the players feels authentic and is a joy to watch. Hun Haqeem stands out, delivering a layered performance that captures the highs and lows of his character's journey. Hafeez Mikail, as Daddyhood, shines as the emotional anchor of the group, making you feel every ounce of his determination to support his team.

Ikmal Amry, however, is a bit of a mixed bag. His performance is solid, and he brings an undeniable charisma to the screen. But in the first act, his character leans heavily into cringe territory, especially during scenes meant to showcase his over-the-top confidence. Thankfully, as the film progresses, he begins to shed the exaggerated persona, revealing a more grounded and compelling side. By the time the emotional stakes rise, Ikmal manages to win back the audience's favor, proving there's more to his character than initially meets the eye.

And then there's the comic relief trio: Jaa Suzuran, Ijeebster, and Wafiy Ilhan. Their banter and camaraderie bring levity to the film, balancing out its heavier moments. Even Syafie Naswip steps into new territory with a hot-headed character that adds a surprising spark. Special mention goes to Noki K-Clique, a newcomer who proves he's more than just a fresh face in the industry.

The visuals are another highlight. Syafiq Yusof knows how to make gaming scenes look cool. The transitions especially one involving flipping tables during a custom game feel slick and polished, almost Hollywood-level. The special effects, though not perfect, are impressive given the budget. From the camera angles to the music and lighting, every element comes together to elevate the gaming sequences.

But, for all its visual flair, the gaming scenes fall short in one crucial aspect: intensity. While the slo-mo effects and graphics are stunning, the sequences lack the nail-biting tension that should come with high-stakes competition. Part of this comes down to repetition; the same visuals of kills and eliminations over and over again, and part of it is the storytelling. The emotional beats, though heartfelt, often interrupt the flow of tension, making it hard to stay fully invested in the gameplay.

Then there's the melodrama. Oh boy. Some scenes are so over the top they border on parody. There's one particular moment that feels like a Raya ad gone haywire; tears, dramatic pauses, and all. It's not that the emotions aren't genuine; it's that they're dialed up so high they lose their impact. The constant tonal shifts between energetic gaming sequences and these heavy-handed emotional moments create a disjointed experience, leaving the audience a bit dizzy.

For fans of Mobile Legends, there's a minor gripe that might sting: Fanny, one of the game's key characters, doesn't quite match her in-game persona. Instead of floating gracefully, she walks and runs, breaking the immersion for hardcore players. It's a small detail, but one that could have been handled better.

Still, the film manages to shine in its portrayal of brotherhood and camaraderie. The bond between the teammates feels real, and even characters with limited screen time contribute to the overall warmth of the group. This is where the movie finds its heart amidst the jokes, struggles, and shared dreams of the team.

The pacing is another point in its favor. Clocking in at 139 minutes, the film doesn't feel overly long. The story flows neatly, with a beginning and ending that hit the right beats, even if some creative choices along the way falter.

Verdict: Soloz: Game of Life is a love letter to gamers, brimming with heartfelt performances, stunning visuals, and a sincere attempt to balance life's emotional weight with the thrill of competition. With 70% drama and 30% gaming, it leans heavily on its human story, offering a mix of camaraderie and passion. While its melodrama and tonal shifts hold it back from greatness, it's still an enjoyable ride for anyone who loves gaming or stories about unbreakable friendships. It's not flawless, but it's full of heart and sometimes, that's enough.

Wolf Man (2025) is a beast of a movie. Not because it's unstoppable, but because it's a lumbering creature that occasionally finds its footing but never quite figures out how to soar. Think The Fly meets A Quiet Place, blending the grotesque beauty of transformation with the weight of family survival. It's haunting, yes, but also frustratingly uneven.

Let's start with the good stuff. Christopher Abbott, as the cursed man at the heart of the story, is mesmerizing. Watching his slow descent, physically, mentally, emotionally, pulls you in. It's raw, unsettling, and at times heartbreakingly human. His performance carries the film, no question. Julia Garner, on the other hand, plays Charlotte with competence, but her character feels like a shadow of what she could've been. And Matilda Firth as Ginger? She's got potential, but it feels like she's holding back when the role demands her to go all in.

The film's biggest strength is its tension. Director Leigh Whannell knows how to stretch a moment until it feels unbearable, and there's a lot to admire about how the suspense is crafted. No very cheap scares here, just dread that builds and builds until you're gripping your seat. But as much as Wolf Man wants to keep you on edge, it has a bad habit of tripping over itself.

Here's the thing: we already know the secret. The movie is called Wolf Man. So where's the mystery? Why give away the game in the title? Imagine if they'd gone with something more ambiguous, teased out the reveal, and let us piece things together. That could've been magic. Instead, you're sitting there thinking, "Yep, there's the wolf stuff I was expecting."

The script doesn't help either. The characters' backstories are thin... like, paper-thin. We're dropped into their struggles without really caring about them, which makes it hard to root for anyone. What if we'd seen a picture-perfect family life before it all went south? What if the movie broke a few rules and let us fall in love with their joy before ripping it away? Instead, we get problems that feel like they were stapled on, not lived in.

And don't even get me started on some of the choices they make. There's one point where the family knowingly goes straight into danger with almost zero reason. It's like yelling at a horror movie character not to open the door, except this time it's, "Why are you even there?"

The pacing doesn't help either. The first act crawls, trying so hard to make you care, but without the emotional punch to back it up. By the time things pick up, you're left wondering why it took so long to get there.

Still, there's a charm to Wolf Man. The tension works, and Abbott's performance is worth the ticket price alone. It's not a bad movie, it's just not the great one it could've been. If you're into moody, atmospheric horror and can overlook some clunky storytelling, you'll find moments to sink your teeth into. But if you're expecting a masterpiece? Maybe keep your expectations on a leash.

Verdict: Wolf Man (2025) is a bold attempt at blending horror with emotional depth, delivering moments of genuine tension and a standout performance by Christopher Abbott. However, its weak character development and puzzling narrative choices dilute its impact. The film claws at greatness but struggles to sink its teeth fully into the emotional and thematic weight it aims for. While not a howling masterpiece, it's an intriguing, if flawed, addition to the creature-feature genre.

Sonic the Hedgehog 3 is a film that embraces its video game roots more than ever. For fans of the series, this third installment feels like a love letter to the franchise, staying truer to the lore and characters than its predecessors. It's a film that respects its source material, but its journey is not without a few bumps along the way.

The introduction of Shadow the Hedgehog is undoubtedly the film's highlight. Shadow is everything you'd hope for-cool, menacing, and enigmatic. His presence commands the screen, and despite being the antagonist, he's a character audiences will find hard not to adore. His dynamic with Sonic is electrifying, brimming with tension and charisma. Meanwhile, Knuckles continues to be a scene-stealer with his brash humor and camaraderie with Sonic. Tails, however, feels underutilized. She's present, but her role lacks the depth and dialogue necessary to stand out against the stronger personalities around her.

One of the boldest choices in Sonic the Hedgehog 3 is giving the human characters, Tom and Maddie, significantly less screen time. While this allows the hedgehog characters to shine, it's a double-edged sword. Tom and Maddie's mission is crucial to the story, but their limited presence leaves their roles feeling underdeveloped compared to previous films. It's a missed opportunity to further explore their relationship with Sonic and the larger narrative.

Action fans are in for a treat. The film delivers on exhilarating battles, showcasing Sonic's iconic speed and Shadow's teleportation in visually spectacular ways. However, it's disappointing that Tails and Knuckles don't get equal moments to showcase their abilities. For fans of these characters, this imbalance may feel like a letdown.

Jim Carrey, as Dr. Robotnik (Eggman), is at his most unrestrained here. His performance harks back to his slapstick brilliance of the '90s and early 2000s, channeling the same energy as his roles in The Mask and Ace Ventura. For fans of his over-the-top humor, this is a delight. However, this exaggerated style might feel grating to those who prefer a more subdued approach.

The film does falter in the middle act. The focus shifts heavily to Eggman and a new character, pulling attention away from Sonic and the hedgehogs. This segment is bogged down by repetitive jokes and a slower pace, which can feel tedious. It's a noticeable dip in momentum that interrupts the film's flow.

As the story hurtles toward its conclusion, things spiral into the absurd. The humor and action reach a level of ridiculousness that may polarize audiences. While some might enjoy the chaotic energy, others might find the tonal shift jarring, especially compared to the grounded first act.

Verdict: This is a thrilling ride that captures the heart of the franchise while delivering high-octane action and fan-favorite characters. Shadow steals the show, and the respect for the game's lore is commendable. However, some parts of the movie feel rushed, while others drag on too long. Certain characters don't get the attention they deserve, and the movie's tone shifts in ways that might feel a bit off. For die-hard fans, it's a must-watch, but casual viewers may find themselves wishing for a more balanced adventure.

Adrian Teh's Reversi is an ambitious local Malaysian film that dares to tackle the intricate concept of time travel while keeping its heart rooted in family, love, and fate. It's a rare feat in cinema to balance high-concept sci-fi with emotional depth, but Reversi makes a commendable attempt. While it shines in many aspects, it also grapples with its own complexities, leaving room for refinement.

The brilliance of Reversi lies in its ability to make the complicated seem simple. Adrian Teh unravels the knots of time travel in a way that's digestible for a general audience. The foundation of its sci-fi elements is clear, avoiding unnecessary jargon and instead presenting the mechanics in a way that serves the story. This accessibility is impressive and ensures the audience is never left behind, a testament to the director's storytelling prowess.

What sets Reversi apart is its prioritization of emotional resonance over sci-fi spectacle. At its core, this is a story about family, love, and the weight of choices. The time travel aspect is secondary, used as a vehicle to explore these deeper themes. Adrian masterfully intertwines these elements, ensuring the high-concept premise doesn't overshadow the humanity at the heart of the film.

Beto Kusyairy delivers a performance that is nothing short of extraordinary. His portrayal of Akid is layered, nuanced, and deeply affecting. Whether he's grappling with moral dilemmas or tender family moments, Beto's restrained yet powerful acting pulls the audience into his journey. His subtle expressions speak volumes, and his presence elevates the film's emotional stakes.

Shiqin Kamal also deserves mention for her commendable performance, though she doesn't quite reach Beto's level. Her moments of emotional intensity sometimes feel forced, as though they were more crafted than felt. However, when she's in sync with her character's emotions, she brings depth and authenticity that complement the story's drama.

The visual effects in Reversi are a pleasant surprise. For a local production, the CGI is a step above, particularly the younger version of Akid, which, while slightly animated, doesn't detract from the storytelling. The creative use of visual elements like slow motion and freeze frames adds flair, making the film's presentation feel polished and engaging.

However, Reversi does falter in a few areas. The film borrows heavily from various sci-fi movies and series, creating a patchwork of ideas that sometimes feels excessive. While the concept is intriguing, it lacks the tightness and coherence to truly stand out. Akid's time travel powers, for example, are explained as a gift from God, which feels like an easy way out for a concept that could have been explored more rigorously.

The film also struggles with tonal consistency. Some scenes shift abruptly from serious drama to dark comedy, creating a jarring experience for the audience. These tonal shifts, while bold, often feel out of place and detract from the story's emotional impact.

Verdict: Reversi is a bold and heartfelt effort that blends sci-fi with deeply personal themes. It's a film that takes risks, and while not all of them pay off, it's a commendable addition to Malaysian cinema. With its emotional core and thought-provoking premise, it's a movie worth watching, even if it occasionally stumbles under the weight of its ambition.

Babah, a Malaysian film that dives into the struggles and love of a father for his family, is a movie that tugs at the heartstrings, even if it doesn't always hit its emotional marks. It's a sincere, genuine effort to celebrate the resilience and sacrifices of fathers, making it a story that feels personal and deeply rooted in love and care. However, its execution leaves room for improvement, particularly in its storytelling depth and pacing.

The strongest aspect of Babah lies in its heart. The film captures the journey of a father with tenderness and authenticity, portraying his sacrifices and dedication to his family in a way that feels both universal and uniquely Malaysian. The first half of the movie is especially impactful, showing the grit and perseverance of Babah as he navigates life's challenges to provide for his daughter. It's in these moments that the movie truly shines, resonating with anyone who has witnessed or experienced the quiet heroism of a father.

The wedding scene stands out as a particularly poignant moment. It's a scene that will either make you reminisce about the love and care you've received from your own dad or evoke a longing for what you wish you had. It's emotional, raw, and sincere-a perfect encapsulation of the film's intent to celebrate fatherhood.

However, the second half of Babah stumbles as the focus shifts away from the titular character to his daughter. While her story is compelling in parts, the shift feels abrupt and diminishes the emotional connection built in the first half. Babah, who should remain the heart of the story, becomes sidelined, leaving viewers longing for more depth and continuity in his journey.

The film's pacing also suffers due to frequent time jumps. Scenes that skip several years between events make the story feel fragmented and hollow, preventing moments from fully breathing. The narrative feels like a "fill in the blanks" exercise, robbing the audience of a deeper emotional connection. While some scenes stretch on for minutes, they're often followed by rushed sequences that disrupt the rhythm of the storytelling.

In terms of performances, Qi Razali is a standout as Babah. He embodies the character with such authenticity that it's impossible not to see your own father in his portrayal. His warmth, strength, and vulnerability make Babah a character worth rooting for. Sweet Qismina and Adam Lee deliver commendable performances, though Sweet's portrayal occasionally feels overdone. Cristina Suzanne, while strong in her moments, is let down by a script that doesn't fully utilize her character.

Visually, the film's color grading is a triumph. The use of a mustard yellow palette for the past and a richer, more saturated look for the present beautifully captures the essence of each era. It's a small but impactful touch that adds layers to the film's atmosphere and storytelling.

As for its emotional impact, Babah largely depends on the viewer's personal experiences. For some, it might be a tearjerker; for others, the time gaps and lack of depth might prevent full immersion in its emotional beats.

Verdict: Babah is a heartfelt film with a clear message of love, sacrifice, and the complexities of fatherhood. While it falters in depth and pacing, it's still worth watching, especially for its sincere portrayal of a father's unwavering devotion. It's a movie that celebrates family, even if it doesn't fully realize its potential.

Stepping back into Middle-earth through The War of the Rohirrim is like revisiting an old friend-familiar and comforting, but with a few moments where things feel just a bit off. While the film has its shortcomings, it still carries the essence of Tolkien's world and provides an intriguing glimpse into Rohan's history.

The story centers on Helm Hammerhand, a character whose legacy resonates deeply in Rohan's lore. There's an undeniable charm in revisiting this part of Middle-earth, as the movie stays true to the spirit of the franchise. For die-hard fans, this adherence to the lore is a relief. It feels like a respectful prequel that carefully weaves its narrative into the grand tapestry of The Lord of the Rings. Though the connections are subtle, they're there, and they'll bring a smile to those familiar with the world.

That being said, the story itself feels a bit too straightforward. It doesn't carry the weight or complexity one might expect from Middle-earth. The narrative leans heavily on familiar fantasy tropes and lacks the freshness that could have made it stand out. For fans of anime, the format might also come as a slight disappointment. Anime is often synonymous with bold, creative storytelling, but this film opts for a safer, more conventional approach. It's not bad, but it misses an opportunity to embrace the unique strengths of the medium.

The characters are a mixed bag. Helm Hammerhand, despite being the titular character, fades into the background as the story progresses. It's frustrating because his character has so much potential to lead the narrative. Héra, his daughter, brings a spark of strength and resilience, and while she doesn't quite match the depth of Tolkien's more iconic characters, she does offer moments of emotional connection. Her journey has heart, even if it doesn't reach the heights of Frodo's or Aragorn's.

Visually, the film delivers some stunning moments, capturing the beauty of Middle-earth in the anime style. There are breathtaking shots of Rohan's vast landscapes, but the visuals don't stay consistent. At times, they feel unpolished, and the inconsistency can be distracting. However, the effort to bring Middle-earth to life in a new way is still commendable. It's a bold step, even if it stumbles along the way.

The pacing could have been tighter. While the dialogue-heavy scenes stretch on, some of the action sequences feel rushed. This imbalance makes the film's emotional rhythm a little uneven, but it doesn't take away from the love and care that clearly went into crafting the world and its lore.

Verdict: The War of the Rohirrim is a mixed bag. It respects the lore and offers a prequel that fits into the world of Middle-earth, but it lacks the heart, intrigue, and polish of its predecessors. Die-hard fans of The Lord of the Rings may find moments to appreciate, but casual viewers or anime enthusiasts might walk away feeling this tale of Rohan's past simply didn't rise to the occasion.

Lembayung, starring the ever-promising Anna Jobling, is not your typical horror film. From the outset, it sets itself apart with a storyline that doesn't lean on tired tropes of haunted houses or exorcisms. Instead, it boldly delves into themes of sexual harassment, consent, and female empowerment-topics rarely explored in commercial horror films. This fresh approach is the film's biggest strength, offering a narrative weight that feels significant, yet never overbearing for a mass-market audience. The writers deserve commendation for crafting a story that resonates on such a profound level while still retaining its entertainment value.

Anna Jobling shines in her role, proving herself as a fast learner and a formidable talent. Her performance reflects growth and a deeper understanding of her craft, particularly in scenes that demand vulnerability and intensity. Her ghostly portrayal, while limited by makeup and CGI shortcomings, is a testament to her ability to elevate material through sheer presence.

Unfortunately, Lembayung stumbles in its technical execution. The makeup and CGI, while nostalgic in their intent, fall short of delivering the chilling visuals that today's audiences expect. The effort to use practical effects over heavy reliance on CGI is appreciated, evoking memories of classic horror films. Yet, the execution lacked finesse, leaving much to be desired.

The film's pacing and tonal shifts, however, are where it truly falters. Lembayung begins with a promising buildup-moody, atmospheric, and genuinely unsettling. But as the story progresses, the scares fade, replaced by moments of unintentional humor. By the time the climax rolls around, the film veers into chaos, with loose plotting and over-the-top creative decisions that undermine its initial promise. Characters benefit from improbable plot armor, and the climactic resolution feels rushed and unearned, leaving audiences scratching their heads rather than gripping their seats.

For those expecting consistent thrills, the slow pacing and diminishing scare factor may disappoint. The film, though moderately interesting in its narrative, fails to sustain the tension needed to keep viewers on edge. The gradual shift from eerie to absurd undoes much of the excellent groundwork laid in the first act, leaving a sense of unmet potential.

Verdict: Lembayung is a paradox-a film that starts strong but progressively loses its way. It's a brave attempt to inject meaningful themes into the horror genre, and for that alone, it deserves recognition. However, its technical flaws and uneven storytelling hold it back from being truly memorable. While Anna Jobling's performance and the film's unique ideation stand out, Lembayung ultimately feels like a missed opportunity, teetering on the edge of greatness but never quite reaching it.

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.

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 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, 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, 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.

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 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 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!

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!

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 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!