iamianiman Reviews (124)

Mission: Impossible - The Final Reckoning (2025)

This Isn't Just a Movie. It's a Goodbye Love Letter to Tom Cruise.

[6/10 · 17 May 2025]

There are some actors who do not just play a role. They live it. They breathe it. They are it. And Tom Cruise as Ethan Hunt is exactly that. Watching The Final Reckoning feels like sitting in a dark room filled with decades of memories, missions, betrayals, and near-death experiences and quietly realizing it might be the last time we see this man sprint toward danger for our entertainment. If this really is the end, then what a journey it has been.

This film is not just about espionage, global threats, or saving the world. At its very core, it is a cinematic love letter to Tom Cruise. From the very first shot, the camera practically worships him. And honestly, we do too. He is Mission: Impossible. It's almost as if the film pauses just long enough to let us appreciate the legacy he's built. The real bruises, the real fear in his eyes, the real wind slamming against his face thousands of feet in the air. When they say he does his own stunts, this movie is the ultimate proof of that.

There's one sequence, a 20-minute spectacle involving planes, that had us gripping the edge of our seats. Not because it was over-the-top, but because it felt so damn real. The positioning of the cameras, the roaring sound of the engines, the barely visible tremble in Ethan's muscles. All of it screams authenticity. You could feel the gravity. You could feel the weight. And you could tell Cruise was putting every drop of himself into it. It is art through adrenaline.

But The Final Reckoning is not perfect. And maybe it was never meant to be.

This installment chooses not to waste time diving into backstories or emotional flashbacks. It is mission first, emotions later. And while that does keep the pace laser-focused for the most part, it also comes with a cost. Some fans may feel like the heart, the soul, the "why should I care?" moments, are few and far between. At times, it feels like the movie is sprinting only toward its mission goal that it forgets everything else.

What we admire, though, is how The Final Reckoning ties itself beautifully to the past. It is not trying to create a brand new mission. It is not throwing a bunch of new characters into the mix. It is solving what Dead Reckoning left behind, and in doing so, it loops itself tightly around the other past six films. It closes loops. It answers questions. It brings emotional closure to threads that have been hanging for years. There's a certain bravery in doing that, of focusing on one mission and choosing not to open new doors just for the sake of future films.

And then there's the villain. This antagonist is not just a bad guy, he is intangible. He is near God-like. The stakes are sky-high. It genuinely feels impossible. Like, actually impossible. It puts Ethan and his team in a corner where every second counts. Time is running out. Stake is at all-time high. It is everything we want in a Mission: Impossible film. It dares to make us believe the heroes may not win this time. That someone might not make it out alive.

Here's where the main issue lies; this final installment felt very long-winded. It feels like it wants to tell you everything. It seems like it takes itself seriously... way too seriously even. It really does feel like it makes itself looks complex much more than what it is and what it's supposed to be.

Some scenes also stretched out very long, like they wanted audience to listen to every word or watch at every action that took place. The pacing is very slow. One scene can go up to 7-8 minutes of what could have been cut to just about 3-4 minutes. It wants it to be very detailed but here's the thing. It's dour. It can be a bit dull. And because of that, some audience may lost interest in the movie. It gives you a lot of expositions that can feel too much for some especially if you're not that invested with the franchise or if you've forgotten a lot of details from the previous movies.

There is also an underwater sequence teased in the trailers that promises something epic. And visually, it delivers. But emotionally and logically? It breaks the very rules this franchise has set up for years. This is the first time it felt like the story needed Cruise to have a bit of CGI help. A bit of plot armor. And that hurts. Because we know he is capable of doing the impossible. But here, it feels like the movie cheated its way to impress the audience. And that matters to us.

And yes, the tone itself is gritty. It wants to be raw. It wants to be as realistic as it can. It wants the audience to immerse itself with Ethan Hunt to complete this final mission. Some may get into it. Some others may just feel tedious waiting for the next scene to happen. But here's one thing they forget; with all the grittiness that lies, it forgets to be entertaining for the mass market. The entertainment value in this is lacking for general audience. Everything that's entertaining with Fallout was almost devoid here. What made Fallout great was even with all the grittiness and the grainy tone, its entertainment value is top notch and high octane. It knows its target audience, it has the right balance of action, comedy, drama and romance. But The Final Reckoning forgets that part. Just serious faces doing serious things for almost 3 hours. The film forgets how to have fun. It forgets that people come to be thrilled and entertained. And that lack of balance makes the ride feel a little heavier than it should be.

And finally, the ending. Is it satisfying? In some ways, yes. It gives us closure. It gives us enough to walk away with peace. But is it great? That's debatable. It could have used more 'heart'. It could have reached deeper. It ends with the feeling that maybe, just maybe, we're not actually done. That there might be more in the vault. And in today's Hollywood with reboots and sequels era, that's not hard to believe.

Verdict: This one takes itself seriously. Way too seriously. It drowns in exposition, stretches scenes beyond their breaking point, and forgets that people came here to feel alive, not just overwhelmed. It forgets to breathe. It forgets to have fun. But maybe that's the point. The Final Reckoning is a heavy, brooding farewell that wants to honor Ethan Hunt and Tom Cruise with the gravitas of a cinematic eulogy. Because this feels like the last time we'll see him this raw, this real. His 20-minute plane sequence alone is worth the ticket. If this really is the end, The Final Reckoning isn't flawless but it is fearless. Thank you, Tom Cruise.

Final Destination: Bloodlines (2025)

The Kills Are Over-the-Top, the Tone Is Disney Channel... and We Kinda Loved It?

[6/10 · 14 May 2025]

It's wild to say this, but after five movies and more than two decades, Final Destination somehow still has life left in it. Or rather, death. And this time, it hits a little closer to home. Bloodlines isn't just about unlucky strangers cheating fate anymore but it's about family. And with that shift, the stakes suddenly feel heavier, the emotions more raw. Because when death comes for the blood, it's not just fear you feel. It's grief. It's guilt. It's love. And maybe that's why this entry stands out, for better or worse.

Let's start with the concept. Family has never been the center of this franchise. We've seen classmates, co-workers, and acquaintances on the run from death, but this time, we're watching people who genuinely care for each other fall into that cycle. That makes a huge difference. It hurts more. It hits deeper. And yeah, it makes us wonder, if it were your family, how far would you go to stop the inevitable?

Also, credit where it's due. The film tries something new with the opening accident. No highways, no planes, no race tracks or suspension bridges. This time, it all kicks off in a high-rise restaurant. That shift alone already breathes new life into the formula. It's unexpected. It's acrophobic. It's oddly elegant and terrifying at the same time. But don't get too excited, if you were hoping for the long-awaited ship or water-related disaster (like many of us were), this ain't it.

Now, let's talk about the gore. We know why you're here. And yes, the deaths are brutal. Bloody. Wild. There were moments we flinched, moments we squirmed, moments we covered our eyes and peeked through our fingers. But as great as some of those sequences were, they don't quite reach the unforgettable horror of FD 2 or 3. Why? Because it uses too much CGI. The deaths feel animated and not in a good way. There's something about practical effects that stick with you, that disturb you long after the credits roll. Bloodlines often trades that realism for spectacle, and in doing so, it loses a bit of its bite.

The suspense is honestly a hit or miss. Part of what made Final Destination so scary was how simple the deaths were. The log truck that caused generational trauma, the tanning bed that was caused by dripping water, the escalator that was merely simple but very traumatizing, the lasik eye surgery that could happen basically to anyone. They made you fear your own bathroom. But here, some of the deaths feel too 'engineered'. Like fate had to go through a hundred different steps and a sprinkle of miracles just to make them happen. That makes it less scary, less grounded. It becomes a "movie death," not a "this could happen to me" death.

And that brings us to tone. This one's tricky. Bloodlines has this weird, goofy energy that feels like it wandered in from another genre. While we have cloudy sombre mood in Final Destination 2 or gothic rock look in Final Destination 3, this one felt goofy overall. It's still horror, yes, but it sometimes flirts a little too hard with comedy and not in the smart, dark humor way. Some of the jokes land, but a few feel way out of place. Like they belong in a Nickelodeon teen movie, not a franchise built on dread and doom. It felt comical and fantasy-like. You can definitely feel the directors' Disney Channel DNA in there especially in how some of the dialogue is written and delivered (Remember, they directed the live-action Kim Possible Movie fore real). A few lines honestly made us laugh, not because they were funny, but because they felt awkwardly placed or just plain corny.

But even with the tonal whiplash, the movie does do a few things really well. The balance between drama and horror is actually quite solid in some scenes. There are moments where you do care about the characters, their grief, their confusion, their desperation. There's one particular scene involving a sibling that really tugged at the heart. And those are the moments where Bloodlines reminds us what this franchise can be when it isn't trying to be too clever or too loud.

There are also some nice throwbacks for longtime fans but it's blink-and-you'll-miss-it easter eggs like a passing log truck, a familiar hospital name (Clear River, anyone?), and references to past characters or deaths. It's fan service, sure, but in a sweet, subtle way. Not overbearing. Just enough to make you smile but in fear.

Unfortunately, the pacing could've been tighter. The first half is a slow burn, and if you came in expecting death after death like Final Destination 2 or 4, you might be let down. This feels more like the first film. The story drives the engine, and the deaths are pit stops along the way. The final climax was mid. It doesn't really feel like that was supposed to be the climax of the movie. They could have explored more on how they could have impacted the story or the deaths more but what we got was a mid climax that felt boring and meh. It just doesn't build up to that edge-of-your-seat tension we were hoping for. It fizzles, rather than explodes.

We need to be honest about the visuals. Some of the camera work, lighting choices and delivery of dialogues just feel... off. Almost like you're watching an 18+ TV show rather than a polished horror film. At times it looks cheap, which is disappointing because this series deserves to feel cinematic. The horror deserves weight. Gravity. Darkness. Instead, it occasionally feels like a high-budget student film with B to C-list actors.

Still, despite all of that, we can't lie. We had fun. It gave us chills. It made us look over our shoulder. And more than anything, it reminded us that the Final Destination series still knows how to make death feel terrifyingly inevitable.

Verdict: After five films and a long break, Final Destination: Bloodlines doesn't just bring the franchise back - it rewires it. It's flawed, yes. The CGI bleeds into the kills too much. The goofy tone doesn't always match the stakes. But it hits deep. This isn't just about death anymore. It's about love, guilt, and what it means to lose someone you'd die for. Sure, some deaths feel too engineered, and yes, the tone sometimes slips into Nickelodeon-territory, but there's a real beating heart underneath the chaos. The CGI may cheapen the gore, but it still made us squirm, look away, and nervously laugh all in the same breath. It's not the scariest entry but it might be the most 'human'. And for a series known for senseless carnage, that's a wild achievement.

Thunderbolts* (2025)

Thunderbolts Doesn't Fight Monsters. It Fights Depression, Trauma, and Isolation

[8/10 · 1 May 2025]

Thunderbolts* is unlike anything we've seen before in a superhero blockbuster. Its bold focus on mental health is the beating heart of the film, shaping the story in a way that's refreshingly original. We've had plenty of superhero (and anti-hero) movies, but none have tackled mental health as deeply or as honestly as this. This is as fresh as it gets, and the film hits its message squarely on the mark. Could that message have been louder or more powerful? Absolutely. But is it enough for audiences to understand, feel, and reflect on? Without a doubt. It's a gem that invites viewers to empathize, to look inward, and to recognize the struggles of those around them. In many ways, Thunderbolts feels like a superhero in its own right, delivering a powerful PSA that's woven seamlessly into the narrative rather than feeling tacked on.

We're in love with the concept here; an anti-hero film built around mental health. It makes the story and the character arcs far deeper and more meaningful than they'd be if these were just your typical caped crusaders. Thunderbolts* is the MCU's rawest exploration of mental health to date. We've heard the words "trauma" and "healing" tossed around in superhero flicks before like WandaVision, but this is different. This film doesn't just mention the weight of mental health, it lives in it. Yelena's story, in particular, has been carefully nurtured since Phase 4, and the decision to continue her journey down this road is nothing short of brilliant. Yelena, like Black Widow before her, isn't a superhero with powers. She's human. She's flawed, resilient, and painfully relatable and that makes her journey hit even harder.

We actually like the character dynamics between the anti-heroes. We like that every of their personality shines. Their dynamics push the film's mental health themes even further. These might have been the underdogs of previous movies, characters we barely remembered but here, they get their moment. And wow, do they deliver. Each one gets time to prove they're so much more than sidekicks or forgotten faces and by the end, you can't help but root for them.

What's especially moving is how much these characters matter both to themselves and to each other. They've all been torn down, denigrated, beaten back, and made to feel like the world is against them. They're loners by nature, forced into the uncomfortable space of working as a team for the first time. Watching them navigate that, to lean on each other when things fall apart, is both heartwarming and powerful. It's a clear reminder of the importance of friendship, of admitting when you need help, and of realizing that none of us can do it all alone.

The action sequences in this are great. It's a blast watching everyone throw down and show off their skills. But here's the thing, while the action is awesome, it's not what makes this film great. This movie proves that a superhero film doesn't need to lean on endless explosions to leave an impact. The story itself is raw, human, and beautifully told and that is more than enough. That's why Thunderbolts* stands tall in the post-Endgame era. The action is tight, but the storytelling is what really puts it over the top.

And guess what? They didn't rely on cameos. We could safely say that Deadpool vs Wolverine, Spider-Man: No Way Home and Thunderbolts* are the top 3 films after Avengers Endgame but what Thunderbolts* sets apart from the other two is it's the only one that doesn't rely on cameos. It doesn't need nostalgic bait, it doesn't need 'help' from anyone, it's just them trying to save the day and trying to figure out how to solve the problems they are in. And we love them for it.

Florence Pugh, as always, is a knockout. She's never missed a beat, and once again, she's phenomenal here. Her accent might not be perfect, but who cares? She's a powerhouse, carrying the weight of a character struggling with identity and searching for meaning. She's the voice of so many who feel lost or stuck, and Pugh brings that to life with so much heart. She's a beacon of hope, a reminder that even when it feels impossible, there's light at the end of the tunnel. The rest of the cast? Stellar too. Lewis Pullman deserves a special shoutout. He proves here that he's a force to be reckoned with. Forget the early skepticism about his casting. He owns it completely, and Hollywood seriously needs to give this guy more credit.

And yes, Malaysia plays a huge role in this film and the Menara Merdeka 118 shot is breathtaking. Instead of the usual sunny, warm tones we often see, the film opts for a moodier palette blue, dark, and cloudy which beautifully matches the film's somber, reflective theme. It just fits.

The third act really dives deep into the mental health themes, in a way that feels raw and personal. The true villain here isn't a monster or alien, it's the demons we all battle inside. It emphasizes this theme in a way that feels plausible, personable and relatable. A villain that lives within all of us. A villain that everyone of us has battled against in some way and some parts in our lives. How much you connect with the film might depend on how you view your life and how much experience you've dealt with but one thing's for sure, it'll leave you thinking long after the credits roll.

Was anything wasted in this film? There is one. One character didn't get nearly the spotlight they deserved. Everyone else got their moment to shine except for one and that felt like a missed opportunity.

As for the comedy, it's hit and miss. Some of it lands really well. The belly-laugh kind of good while other moments fall flat or feel a bit forced. Some jokes could've used a little more setup, and a few felt repetitive, but overall, there's enough good humor sprinkled in.

We did feel like the third act could have fleshed out more. It could have used more breathing room. It moves fast, too fast at times and some moments feel rushed or a bit disjointed. If they'd let things simmer just a bit longer, it could have been even more impactful.

And yes, Thunderbolts* has 2 credits scene. The first one is simply light and funny which is bearable enough but the second one will hype everyone up for what's to come. Not that it's important to reveal it at the end credits but with audience losing hope for the future of MCU, this will get everyone back on their feet, cheering and hoping that Phase 6 will be the same with what Phase 3 had to offer...or at least almost.

Verdict: Thunderbolts* is the anti-hero film we didn't know we needed. It delivers a story rooted in something we all face: mental health. This is raw. It's personal. And it feels relatable and real. It explores themes of isolation, trauma, and the power of asking for help, making it one of the MCU's most personal stories yet. It ditches the nostalgia bait and focuses on characters wrestling with their own demons, making their journeys relatable and impactful. The action is tight, but it's the emotional weight that truly lands (Yes, we did cry a bit). Florence Pugh leads with power and vulnerability, backed by a stellar cast and the famous Malaysia's Menara Merdeka 118 isn't just cinematic, it symbolizes the towering weight these characters carry. Thank you, Marvel.

Blood Brothers: Bara Naga (2025)

Hollywood Spends Hundreds. Blood Brothers Spent RM7 Million Budget. This Movie Just Smacked Hollywood Across The Face.

[7/10 · 9 April 2025]

There's a moment in Blood Brothers: Bara Naga where you just know this is not just another local action flick. You feel it in your gut. In the way the camera glides. In the slow drag of a cigarette. In the sound of a punch that doesn't just thud, it hurts. This is a film that kicks down the doors of Malaysian cinema and shouts, "We're here, and we're playing with the big boys now."

Syafiq Yusof, already a household name, returns but this time, something's different. With Abhilash Chandra co-steering this beast, it's like divine intervention. What they've created together is more than a movie, it's a statement. One that says: We are capable. We are ready. We can make cinema that rivals anything across the globe.

From the opening frame, the stakes feel high. There's a weight. A richness. A maturity in the storytelling that is rare in our local blockbusters. It doesn't just rush into the action. It builds. It earns your attention. You don't feel like you're watching a popcorn flick, you feel like you're inside a world with rules, texture, danger. The story might be predictable for some especially moviegoers but the way the story unfolds is just pure elegance and with strong slippery slopes that are worthy of all our attention.

And when the action hits? Chef's kiss. This is choreography that isn't just technically solid, it's cinematic. Visceral. You don't see the punches, you feel them. It's got that Kahar Kapla energy. Raw. Real. Dirty in the best way. Every gunshot echoes with weight. Every knife slice makes you wince. And let's talk about that sound design. You know how, in the past, whenever someone punched a guy or shot a gun, it always felt 'fake'? Like the sound effects were straight from a low-budget action game "dush dush dum" everywhere and it just ruined the experience. Blood Brothers: Bara Naga said no more of that. The sound here is clean, sharp, and grounded. Almost everything was neat and polished... finally.

And the camera work? Easily the best we've ever seen in a Malaysian action film. Every shot is soaked in intention. It is BEAUTIFUL. This is what modern filmmaking looks like. It doesn't feel like another "local" film with average camera quality. The lighting, too, plays a huge role in creating the world of the story, it's sleek, it's stylish, it fits the underworld tone. It's as if the lighting choices are characters themselves. They amplify the mood and atmosphere. Syafiq and Abhilash, please keep using whatever cameras or magic you used here because the results? Magnifique.

Sharnaaz Ahmad as Ghaz is a revelation. Menacing, commanding, yet magnetic. The kind of performance that makes people say, "He was born to play this role." Syafiq Kyle balances him out beautifully. A quiet storm, simmering with inner fire. Shukri Yahaya surprises in a role that lets him break free. Zamarul Hisyam delivers lines with weight, clarity, and elegance. He's the best at speaking out his dialogues. Some sentences are meant to be awkward but he delivers it almost flawlessly. Just WOW. Amelia Henderson keeps getting better, and Tracie Sinidol? Total respect. Not an ounce of Sabahan slip, she delivers exactly what the role demanded. Everyone brought their A-game.

And yes, we noticed and appreciated all the little 'cool' moments the directors brought to life. From the way people walk, to the way they flick a lighter to how the production design was intricately done especially the interiors, this film oozes stylized swagger. You don't just watch these characters, you want to be them. That's how you know they did it right and have succeeded in doing a commercial blockbuster action film.

But hey, let's be honest. Not everything lands perfectly. We really felt like Syazwan Zulkifly's character belonged in a completely different film. He's the comic relief and we get it, to impress the mass market, they would usually need one person to do the comedy. But damn, his character really messes the mood and tone of the film. It's very good the first 20-25 minutes up until his character appears and the tone is a mess. It is jarring. It has a problem trying to Yin-and-Yang the tone of this film. Don't get us wrong, Syazwan did a great job with the script that he was given. But we feel like if they could have toned down the comedy a bit, it would be so much better.

And one thing they can improve is with the script or editing with how they showed the 'true brotherhood' element in this film. We feel like they could have given more genuine brotherhood moments between the characters to land a great impact later in the film. There were moments and opportunities for deeper emotional connections, but they were rushed. A tighter script or smarter edit could've elevated those emotional beats. Close-up shots, longer silences, a single tear, missed chances, man. Just a few more seconds, and they could've landed real impact. Example, there was a scene when Sharnaaz and Syafiq's characters hugged each other, it was a brief one and the cameras didn't pan close-up to the characters' face. Every time they had a chance to let the characters express more emotions, they didn't maximize them. This is important for the first act because it creates a surface and texture to what will come next.

Oh yes, we also like how this film borrowed and were inspired by some of the iconic scenes from Hollywood films and decided to use them. The opening with Ray Dap Dap had serious Sicario (2015) vibes. There was even a little Ant-Man-style storytelling in a scene with Syafiq Kyle and Syazwan. One fight looked like it was plucked from Civil War's Iron Man vs Cap & Bucky showdown. And that motorcycle scene with Sharnaaz cam straight outta Jax Teller's playbook in Sons of Anarchy. And the film as a whole had us reminded of A Better Tomorrow. But the key thing is this, it didn't feel like copying. It felt like honest inspiration, reimagined with local flair. Could they have gone for something more original? Sure. But we were still grinning spotting all those moments. Seeing these iconic scenes come to life in a local film? It was a joy.

Verdict: This is a turning point for the Malaysia flm industry. It's the moment you realise... 'we've arrived'. We can shoot, cut, act, and craft stories that stand tall on the global stage. With razor-sharp action, god-tier visuals, and a swagger that drips from every frame, its ambition and execution deserve serious praise. Flaws? Sure. But when a film swings this hard and hits this loud, you feel it. Is this better than Sheriff (2024)? DEFINITELY. This is a game-changer. This is a near-masterpiece for an action blockbuster film and yes, we're comparing this on a worldwide scale. Hats off, Syafiq Yusof & Abhilash Chandra.

A Working Man (2025)

Jason Statham Punches, Kicks, and Defies Logic Once Again

[5/10 · 3 April 2025]

Does A Working Man feel like just another Jason Statham action flick? Yes. But does that make it any less fun? Well... that depends on what you're looking for.

The film kicks off with a surprisingly grounded premise. Jason Statham plays a regular construction worker, a man with a past but no flashy title. No secret agent, no assassin, no ex-special forces (well, technically, but let's ignore that for now). He's just a guy trying to live a normal life. It's a refreshing take, reminiscent of Nobody, where an everyday man is forced to pick up his fists once again. And for a while, it works. The character feels raw, a little more relatable than Statham's usual superhuman roles.

But then, as the movie rolls on... that realism starts to fade. The plot thins out, relying solely on the idea of a man trying to save his boss' family. There's an attempt at a moral dilemma, but it never digs deep enough. No real thematic weight, no extra layers. It's just "find the bad guys, fight the bad guys, move to the next scene." And while that formula has worked for countless action films before, here, it feels like they missed an opportunity to elevate the story beyond the bare minimum.

And let's talk about the action because, of course, that's what we're really here for. Statham's character is supposed to be a regular guy, but the way he fights? Flawless. Too flawless. This man is dodging attacks and knocking out bad guys like he never left the military. It strips away any tension or stakes. The fights are fun, but they lack grit. We never once feel like he's in real danger because let's be honest his plot armor is stronger than a steel beam at his construction site. By the second half, it becomes almost comical. You know exactly what's going to happen, and while that predictability is comforting for some, it also makes the film feel hollow.

And yet... we still had quite a fun time. As ridiculous and over-the-top as it is, A Working Man delivers exactly what you expect from a Jason Statham movie. It's a guilty pleasure; cheesy, predictable, but undeniably entertaining. If you go in knowing that, you'll have a decent time.

Verdict: A Working Man is pure, unfiltered Statham; fast punches, serious glares, and logic-defying action. It's entertaining in a "turn-off-your-brain" kind of way, but if you're hoping for depth or surprises, you won't find them here. It's ridiculous, it's excessive, but hey, it's also fun! Just don't expect The Raid levels of realism.

Novocaine (2025)

It Could've Been John Wick With the Ability of Deadpool, But It Was Just Alright.

[4/10 · 14 March 2025]

Novocaine (2025) is a movie that had so much potential and you can feel it trying, you really can. But it just doesn't quite hit the mark. It's one of those films that has a brilliant concept, a killer lead performance, and moments of sheer creativity... but somehow still leaves you wanting more.

Let's start with the best part: Jack Quaid. As Nathan Caine, he's absolutely awesome. Quaid brings this perfect mix of vulnerability, awkwardness, and unexpected badassery. His character feels like a blend of his role in The Boys and Aaron Taylor-Johnson's Kick-Ass but with his own unique twist. There's a familiar Hughie Campbell energy to Nathan, but Quaid makes sure you know this is a different guy. He's funny, relatable, and totally convincing as a man who can't feel pain. Honestly, his performance alone keeps the movie afloat.

But here's the problem, the film never fully capitalizes on its amazing premise. Nathan's inability to feel physical pain is a fascinating concept, and while there are moments where the movie gets creative with it, those moments are too few and far between. When it does show the bizarre and dangerous things he can do because of this "power," it's awesome but it leaves you wondering why they didn't push it even further. This could've been Crank levels of chaos, or John Wick levels of adrenaline. Instead, the film feels sluggish. Not exactly boring, but lazy. It's got energy, but it never quite reaches the edge-of-your-seat intensity it's aiming for. But keep in mind that the gore is creative and satisfying nevertheless.

The story itself is simple. Maybe too simple. Nathan Caine is an everyday nobody who suddenly has to save his girlfriend, and while we appreciate how grounded and relatable his character is, the stakes feel pretty low. He only fights about half a dozen bad guys, so if you're expecting an all-out, one-man-army situation like John Wick or Nobody, you'll be disappointed. That said, the film does manage to balance its more grounded approach with some absolutely brutal, bloody fight scenes. It's gory, it's messy, and it's definitely entertaining but again, it could've gone even harder. The creativity is there, but they just don't go all-in.

Another issue? A major twist gets revealed way too early. And it's frustrating because you can literally see the perfect moment near the end where they could've dropped that bombshell for maximum impact. Instead, the early reveal drains some of the tension and leaves you waiting for the movie to catch up to what you already know.

As for the humor, it's hit or miss. When the comedy plays off Nathan's inability to feel pain, it's gold. We laughed out loud more than a few times thanks to Quaid's impeccable delivery and priceless expressions. But when the jokes veer away from that, they often fall flat, sometimes even veering into cringe territory.

Verdict: Novocaine (2025) is a mixed bag. It's a just-enough entertaining but flawed action-comedy with flashes of brilliance. Jack Quaid's performance is worth the price of admission alone. However, the film never quite reaches its full potential. It's a movie with a killer concept that only half delivers. Entertaining? Sure. It still delivers enough bloody fun and heart to keep you hooked. But it leaves you wishing for what could've been.

Ne Zha 2 (2025)

As Epic As Avengers: Infinity War & Lord of the Rings

[7/10 · 12 March 2025]

Ne Zha 2 (2025) is an absolute spectacle. It is a film that reaches for epic-ness and grabs it with both hands. It stands shoulder to shoulder with the likes of Lord of the Rings, Avengers: Infinity War, and One Piece: Stampede. This isn't just a sequel, it's a bigger, bolder, and more emotionally charged adventure that refuses to let you go.

One of the film's greatest strengths is its scope. The stakes are higher, the world is larger, and the storytelling reaches new heights. Picking up almost immediately after the first film, we see Ne Zha's journey continue but this time, he's grown. The mischievous, cheeky, and stubborn hero we loved is still here, but there's a maturity in his actions now. He understands what's at stake, and that growth is one of the film's most rewarding aspects.

The expansion of the world brings new characters into the fold, and they're not just there for show. Each new face fits seamlessly into the story and adds depth to the narrative. The worldbuilding in Ne Zha 2 is impressive, and every character serves a purpose whether it's pushing the story forward or helping Ne Zha evolve.

Visually, the film has leveled up. The animation has improved so much compared to its predecessor. While it may not yet rival Hollywood heavyweights like Beyond the Spider-Verse or Toy Story, the quality within the Chinese animation industry has clearly taken a massive step forward. The textures are richer, the colors more vibrant, and the details more intricate. Every frame is a feast for the eyes.

The sound design is another standout. Crisp, sharp, and perfectly timed, the sound effects make every action sequence feel immersive. When the fighting starts and oh, does it start, you feel every impact. The final hour is an all-out action extravaganza. It's a relentless, adrenaline-pumping ride that could easily become overwhelming, but Ne Zha 2 balances the chaos with a compelling story. Even in the midst of battle, there's heart and purpose driving every punch and clash.

That said, the film does stumble a bit in its ambition. The longer it goes, the messier it gets. With so many subplots and moving parts, it occasionally feels like it's trying to do too much at once. But even in its messiness, the film never loses its entertainment value. It's a ride you'll gladly stay on, even when it gets a little bumpy.

At its core, Ne Zha 2 is a story about growth, redemption, and the battle between good and evil. It delivers powerful morals: that not every bad person stays bad, and not every good person remains good. It reminds us not to judge by appearances and to believe in change. These lessons, wrapped in a dazzling, action-packed adventure, make this a perfect film for families.

Verdict: Ne Zha 2 is the best 2025 movie yet. It surpasses its predecessor in almost every way. It's visually stunning, emotionally resonant, and wildly entertaining. Despite a few narrative stumbles, it remains a heart-pounding, epic journey that leaves you both breathless and inspired.

Mickey 17 (2025)

Robert Pattinson's Best Performance Yet? Mickey 17 Might Just Be It

[7/10 · 10 March 2025]

Mickey 17 is a beautifully bizarre experience and we mean that in the best possible way. In a cinematic landscape flooded with sequels, reboots, and remakes, this film stands out as a beacon of originality. It's weird, it's unpredictable, and it keeps you on your toes from start to finish. The choices it makes are often ridiculous, but that's part of its charm. It's not a thriller designed to make your palms sweat or your heart race, but it never lets you feel fully relaxed either. Instead, it is meant to be a strange, delightful journey into the unknown.

And at the heart of this madness is Robert Pattinson. We're gonna say this... this is his best role yet. For anyone still seeing him as the brooding vampire from Twilight, Mickey 17 will be a revelation. Pattinson dives deep, delivering an offbeat, multifaceted performance that shows his full range. He plays multiple personalities with ease. He channels a sort of James McAvoy-in-Split energy, and even his voice feels transformed. There's a tension, a grit, a squeezed intensity to the way he speaks and it's mesmerizing. This role proves that Pattinson, with the right limelight, can actually be nominated and even won an Oscar.

The supporting cast also brings their A-game. Naomi Ackie is wonderful as Pattinson's romantic partner, while Steven Yeun nails his role as the guy you love to hate. Mark Ruffalo and Toni Collette? Absolute scene-stealers, playing a power-hungry couple who mock the idiocy of real-world political leaders with biting, hilarious precision. And keep an eye on Anamaria Vartolomei, she's a rising star with undeniable charm.

But beneath the madness and humor lies something deeper. Mickey 17 tackles heavy themes like cloning ethics, animal cruelty, and the value of life. Through Mickey's journey, the film explores how society treats clones as expendable, as less than human and it forces you to confront some uncomfortable questions. Just because something can be replaced, does that mean it's okay to treat it as disposable? The film's message hits hard, even when wrapped in absurdity.

That said, Mickey 17 won't be for everyone. It's marketed for a wide audience, but its weirdness might alienate some. The third act takes some radical turns, and the film's creative freedom might feel like a bit too much for more conventional viewers. It's a film that demands you embrace its silliness and let go of your expectations.

Verdict: Mickey 17 is an eccentric, thought-provoking, and wildly original film powered by a career-defining performance from Robert Pattinson. It's weird, it's messy, and it's brilliant. It's a chaotic reflection of our world's political and ethical failures wrapped in sci-fi madness. Whether you love it or hate it, one thing's for sure: you won't forget it.

A Complete Unknown (2024)

Raw, Gritty, and Imperfect, Just Like Bob Dylan's Early Days

[6/10 · 6 March 2025]

If there's one thing that stands out in A Complete Unknown, it's Timothée Chalamet. At first, it's hard to see him as Bob Dylan; the voice, the presence, the legend. It felt awkward, almost distracting. But as the film settled into its rhythm, so did he. By the second act, Chalamet had completely transformed. The way he moves, the way he talks through gritted teeth, his subtle posture, it just all clicks. It's clear he did his homework, and the result is mesmerizing. He captures the spirit of Dylan without ever feeling like an impersonation. It's nuanced, and it's brilliant.

But the film itself? That's where things get complicated. A Complete Unknown is an indie-styled biopic that doesn't go for the glam and glitz of Bohemian Rhapsody or the colorful extravagance of Rocketman. This one is raw, cold, and often gloomy. The rough grain of the film, the shadowy lighting, the understated texture, they all create an atmosphere that mirrors the rough edges of Dylan's early days. But while the aesthetic works, the pacing doesn't. At 2 hours and 20 minutes, the film often feels like it's dragging its feet. It's grounded, sure, but sometimes too grounded, too stuck in its own somber mood.

The title says it all. A Complete Unknown focuses on Dylan's rise in the early '60s, stopping short of his full journey as an artist. And that's fine. But the film struggles with where to put its attention. A huge chunk of the runtime is spent on his romantic relationships, leaving Dylan himself feeling like a supporting character in his own story. We see his attitude, his exterior, but we rarely get a deeper look into the man behind the music. The film gives us moments of brilliance but never quite captures the full spark.

The music, of course, is a highlight. Chalamet's performance alongside Monica Barbaro as Joan Baez brings the folk scene to life. For those unfamiliar with folk music, the film serves as a wonderful introduction. The songs are beautiful, and watching them perform is electrifying. But the sheer amount of performance scenes taking up about 1/4 of the film sometimes slows the story down.

What the film does well, though, is showing the cost of fame. Dylan's discomfort with his rising stardom is palpable. It doesn't romanticize fame; it shows the burden. Chalamet captures the introverted artist who just wants to sing without the weight of the world's attention. That honesty is refreshing and makes Dylan's journey feel all the more human.

Verdict: Timothée Chalamet's performance is extraordinary, capturing Bob Dylan's essence with grace and depth. The music is stunning, and the film's gritty aesthetic sets a fitting tone. But the story often loses focus, weighed down by an overemphasis on Dylan's love life and a pacing that feels sluggish. Still, for the music and Chalamet's transformation alone, it's worth a watch.

The Monkey (2025)

The Monkey Feels Like The Son of Final Destination & Wish Upon

[6/10 · 19 February 2025]

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.

Captain America: Brave New World (2025)

The Shield Has Been Passed - But Is Sam Wilson Ready?

[5/10 · 19 February 2025]

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.

Bridget Jones: Mad About the Boy (2025)

This is like Avengers: Endgame for Our Aunts and Moms

[7/10 · 14 February 2025]

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 (I) (2025)

Here's the Brutal Truth About Love Hurts...

[5/10 · 7 February 2025]

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.

Ha Ha Ha Happy New Year (2025)

More Like Sob Sob Sob Sad New Year

[3/10 · 2 February 2025]

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.

Flight Risk (2025)

Mel Gibson Wants to Create a Guilty Pleasure Film. Here It is!

[6/10 · 28 January 2025]

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.

Companion (2025)

Move Over, Predictable AI Films. Companion Dares to Break All the Rules, Making This the 1st Must-Watch Movie in 2025.

[7/10 · 27 January 2025]

When you hear "AI thriller," you might roll your eyes at the thought of yet another predictable, cookie-cutter plot. But Companion is here to defy expectations. Directed by Drew Hancock, this film boldly takes the slasher genre into uncharted territory, blending futuristic themes with sharp storytelling and a heavy dose of tension. It's the kind of movie that leaves you gripping the edge of your seat, your mind racing long after the credits roll.

Most AI films tend to recycle the same old formulas, offering great concepts but delivering outdated executions. Not Companion. Hancock has a crystal-clear vision of what he wants to achieve, and he delivers it with precision. The story is packed with surprises. Not the cheap, "gotcha" kind, but genuinely unexpected twists that feel earned. It's not just about keeping the audience guessing; it's about pulling the rug out from under them in ways they didn't see coming.

And here's the kicker: it doesn't rely on tired jump scares to build suspense. Instead, it crafts an atmosphere of unease that lingers, even during broad daylight. The dialogue, the pacing, and the dramatic beats work together like clockwork, keeping you on edge without resorting to gimmicks.

Sophie Thatcher is the beating heart of this film. Her performance is layered, bringing both vulnerability and strength to a character navigating complex emotions and situations. Think Samara Weaving in Ready or Not; commanding yet relatable, dominant yet nuanced. Thatcher is on the brink of becoming a household name, and Companion proves she has what it takes to carry a film.

Then there's Jack Quaid, who continues to show his range as an actor. He starts off as the charming, sweet persona we've come to love but transforms into something entirely different by the film's end. The evolution of his character is subtle yet striking, showing Quaid's ability to dive deep into layered roles. Together, Thatcher and Quaid create a dynamic that feels authentic and compelling, elevating the emotional stakes of the story.

What sets Companion apart is its intelligent exploration of the "what ifs." It asks hard questions about the role of technology in relationships, tackling both the promise and the peril of AI in our increasingly connected world. The film doesn't preach or overwhelm you with philosophy; instead, it weaves these themes into the narrative seamlessly.

At its core, Companion is about relationships; how we navigate them, how they change, and how they might look in a not-so-distant future. It's deeply relevant in an era where technology often blurs the lines between connection and isolation. This dual-layered storytelling adds depth, making the film more than just an entertaining thriller; it's a conversation starter.

Visually, the movie is a treat. The cinematography and production design perfectly complement the story, creating a world that feels futuristic yet grounded. There's a certain elegance to how the film uses its setting, tone, and pacing to keep the audience engaged. While the film teases moments of dark comedy, it wisely avoids overindulgence, letting the story's inherent tension drive the experience.

Hancock also excels in maximizing the uniqueness of his concept. Every choice, from the sharp dialogue to the ominous score, feels intentional, working toward the bigger picture. You're not just watching events unfold; you're invited to think about the broader implications, the "what could go wrong" scenarios that feel all too real.

Verdict: Companion takes a genre often bogged down by clichés and reinvents it with intelligence, suspense, and a sense of humanity. It's 2025's first must-watch film, offering a fresh spin on the tech thriller that feels as relevant as it is entertaining. Trust us, this one's best enjoyed knowing as little as possible going in. Let the surprises hit you the way they're meant to. Whether you're a fan of slasher films, tech-related narratives, or just good storytelling, Companion delivers on almost all fronts. It's more than a movie; it's an experience that will linger in your thoughts long after the credits roll.

Soloz: Game of Life (2025)

Brotherhood, Gaming, and Drama All Combined Into One, But Does It Level Up?

[6/10 · 23 January 2025]

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)

Tension, Transformation, and a Tale That Misses the Moon

[5/10 · 22 January 2025]

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 (2024)

A Thrilling Yet Uneven Sprint to the Finish

[6/10 · 25 December 2024]

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.

Reversi (2024)

Where Story Meets Emotions: A Bold Dive into Time Travel with Heart at Its Core

[7/10 · 24 December 2024]

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 (2024)

A Heartfelt Tribute to Fatherhood That Struggles to Fully Deliver

[5/10 · 23 December 2024]

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.

The Lord of the Rings: The War of the Rohirrim (2024)

Does The War of the Rohirrim Capture Middle-earth's Magic or Fall Short?

[4/10 · 23 December 2024]

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 (2024)

A Horror that Dares to be DIfferent

[5/10 · 5 December 2024]

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 (2024)

A Gritty Prequel (and Sequel) That Pulls No Punches

[7/10 · 2 December 2024]

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 (2024)

Wicked Brings Oz to Life Like Never Before

[7/10 · 21 November 2024]

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.