Alan Ng

It’s hard to watch StarDog and TurboCat and not think that Disney and Pixar can do this better. The animation is pretty good with standard cartoon movement and character design. It only lacks the photorealistic details and textures associated with Pixar.

I found McColm’s film intriguing to watch and fascinated by her satirical take on her subject. If you open yourself to the movie just a little, you’ll find yourself identifying with them in times of great personal and emotional failure.

I love the fact that they told a straightforward, insightful story that doesn’t feel the need to push the “message.” At the same time, Inside Out 2 misses that quest for excellence and instead goes for good enough.

The Vandevere plot effectively turns the film from a cute animated story of talking animals into a thriller with corporate intrigue.

Thrasher Road is a fantastic story of family and forgiveness.

As far as its storytelling, it’s good but rarely rises to the level of inspiring. Fans of Tolkien are going to find a nice, comfortable place in this film, but walk away feeling like they could have dug deeper into this life.

A Sloth Story delivers a message with warmth, charm, and just enough energy for its younger audiences. The film’s heart is in the right place, balancing a gentle cultural exploration with the universal challenge of growing up and finding one’s own way.

The problem with the film is although we walk away from the theater with a good feeling inside, the film lacks an edge…particularly a dark one. Everyone in the movie is good, wholesome people. No one’s really the villain. Bernadette’s problem is not all that surprising.

Tom Mercier’s performance is brilliant and engaging.

Diving into Sam Harris’ life was fun, and you will have fun too… unless you hate musicals.

What makes it enjoyable is that it’s a relatively grounded action film…relatively.

If you like action, then you’re going to have fun, but this is by no means a perfect movie and doesn’t stack well against old-school MCU (everything up to phase three). Its weakness lies in the by-the-book story and does nothing to overcome the superhero fatigue we’ve been feeling for a while.

There are enough facts and inspiration to make Tiger worth watching. Mickey Rourke always gives a good performance, and he still fits in the boxing setting. The downside is the story’s structure is unoriginal insuring Tiger will never leap beyond being just a good film.

The best thing I can say about A Dog’s Way Home is that it’s an exceptional film, that you’d find on the Hallmark Channel. Science has yet to count just how many strings the human heart has, but A Dog’s Way Home tries to pull every damn one of them.

Ultimately, it’s a heartfelt coming-of-age tale that honors the past while forging a path forward.

Hell On The Border tells a unique western-style story.

In the wake of unimaginable devastation, Asog gently yet boldly celebrates resilience—not just through the intimate journey of Jaya and Arnel but also through the countless survivors bravely rebuilding their lives from ruin.

Yes, stories like this have been told before, but there’s an earnest, sweet charm to it all that really works.

The most intriguing aspect of Chef Flynn is its honesty.

Under The Stadium Lights stands out because of its two veteran actors in Milo Gibson and Laurence Fishburne.

The Seer and the Unseen has more to offer by showing us the kind and gentle landscape and people of Iceland. It’s best to take the movie for what it is at face value. If you’re the type of person, who just wants to mock an old lady, then you best move on to a different film.

Monday succeeds in large part to Sebastian Stan and Denise Gough’s performances.

Empire Waist delivers a heartfelt and empowering message about adolescence, body image, and self-acceptance. Its sincerity and positivity make it a refreshing and modern tale for teens.

Beyond The Night is a solid film with a solid story, good acting, and beautifully shot.

Pig takes itself way too seriously, making some interesting storytelling choices.

Yeo Siew Hua shows that surveillance isn’t only about control—it’s also about how we see ourselves through someone else’s eyes. In the end, the film leaves us unsettled with the idea that being watched doesn’t just change how we act, it changes who we become.

It’s a heartwarming tale about finding life after loss and finding the good in others. Unfortunately, like a Hallmark film, it’s wrapped up in a lot of schmaltz.

Despite its touching story of family, Collisions goes a little too far in pleading its case for immigration reform and the return of DACA. If you like to engage in political debate, the film does bring up a literal myriad of issues and questions to discuss, but most likely won’t persuade many right-leaning filmgoers.

If you love musicals, teen romance, and the 80s, you’re going to have a blast watching Valley Girl.

Whether you’re a Godzilla fan or not, you’ll have fun, but you’re not going to walk away feeling like you saw something spectacular or memorable for that matter.

The final fight at the end is fantastic. It is by far the best X-Men fight in its franchise history (not counting Deadpool).

If you approach Alita: Battle Angel like a standard action film, where you’re there just for the stunts, you will have a good time. The world created by James Cameron and Robert Rodriguez is visually stunning. Rosa Salazar is fantastic as Alita, and she shines in her mocap performance.

Visually speaking, Fletcher’s film is wonderful to watch. The fantastical choices he occasionally makes is grounded and never pull you out of the film.

For his rookie debut, Dev Patel ultimately produced a fun action film with pacing issues—in my humble opinion. Monkey Man’s Indian influence makes this story of class and caste fascinating to behold.

The Motive is a fun, light film with a sad sack lead we can love and good laughs sprinkled throughout.

Kung Fu Rookie is a heartfelt, high-energy tribute to Jackie Chan. It is packed with acrobatic action and playful stunt work that would make the legend proud. With thrilling fight sequences, goofy humor, and a love for old-school kung fu cinema, it is a fun ride that proves admiration is best expressed through action—literally.

Strays hits my sweet spot in comedy. It is goofy, silly, and filthy. Your mileage may vary, but I can’t wait to see this again.

Mortal Kombat is a pretty good representation of the video game. It’s all action and not much else, and normally, I do want more from my movies. But here, that is precisely the point, and I’m okay with that!

What makes I Am Woman worth watching (and recommending) is the importance of Helen Reddy’s story, predictable as it is.

Handling the Undead is more of a philosophical journey than a survival journey.

Benedict Cumberbatch proves yet again he’s a star and Merab Ninidze is equally brilliant at his Russian counterpart.

Scarlet is at its best when it is simply moving and letting the visuals, the fights, and the bond between Scarlet and Hijiri do the heavy lifting. Even when the destination feels obvious, the ride is so gorgeously constructed that it’s hard not to admire how confidently Hosoda brings it home.

Everything in Easter Sunday is played for laughs… crazy family, wacky mob thriller, and lots of cameos. It’s all good, light fun. See it because you’re a fan of Jo Koy or just to get to know a little more about your Filipino brothers and sisters.

On the pages of the script, it could come across as forced, but thanks to good direction, editing, and the performances by Robert and Fortas this love story works.

Whether you’re astonished or offended, Travolta gives a marvelous and unforgettable performance.

The film’s intended audience is those who enjoy romantic stories, and it definitely delivers in that regard. Personally, I would have preferred if the story had taken a darker and grittier turn, but I appreciate the filmmaker’s effort to maintain a positive direction.

It’s all about the action, and the story only gets in the way a little bit. I have high praise for this, though I’m not sure if The Killer’s Game is the vehicle that will launch Bautista into the action star he’s capable of becoming.

Montana Story is a solid film set on a standard story structure.

My biggest frustration with Summerland is three major plotlines mixed like a tossed salad. Each plot is interesting to watch as well as engaging, but transitions from one to the next can clash with the good feelings generated by the previous.

Freakier Friday is perfect for the mother/daughter set and offers a lot that we haven’t seen from Disney in a while: solid cast, strange plot, and a heartfelt message about family.

The Buildout is a haunting journey into faith, friendship, and the fine line between devotion and delusion.

In the end, Restoring Tomorrow reminds us that you can restore an old historic building to its original beauty, but it’s ultimately about the people.

A heartwarming and entertaining romantic comedy, Fly Me to the Moon brings a fresh twist to the moon landing era. Strong performances from Scarlett Johansson and Channing Tatum offer an enjoyable viewing experience.

Udo Flohr’s Effigy – Poison and the City is a fantastic film to watch if you’re a fan of period dramas. The leads give terrific performances, and the setting is visually beautiful for history buffs.

Much like anyone in the throes of recovery, this journey is not a nice, tight, three-act Hollywood story with a perfect dramatic ending. Finding “normal” is a distant speck on the horizon for Hogancamp and this film depicts only a small segment.

Ip Man 4: The Finale is a thrilling end to the Ip Man saga. The action is fast-paced, and the fighting is poetic. The story not only brings a modern twist to the legend but is just as relevant today as it was in the 70s.

Silliness is on tap for you and your kids with Despicable Me 4, providing good fun for a trip to the theater or on a long road trip.

Amir Agha’ee shines as the film’s lead. His portrayal of grief and guilt is heartfelt and his emotional performance is perfect.

80 for Brady is one of the most mediocre films ever made. However, there’s just enough heart and silliness to recommend it for nostalgic purposes. Plus, the four leads bring it. Also, like Superbowl LI, the film has an exciting fourth quarter.

Congrats to Jared Bush and the Walt Disney Animation team for an overall solid effort with Zootopia 2. I can’t wait to see what you have coming next.

It all feels good enough, which also feels disappointing at the same time.

Rally Road Racers may not change the world or elevate the art form of animated features. Instead, it’s one of those films my kid would watch over and over again. It is good, wholesome fun, with some classic actors to help appease the parents looking for things to do with their kids.

The chemistry between McCarthy and Cannavale is great. I could see an entire, more traditional rom-com starring the two of them.

The Mission is a straightforward documentary about the life of a Mormon missionary. Nothing controversial happens. It’s a day-in-the-life story. Though Anderson never attempts to proselytize audiences into the LDS religion, there are more than enough opportunities to hear their message.

Money Plane will be remembered as Adam Copeland’s first feature lead role with some heavy-hitters to back him up. The film is good, tame fun, but in desperate need of memorable, action moments for water-cooler talk.

War Path is a good movie with potential. It does a lot with its budget and resources and is worth a watch for any fan of independent filmmaking.

Storywise, I’m good with the first two acts. It’s a new chapter in the series, and things have changed in the story. The world is evolving along with its primate inhabitants.

The Bromley Boys is a light comedic drama, and you’ll have a good time if anything British is your cup of tea.

I’d describe A Dark Foe as a dark ride at Disneyland. You’re invited to step into a vehicle, buckle up, sit back, and enjoy what happens around you. The steady progression into darkness moves rather quickly through one revelation after the other.

Twisters delivers a thrilling, albeit scientifically loose, ride that taps into the nostalgic fun of classic disaster films. Daisy Edgar-Jones and Glen Powell bring solid performances, capturing the high-stakes action and adventure with flair.

If they had gotten the music right, it could have stood by the original classic.

Wonder Woman is not a horrible film and gets a very mediocre good from me. I liked it for what it is, but the expectation of something bigger and better was not met, and honestly, what I prefer in big-budget movies. I think this will be the general reaction to the film, and this is probably why, especially if you were expecting something as spectacular as the first Wonder Woman.

For those who appreciate uplifting stories with spiritual undertones, it delivers exactly what’s expected—and sometimes, God’s blessing is enough.

Unfortunately, Stuber never rises to the point of being remarkable in any way. You’ll love it, if you are a fan of either lead, otherwise, it’s a standard buddy movie.

Gregory Bayne’s Making Sense puts the spotlight on a fantastic cast with disabilities and tells a story about disabilities that could only be told as science fiction.

Birds of Prey: and the Emancipation of one Harley Quinn is a fast-paced action movie with fantastic stunts and set pieces. We’re just not given any good reason to care about Harley Quinn, or her female compatriots needed to be emotionally invested in their ultimate victory or demise.

The gags are a series of really lame dad jokes, and it’s missing the awe and wonder that will delight children and adults.

Its pace is unbearably slow at times and considering we’re watching a woman essentially wasting seventeen good years of her life chasing a man, tragic is the best way to describe the whole experience.

Between Black’s signature enthusiasm and Rudd’s insecure actor persona, there is fun to be had. Plus, Selton Mello walks off with every scene, leaving the audience at his mercy. Overall, this is good, not great.

The Fantastic Four: First Steps is good, when it should have been great.

It is a good movie, but what elevates it from the pack are the performances from Riz Ahmed and Octavia Spencer.

Just as a movie skewed toward kids will bore adults, Soul will bore children, and it did mine. I love jazz, but I don’t think my child will add it to her Spotify playlist. In the end, Soul told a good, insightful story but was too much of a departure from the norm.

The plot, about a man who followed his dream, just oozes optimism. If you grew up in this era, there’s a lot of nostalgia value here. Toe-tapping fun is how I’d describe my time with Spinning Gold

Ultimately, it’s fine. Yet, considering its cinematic history, fine is never good enough.

The entire film seems to be the book’s narrative highlights strung together but rarely spotlights any of the themes or subtext from the book (if there are any). I don’t think this David Lynch film is Lynchian in any way. To me, Dune is a straightforward adventure with very little depth or character motivation outside the genre’s tropes.

This is a thoughtful, visually inventive film showcasing Zemeckis’ continued willingness to push cinematic boundaries.

Overall, the movie’s performances are good, not great, but enjoyable nonetheless.

Paradise City is a fun and lightweight tale for an evening of Hulu and chill. It’s not going to change the world, but it’s entertaining enough, especially considering Willis’s recent retirement.

This is an action film, meaning that’s where the fun lies. Cage gets to show off his special skills with unique bits of punctuation after each kill. There are plenty of chases, gun combat, and hand-to-hand fighting. The only disappointment you’ll feel is that everything is done for comedic effect. This is much lighter in tone than you probably want it to be.

Writer Jemima Khan and director Shekhar Kapur not only bring the Pakistani perspective on romance but incorporates it into modern English culture.

This is must-see mafia viewing.

In the end, what we have with In Like Flynn is an homage to the action-adventure tales of old Hollywood, appealing to the fans of the adventure films of old.

The visuals make this feel like an actual Western, even though it doesn’t have the epic scale of the great Hollywood Westerns.

It feels like a reading of ancient tales, with the emotion of the opera replacing the melodrama and acting found in traditional period pieces.

Overall, Afraid delivers an unsettling ride with standout performances.

The ending does have a pretty good payoff to push Masquerade over the recommendation line.

This film barely gets a recommendation only because it finally gets interesting at the end.