Alan Ng

There are many flaws in Animal Farm, but its message is what I’m recommending the film for. Look, it will make great dinner conversation with your toddlers.

The Devil Wears Prada 2 succeeds because David Frankel trusts his cast and Aline Brosh McKenna’s script to handle both nostalgia and modern complications without preaching to the audience.

Jaafar Jackson doesn’t sing a note (nor should he), but he’s got his uncle’s moves locked in cold, and there are moments where you genuinely forget you’re not watching the real thing. Colman Domingo as Joe Jackson is flat-out frightening — the man commands every scene, and the movie actually plays down how bad Joe was, which is saying something.

The endless loop, the anomalies, the reset — all of it connects back to who the man is and what his fundamental flaw as a person is. When the ending hits, it doesn’t explain itself. You just sit there and work backward, and then it clicks.

If you’re going in hoping for something the whole family can genuinely connect with on a deeper level, you’ll be disappointed. It’s a kids’ movie, plain and simple, and there’d be no way I’d see this if I didn’t have kids.

In the end, Project Hail Mary works because it is thrilling, smart, and emotionally engaging, turning a giant cosmic problem into an exceptional adventure. It earns its emotional payoff by making every problem, every choice, and every human connection matter.

Bushido is an epic story, but instead of warring samurai factions fighting it out on the open plain, the battle takes place on a 19-by-19 lined gameboard. Don’t get me wrong, there is swordplay, but here, even a game of Go has never felt more dangerous.

In the end, the film and its storytelling is meh.

Great movies to me are stories that engage from start to finish and ask important questions at the end. The Dutchman does that from start to finish. Moral tales point out how flawed we are, and suggest a better way forward. And for Clay, that journey is far from over. Enjoy.

I Swear is not looking for pity. It’s looking for empathy and understanding, as if to say there is no such thing as good or bad disabilities.

The movie is funny, but for me, the fun is watching this well-controlled mess unfold.

Besson’s film is a magnificent achievement. More romance than terror and more faith than devilry, this film is sure to pull the heartstrings.

Solo Mio is good, sappy fun, and the perfect date movie for all the craziness going on in the world at the moment.

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.

Let’s be real: the only reason to see a Jason Statham movie is for all that juicy action. Fist fights, knife fights, gunplay, machine-gun mayhem, explosions… all in this game of cat-and-mouse.

If you’re hunting for a fresh animated quest for the under-ten crowd, Tafiti: Across the Desert delivers a simple, sweet ride with Tafiti and Bristles proving that the best adventures come with an unexpected (yet familiar) partner.

Greenland 2: Migration is all mind-numbing action with nothing to say. If you’re a fan of Gerard Butler or Morena Baccarin, you will probably have fun with this one. Otherwise, it’s a skip.

At the risk of being hyperbolic, Good Luck, Have Fun, Don’t Die is a great movie. It offers laughs, thrills, and it’s a thinker; you will not be disappointed.

The world of Calle Málaga is small. It takes place on a simple street in a simple town where everyone knows everyone else. Everyone is cordial and competitive at the same time, as the film focuses on the place we call home and how leaving can be a bitter pill to take. In the end, this family drama hits you in the feels like a warm cup of cocoa before turning in for the night.

You feel the horrors of those 12 hours. Abeckaser tells the right stories, from innocent festivalgoers to military-trained fathers, and to the mothers and children who perish. Before you utter the words, “Yeah, but…,” 12 Hours in October is pretty one-sided, and I’m not blind to the protests that have occurred in the streets and on university campuses in the U.S.

Ultimately, David is a strong, solid film for kids. But I can’t help feeling the filmmakers were holding back on the true glory of God in this story.

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.

Song Sung Blue is one of my favorite movies of the year. It all has to do with Hugh Jackman and Kate Hudson’s performances, along with a touching script by Craig Brewer and Greg Kohs. What makes this story so compelling is not only that it is true, but also that Mike Sardina and Claire Stengl are us. They are normal people who want to perform and bring happiness to the world.

Virginia Gilbert’s Reawakening ends on a brutal yet honest note, refusing to hand out easy answers or emotional closure. It’s not clean, but it’s meant to be an unflinching reality check.

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

If you don’t like musical theater, you’re not going to like Merrily We Roll Along. If you’re a musical theater fan, Merrily is a must-see.

Peaches Goes Bananas is one of the weirdest and most touching music documentaries I’ve seen.

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

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.

Unlike other productions, Del Toro finds the visual balance between creature and man. Elordi then runs with it, giving us the balance between a menace and a kind and thoughtful soul.

Even if the corporate claims are true—that films like Pistachio Wars are anti-corporate propaganda—it’s important never to turn a blind eye to any issue where the only thing we’re being told is, “trust us… nothing to see here.”

The film has good action set pieces, but without a story that has something to say or connects with audiences beyond the surface, it’s just another standard sci-fi action film.

Rian Johnson’s Wake Up, Dead Man is more than a clever whodunnit. It’s a meditation on belief, guilt, and the stories we tell ourselves to stay righteous. What begins as a murder investigation becomes a battle between truth and faith.

Filho masterfully turns a tale of survival into a deeply human story about love, loyalty, and the cost of integrity under tyranny.

Sunday Best reminds us that Ed Sullivan’s influence went far beyond introducing legendary performers—he directly influenced the cultural fabric of America. His legacy endures as a testament to the power of television to unite people and move society forward.

At its heart, The Senior is about forgiveness and second chances.

Twinless delivers a sharp take on grief, deception, and unlikely connections. Characters are pushed into situations both painful and oddly tender. By the end, the film leaves you squirming but fully invested, proving that even the strangest setups can lead to an emotionally devastating payoff.

In the end, The Roses feels like a genuine comedy comeback. Jay Roach proves he hasn’t lost his touch, pulling together a film that blends smart writing, impeccable timing, and powerhouse performances into something that may just be a classic new take on a rebooted story.

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.

With this cast, the film should have been a knockout. Instead, it feels bogged down, heavy, and way too concerned with making statements instead of just being entertaining.

The biggest downfall of Relay is the ending.

Sketch isn’t the greatest movie ever made, but it’s great at being a touching and thoughtful story of young kids and preteens.

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.

Ultimately, The Naked Gun reboot delivers enough laughs to make it worth the ride, even if it never quite escapes the shadow of its predecessors.

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

What Superman felt like was that someone had taken my childhood box of action figures and found a way to tell an exciting story with it.

The story may be light, but the execution is strong, and the performances are engaging. It’s one of my go-to movies to see again this year, and it’s worth watching in a premium format.

In the end, Max Tzannes’ Found Footage: The Making of the Patterson Project delivers a smart, self-aware film that plays with the mockumentary format without getting lost in the gimmick. It’s funny and it’s creepy. It delivers where many have failed before.

Elio is a complete misfire—an ambitious premise that never takes off.

By preserving the core narrative, characters, and emotional arc of the original, the live-action remake remains true to its roots. Though the cast is new, the heart of Hiccup and Toothless’s friendship still soars.

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

Ultimately, Hurry Up Tomorrow is an example of style over substance. Its visuals try to shock and awe while leaving its narrative a confusing mess.

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

In the end, Lilo & Stitch isn’t a perfect adaptation, but it’s a heartfelt and faithful one that captures the spirit of the original

While it trades sprawling vistas for tighter set pieces, it brings Ethan Hunt’s story full circle in a way that’s surprisingly emotional and—dare I say it—earned.

Fight or Flight is the kind of blood-splattered airplane movie that knows exactly what it is and fully commits — like Die Hard 2 hijacked by the John Wick stunt team. It’s dumb in the best ways, fast in all the right places, and somehow still lets Josh Hartnett show us he can kick a*s and break hearts… even while microdosing by mistake.

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

The Accountant 2 is a pleasant surprise. It scratches that crime procedural itch, along with paramilitary-style gunplay, for a winning combination.

While Florence Pugh and David Harbour try to inject some soul into the chaos, the film proves that no amount of punchlines can save a story that forgot its superpower. Sometimes you don’t need a group hug—you need a good old-fashioned throwdown.

The Wedding Banquet is the kind of film that reminds you why we fall in love with movies in the first place—because they surprise us, move us, and make us laugh at how messy and magnificent life can be.

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.

Michael B. Jordan and Miles Caton deliver incredible performances in this soulful, bloody tale that masterfully marries blues, vampires, and the vibrant spirit of New Orleans.

The appeal here is a solid story of an aging mobster with all the charm of indie filmmaking.

Every modification fails to improve the tale, and the whimsy and wonder of fairy tales are missing. It does not honor the original but shuns it instead.

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.

The film’s repetitive themes and lack of emotional payoff leave it feeling more like a beautifully acted therapy session than a fully satisfying story.

No Address is very much an issues-based drama. Its purpose is to provide a soul behind the statistics.

While Bong Joon Ho delivers his signature visual flair and Robert Pattinson fully commits to the existential dread of his endlessly disposable character, the film struggles to keep its high-concept ideas fresh past the first act.

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

The problem with Brave New World falls squarely on the writing and the story.

Love Hurts is a prime example of what happens when a film spreads itself too thin trying to juggle multiple genres—it drops all the balls. Ultimately, it’s a forgettable attempt at blending action and romance, proving once again that genre mashups rarely deliver a knockout.

Companion takes a stab (literally) at sci-fi horror with an interesting idea, but making a robot the emotional center of the film is a misfire.

Detective Chinatown 1900 tries to be a high-energy action comedy but gets tangled in a web of subplots, leaving little room for the buddy-cop fun it teases.

Eternal You is an excellent documentary because it engages you along the way, and you’re constantly wrestling with the issue long after the credits roll.

Flight Risk is a fun yet simple and straightforward thriller where you have a general sense of where things are headed at first, and then Gibson pulls in a surprise or two or three.

You & I is a fantastic tale of modern romance.

The acting is sub-par, with Selena Gomez delivering the weakest performance. I don’t know Spanish, but even I can tell she struggles to sound like it’s her first language. As Emilia, Karla Sofía Gascón is stiff as a board and can’t sing. Zoe Saldaña is the only one putting an effort in, but even she can’t make horrible lyrics sound authentic.

You’ll be holding your breath at times.

Sometimes, a movie’s impact transcends its story, delivering something we desperately need—a chance to reflect, connect, and simply breathe. Somewhere in Montana is one such film offering a heartfelt reminder that, despite our differences, people can win the day.

It features likable characters, and though it may not offend or make you laugh, it ultimately leaves you smiling. However, you can’t help but feel a sense of loss regarding the potential the film and its story had to be truly great.

The film feels like a passing of the torch from some of Hong Kong’s veteran actors to the next generation. It’s sometimes brutal and gory, but I wouldn’t have it any other way.

Directors Jack Clark and Jim Weir deliver an unpredictable and eerie narrative that lingers long after. With its sharp character development and refusal to sanitize its dark themes, this Australian indie is an unsettling yet thrilling watch you won’t forget.

In the end, if you’re going to tell a story we’ve all heard before, do something unique. Better Man is unique, indeed. The chimp gimmick never gets tiresome; in the end, it plays out beautifully.

Dear Lord, this movie didn’t need to be made. It is profoundly awful. The foreshadowing is relentless. Sorry, Barry Jenkins just can’t direct animation.

Wicked: Part 1 is an incredible adaptation that captures the core of what fans adore about the stage musical while offering its own cinematic flourishes. Despite a few pacing hiccups, Jon M. Chu’s direction and the cast’s passionate performances create a magical journey worth experiencing.

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

Its politics will please no one, but for fans of story and characters, the movie succeeds in its primary goal: telling a good story about humanity, warts, and all.

If you’ve ever had a friend or family struggle with an addiction, you know that nothing you say or do will change their ways. It seems to always happen at their rock bottom. Nora Fingscheidt’s feature, The Outrun, starts at the bottom.

The Man in the White Van is the perfect primer for someone thinking about getting into horror films but is a bit skittish. The killing is implied, and the gore is off-camera. Yet, the film is all about that uneasy tension that we feel, wondering what’s around the corner or what goes bump in the night.

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.

For the most part, Walsh’s gags work throughout the film. Like most political docs, the open-minded will benefit the most from what Walsh has to say, while Walsh’s DEI targets will have the most to complain about

With standout performances from Maisy Stella and Aubrey Plaza, it sticks the landing beautifully—don’t be surprised if it ends up on your favorites list, too.

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.

Overall, Afraid delivers an unsettling ride with standout performances.

As a film, Reagan is about as perfect a biopic as you will get. The story flows quickly and feels cinematic for a man whose life plays out like a movie.

I dare you to watch Black Outside and not think about wanting to do this journey for yourself. There’s something irresistible about this film, and indeed, there is something within you that must be released, and a 2,600-mile hike might be what the doctor ordered.

Though Jack’s past is both uplifting and tragic, the heart of Jack Has A Plan comes in the final months leading up to Jack’s ultimate fate.