Alan Ng

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.