Alan Ng

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.