CinemaShafiq

  Stupid, contrived and messy. A film about the hardships faced by modern day women is a good premise for a film, but the executions that this film did was just plain and cringe-ly bad. Forced characterisations, and the expected simple generalisation of males in this universe. A film in which the central theme of its story is the hardship of the daily lives faced by it's main character(s) is akin alike Roma , Hidden Figures or even as back as Spielberg's 1985's  The Color Purple - and big budget or star power was not the strength of these films, but their good writing. And that is definitely what this film lack.  4/10

  The King Caesar Rises. The Last Temptation of Caesar. Wow, a perfect threequel to close probably the most underrated trilogy in the modern cinema thanks to being drowned in the sea of other superhero and massive sci-fi blockbusters. The best element of this film was probably its cinematography and the visual effects. The CGI oh wow, they all seems so real that you will sometimes forgot that you're actually watching a movie based on a premise that a CGI ape on a horse is leading a revolution against mankind to succeed planet Earth; which, if such premise is on the hands of different persons/studios, would end up as a horrendous silly B-movie. With that being said, hard to believe that everything that happened in this film's universe was thanks to James Franco. If Caesar was Jesus, so he's God... I guess?  8/10

  Good effort for a directorial debut by Hairul Azreen and his team. Technically, the film was excellent, it had good cinematography and the scores were on point. But it got a lot of flaws especially on actings, and the story itself.  Zahiril Adzim's acting carried the whole movie by himself while the acting by other actors were either weak or non-existent. The plot and the twist may be "smart" for a local film but it actually has been done a lot of times and not groundbreaking really. Still, it's a watchable film and you can watch it on Disney+ Hotstar in Malaysia. 4/10

  A well-crafted, well-performed, and well- directed film. Another entry of a good landmark film for local cinema. Namron and Amerul Affendi brought their masterclass performance in this film, and this duo cannot be anymore better.  The film felt like a well-directed stage play, geared by strong script and performances, with some bits of satire/dark humor throughout on love, relationship and social criticism. I like that some of the satirical or dark humor bits felt like something out of a Coen brothers' film. The 4 years wait for the film to be released is worth it, it's like savoring a damn good wine and Mencari Rahmat is probably the best local film to come out this year, and definitely one of the best to come out in recent years. 7/10 

  I am glad that I have finally watched this film after holding it on my to-watch-list for so long. A good directing debut from Aaron Sorkin and while I was watching it I can't help but feeling that it was like a blend of Gone Girl (cinematography and vibes), The Wolf of Wall Street (a biopic film of a hustler narrated from start to finish) and Casino (a narrated film on gambling and card games); and I meant this in a good way. I think this was Jessica Chastain's best performance so far, she played the character very well and tbh her physical attractiveness add a lot to the role. 8/10 

  A good female-lead assassin revenge thriller. Probably one of the few of decent Netflix films. Mary Elizabeth Winstead was amazing, and at least this film got a heartfelt story and beautiful cinematography unlike other numerous cliche modern female badass movies. This is how you make a good, badass female lead film; not with random preachy scenes or bland action scenes (Enola Holmes, The Old Guard), but with a strong front character with a good story and deep characterisation. I would be excited if there's a sequel. 6/10

  A classic film back in 1967 which was a fresh, rebellious and raunchy; marking the debut of one of great filmmakers who'll propel Hollywood out of its classic era.  This film was also the debut of Harvey Keitel An examination on toxic masculinity as well as criticism on religion hypocrisy, this debut by Martin Scorsese might unable to rival his latter works, but it was still a good picture, especially in the context of late 60s. 6/10