NOW SHOWING

redha FLUFFY or preachy. Yup, that’s the common turnoff in most local Malay films, to me at least. And

Redha, by commercial- director- turned- feature- director Tunku Mona Riza, precariously veers into preachy territory in its early scenes as it earnestly tries to raise awareness on the complex neurodevelopmental disorder. Or so I thought! Before I could yawn “failed Rain

Man”, I found myself tearing up at the heart- rending story of couple Alina and Razlan who have to learn to cope when their son Danial is diagnosed with autism. This is no PSA ( public service announcement) indeed.

The slow- burn but gripping family drama is inspired by the true lives of autistic Malaysian children and gives a realistic depiction of the struggle parents and guardians go through in raising them. Its authenticity, combined with the shining sincerity of its talented cast, makes Redha a powerful, absorbing film. What more with the stunning cinematography that contrasts life’s beauty ( the breathtaking landscape of Merang and Pulau Redang where the film is set) with life’s cruel mysteries as it holds a mirror to our society’s prejudices against people who are different.

A must watch, even if only to donate to the cause – one ringgit from every GSC ticket sale will go the National Autism Society of Malaysia, and BSN has pledged to donate RM300,000 for autism if

Redha breaks the box- office. – Hariati Azizan Midnight Special ( HHHHI)

AT the core of this film is the simple story of the extent to which a father goes for the sake of his son. This is something that director Jeff Nichols makes sure stays at the forefront despite incorporating fantastical elements into the narration – as the son has special abilities which have both a cult and the government seeking him out.

Nichols also presents the film in a manner in which he expects the audience to go along with whatever the characters are up to. Hence, we learn of the characters’ backstory and their present situation even as the story keeps moving forward.

Of late, a lot of films have turned to relying on special effects and such to hold interest. It’s refreshing that Midnight Special – which makes minimal but effective use of special effects – looks to the performances ( a truly remarkable cast), character development and just good old storytelling to take its audience on this wonderful journey. – Mumtaj Begum Mr right ( HHIII)

For Pitch Perfect’s fans who think the infinitely cute Anna Kendrick could do no wrong, well, there’s a first time for everything. Here’s a film that feels like a Monday morning at work: a film with the right stars who are fully game for the lunacy promised by its strange and risky “look- at- me- I’m- so- smart” script, but is betrayed by poor, tone- deaf direction.

I will admit, I am not particularly fond of the romantic comedy genre, although there have been occasional standouts. This one is woeful because the script tries its darnedest to make the bizarre material work, which involves clueless young lady Martha ( Kendrick) falling head over heels with charming “nice” guy ( Sam Rockwell, Moon) who is actually a deranged assassin offing his contractors. Kendrick and Rockwell are very likeable here, showing great chemistry between snapping some truly funny puns and dodging bullets.

But oh, how the filmmakers have let them down. A half- witty, half- annoying and fully self- aware script by Max Landis ( Chronicle and son of The Blues Brothers’ John Landis) would make for a decent watch if handled by a director who understood the transition of tones – Kick- Ass and Kingsman’s Matthew Vaughn comes to mind.

Not so for misguided director Paco Cabezas ( the poor Nicolas Cage thriller Rage), who shifts from breezy rom- com satire to brutally violent action thriller with jarring violence worthy of a Jason Statham vehicle. It is about as awkward and subtle as a brick to the face and it put me off the film completely.

Wild Target ( 2010) did this similar material better. – Delton V. Cox

Clo er eld ane HHH I) (

SURE, the film moves slowly ( and I’m talking to the audience member who snored from start to finish) and there are just three actors, all of whom are trapped in a bunker. But like the female protagonist who wakes up not knowing where she is or who has taken her, the audience is pulled in to find out just what the heck is going on.

And boy, do we wish we aren’t when the mystery is slowly resolved – the scariest element involving one of the characters.

To be honest, I am one of those people who didn’t quite enjoy

Cloverfield. Although this film falls under the same Cloverfield umbrella, there is no shaky camera or annoying characters recording some footage we don’t really care for. What we get is well- executed storytelling. – MB