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40 best Singapore films of all-time

Better late than never, these local films from the 1950s to today are worth a watch at least once

Step aside Hollywood, Singapore’s film scene deserves some recognition, too. Since the 1950s, the film industry in Singapore (or Malaya, then) was never shy of being in the limelight – in fact, it was known as Southeast Asia's Hollywood . Throughout the decades, it has birthed box office successes and essential indie flicks that have garnered awards after awards. But d on’t let these films fall through the cracks! For the best of local films, we've put together a checklist filled with must-see titles and where to watch them, proving that the film scene here is thriving well with no signs of slowing down.

RECOMMENDED:   Upcoming films in Singapore  and the magic behind the golden age of Singapore cinema

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Repossession (2020)

Everyone loves a scary story, so turn your attention to Repossession . The award-winning psychological thriller sees the deadly vice of pride reimagined through the lenses of local directing duo Goh Ming Siu and Scott C. Hillyard. It follows Jim whose mid-life crisis is met with losing his high-flying job in status-conscious Singapore. He finds himself hiding the truth from his family, and awakening the demon from his dark past – all at the expense of his pride. 

Read our interview with Goh Ming Siu and Scott C. Hillyard here .

Available to watch at The Projector on February 7 and 20.

Tiong Bahru Social Club (2020)

The debut feature by Singaporean filmmaker Tan Bee Thiam is a satirical comedy that follows a man who leaves his mundane, desk-bound office job for a data-driven programme that aims to create the world’s happiest residents in the utopian neighbourhood. While it’s an amusing take on the standard of living in Singapore, it does leave you questioning the concept of happiness in the city. 

Read our interview with Tan Bee Thiam here .

Sementara (2020)

Titled after the Malay word for ‘temporary’, Sementara is a thoughtful documentary that invites all to look through the lens of various individuals who call Singapore home. It presents a compelling yet sensitive portrayal of Singapore through the different perspectives on issues such as religion, race, identity and mortality as told through personal stories and experiences. It also features a brief appearance by Time out Singapore Editor, Delfina Utomo.

Wet Season (2019)

From the man who brought you the acclaimed drama Ilo Ilo , comes a story about complex relationships between a Mandarin teacher and her student, as well as those in their respective lives. Anthony Chen’s Wet Season follows a teacher who is unable to bear a child for her often-absent husband. Her student then provides her with the solace that reaffirms her womanhood. With six nominations in the 2019 Golden Horse Awards and a spot at the Toronto International Film Festival, Wet Season is definitely one to watch. Do expect plenty of rain scenes – it's set during the monsoon season, after all.

Read our interview with Anthony Chen here .

Revenge of the Pontianak (2019)

Revenge of the Pontianak marks director Glen Goei’s return to the big screen since the release of his 2009 murder mystery The Blue Mansion . Co-directed with Malaysian actor and director Gavin Yap, it looks at Southeast Asia’s most famous horror icon but humanises her with a romantic storyline. The horror flick is performed in Malay – a nod to the golden age of filmmaking in Singapore before the 70s, the era where iconic Pontianak films were first produced by Cathay-Keris and Shaw – so best watched with subtitles on. 

Read our film review here and Glen Goei's Time Out Singapore takeover here .

Available to watch on Netflix .

Shirkers (2018)

This sui generis documentary film made waves worldwide when it was first released in 2018. Deemed as Singapore's first road movie by Singapore-born, LA-based filmmaker Sandi Tan, Shirkers follows a group of cinephiles – including a young Sandi – shooting an uncompleted movie in 1992. But what makes this Sundance Award-winning film even more intriguing is the fact that the footage was stolen before it could be completed. Fast forward to twenty years later, the unseen footage made its way back into Sandi's hands and the rest is, shall we say, history.

A Land Imagined (2018)

A juxtaposition to Hollywood blockbuster hit Crazy Rich Asians based on Singaporean author Kevin Kwan's novel of the same name, A Land Imagined shatters the illusion of superlative Singapore with darker tones and less-bougie aesthetics – think cranes, dorms and heavy-duty trucks. The award-winning neo-noir industrial thriller blends social issues with mystery and follows a local detective in search of a migrant worker who disappears in a land reclamation site. 

Read our interview with director Siew Hua Yeo here .

The Last Artisan (2018)

Nothing screams 'weird, wacky and wonderful' quite like Haw Par Villa. If you want to journey further into the themed park, you can do so with local documentary The Last Artisan . It follows master craftsman Teo Veoh Seng who first started out as an apprentice at the park decades ago, and now at 83, he has finally decided to hang up his paintbrushes. Combining interviews with animation, the documentary spotlights the artisan whose quiet dedication has preserved a uniquely charming slice of an ever-changing city. So what will then happen to the park once Teo Veoh Seng retires? There's only one way to find out: watching The Last Artisan .

Republic of Food (2018)

What if we tell you that the mouth-watering nosh that we all know and love is entirely banned in this made-in-Singapore dystopian comedy? Republic of Food is a horror movie for food lovers by the city’s acclaimed director Kelvin Tong that ropes you into a not-so-distant future where humans across the globe are coerced into consuming bland synthetics that double as nutrition due to a deadly food-borne plague. And because not all heroes wear capes, a team of gastronomes embarks on a journey to revive food culture and save the day.

Available to watch on MeWatch .

Pop Aye (2017)

The first feature to be helmed by Kirsten Tan, this indie flick features a bromance like no other. A chance encounter led a burnt-out architect to reunite with his long-lost elephant in the city of Bangkok. Unable to part ways, he decides to take the gentle giant on a homecoming trip back to his rural village which led him further to self-discovery. This cinematic spectacle will leave you profoundly moved.

Apprentice (2016)

No matter your stance on the controversial death penalty, Boo Junfeng’s Apprentice will teach you the fine art of execution. The bilingual Malay-English prison drama focuses on a young Malay correctional officer’s friendship with an aging chief executioner who – lo and behold – executed the young man’s dad for murder decades ago. But despite this, he continues to learn the ropes as an apprentice to the older man. And if he wants to be the next chief executioner, then he has to do all it takes to overcome his conscience and his haunted past.

Available to watch on Amazon Prime Video .

A Yellow Bird (2016)

A debut film feature by local award-winning filmmaker K. Rajagopal, A Yellow Bird tells the story of a homeless ex-convict who is seeking to reunite with his family yet struggling to integrate back into society. As he carries on with life, he starts to form an unlikely bond with a Chinese sex worker while acting as her bodyguard. The grim drama was selected for the International Critics' Week at the Cannes Film Festival.

7 Letters (2015)

What do you get when you put seven award-winning local filmmakers together? A documentary that bears emotive accounts of Singaporeans in commemoration of SG50. The visual masterpiece cleverly captures each filmmaker’s personal bond with the city, colouring in themes of lost love, identity, family, neighbours and traditional folklore.

Unlucky Plaza (2014)

Ken Kwek's feature-length debut is a hostage thriller first premiered at the Toronto International Film Festival. It's about a Filipino man struggling to make ends meet, only to fall victim to a financial scam. He then takes several Singaporeans hostage for ransom. All hell breaks loose when a race riot engulfs the city. Xenophobic Singaporeans storm Lucky Plaza – the popular Filipino hangout from which the film derives its name – and go all-out medieval on the mall.

Ilo Ilo (2013)

The first Singapore film to land an award at the Cannes Film Festival 2013, Anthony Chen’s Ilo Ilo is one film that leaves you fogged up with tears. This tearjerker documents the inseparable bond between a boy and his new Filipina maid. Besides showcasing the struggle of the 1997 Asian financial crisis faced by most families then, Chen also cleverly depicts the class and racial tensions held within the household.

To Singapore With Love (2013)

Did you know that this documentary is banned in Singapore for its controversial elements? Now that we’ve got your attention, let us tell you more about it – it explores the backstories and beliefs of political exiles. Despite being denied a license to screen in Singapore, Tan Pin Pin’s film managed to bag several awards, including the Dubai International Film Festival and the Salaya International Documentary Festival. It even enjoyed four sold-out screenings at London’s SEA ArtsFest. Hoo-ha’s aside, To Singapore with Lov e is an absolute clever and affecting triumph.

Ah Boys To Men series (2012-2017)

The first of the series sees a privileged and impulsive Singaporean attempting to escape the grips of the mandatory National Service to study abroad with his girlfriend. The story then continues in the sequel where the focus shifts towards the main protagonist's NS experience and the friends he made in the army. It also touches on themes such as sacrifice, love, family, and patriotism. It's definitely a film that resonates well with Singaporeans who have served the nation. Hormat senjata!

23:59 (2011)

Before the clock strikes midnight, grab some popcorn for an army ghost story. This Singaporean-Malaysian horror film shines its torchlight in the dark corners of a remote jungle where a national service training camp is set up. At a minute before midnight, an army recruit is found dead, and a sort of evil is unleashed. Those bedtime ghost stories start to come to life when the gruesome incident reveals a terrifying secret, and the remaining soldiers have no choice but to confront their deepest fears. 

Sandcastle (2010)

Get a glimpse of Singapore in the 1950s with Boo Junfeng’s debut feature film Sandcastle. The coming-of-age story tells that of a teen who is forced to come to terms with his new-found knowledge of his father’s past, with huge resistance from his other family members. It explores various life experiences including his first love, his grandmother’s Alzheimer’s disease, and other sensitive issues that were particularly taboo to discuss back then. Sandcastle was also the first Singaporean film showcased at International Critics’ Week during the Cannes Film Festival in 2010.

My Magic (2008)

You’d want to grab a tissue box for this tearjerker. Starring real-life magician Bosco Francis, My Magic tells the story of a parent’s unconditional love. After the death of his wife, single dad Francis returns to his former craft as a magician to provide for his son. Pressured to earn more money, he starts performing dangerous acts, putting his life at risk. My Magic marks Eric Khoo’s first film in Tamil, and was the first Singapore film to be nominated for the Palme D'Or, the top award for film at the Cannes Film Festival. It was also selected as Singapore’s Oscar entry for the Best Foreign Language Film in 2009.

Kallang Roar the Movie (2008)

Not just another football flick à la Bend It Like Beckham and Goal! , Kallang Roar the Movie documents the legendary coach of the Singapore national football team: Choo Seng Quee. The dramatic take reimagines the events leading up to Singapore winning the Malaysia Cup in 1977, including the epic semi-final match against Selangor, and the final against Penang. Do the Kallang Wave when the credits roll.

A quirky homage to Singapore's Getai scene, this musical comedy is about two friends who grew up with immense love for the sub-culture. After being blessed by the Getai Goddess, the pair emerge as the Papayas, the most popular Getai duo in the city. But the plot thickens when their main competitors, the Durian Sisters, start cooking diabolical plans to sabotage the Papayas' performances out of jealousy.

Singapore Dreaming (2006)

A nod to the essay Paved with Good Intentions , the award-winning Singapore Dreaming follows a family grappling between loss, ambition, change and the realities of life. Despite its heavy themes, the film is light-hearted and relatable, especially in a fast-paced city like Singapore. Plus, it earned S.R. Nathan’s commendation – and that says a lot. Just bear in mind, the dialogue shifts in between English, Mandarin and Singlish.

Singapore GaGa (2005)

Partly named after Queen's single Radio GaGa , Singapore GaGa is also based on the concept of 'gaga' which is synonymous to being crazy over something in English, anger in Malay, and the yearning for a time past. It colours the city's past and present with delight and humour, and ropes audiences in with the sweet sounds of hymns sung by buskers, street vendors, school cheerleaders to themselves and their communities. It even reveals the hidden faces behind these aural gems. Since its premiere in 2005 at the Singapore International Film Festival, Tan Pin Pin’s essay film became the first-ever local documentary to have a theatrical release.

Be With Me (2005)

A film in three parts, Be With Me (directed by Eric Khoo) is inspired by the life and autobiography of Theresa Chan, a blind and deaf teacher. Hers is just one of the three stories in the film that touches on lost love, unfulfilled love and unspoken love. The result is a tender film that anyone and everyone can relate to and that love always finds a way. 

The Maid (2005)

One for horror fans – The Maid shines its torchlight on a very dark past, the stuff of nightmares. A family welcomes a new maid to care for the mentally disabled son, but her arrival is ill-timed as it's the seventh month of the year. It's believed that forces of the underworld are capable of unleashing their evil vibes during this period. As the newcomer begins her new job, she starts to find herself haunted by the sinister visions that reveal the fate of the family's previous maid.

Perth (2004)

There's only one destination in this bumpy ride: the heart of Harry Lee, a part-time security guard and taxi driver. With the hopes of moving to Perth – an oasis in Harry's mind – he starts transporting sex workers to clients to earn extra cash for the move, only to get entangled in the underworld of Singapore's flesh trade. Things start to really go down under when he takes an unhealthy interest in one of the sex workers who looks like someone from his past. This awakens a dire need for personal redemption from past transgressions, fuelling a rage that could determine his fate.

Not your average Singapore coming-of-age dramedy, 15 is as gripping as it is gutsy. Helmed by Royston Tan, the film is a follow-up on the director’s award-winning short film of the same name. It tells the story of teenage gangsters in the heartlands. Tan even went as far as to cast real-life 15-year-old juveniles, documenting their troubled lives without much prior scripting, for accuracy and authenticity. For a local film, this is one bold grisly premise that features full-frontal male nudity.

Homerun (2003)

This local Mandarin-remake has nothing on the original award-winning Iranian film Children of Heaven , but it's still worth watching for its satirical take on the tension between Singapore and Malaysia in the 60s, in which the story is set. The drama details the challenges faced by a brother-sister duo when a pair of shoes go missing. Besides themes of friendship and kinship, it also touches on the political relations between Singapore and Malaysia, and the socio-economic relationships between the rich and poor in the old Singapore. Bet you didn't know this film is banned in Malaysia too.

I Not Stupid (2002)

Not much brainwork required – this satirical comedy follows the lives, struggles, and adventures of three Primary Six students who are placed in the EM3 stream. Although it’s riddled with slapstick humour, the film also highlights several aspects of modern Singapore culture such as streaming in the education system, defense to authority, socio-cultural stereotypes, and the impact these have on underprivileged kids and families.

Forever Fever (1998)

Need a more localised version of disco hit Saturday Night Fever ? You actually don't, but this film written and directed by Glen Goei still works if you're looking for a feel-good flick with some banging tunes. Starring actor Adrian Pang as a Bruce Lee-idolising supermarket clerk, the film follows him as he tries to win a dancing contest and the affections of his crush. 

The Teenage Textbook Movie (1998)

Based on the bestselling book of the same name (sans 'Movie') by Adrian Tan, this coming-of-age film adaptation spotlights the lives of four Junior College students as they navigate the perils of teen angst and first love. The light-hearted film is full of witty quips, and songs by local musicians in which the all-Singaporean soundtrack became the first for English-language Singapore films.

12 Storeys (1997)

Just as the title suggests, this film is set in an HDB flat and narrates the lives of its inhabitants within a 24-hour period. Its plot branches out into three main storylines. China Bride depicts a middle-aged man dealing with his new young wife from China. San San portrays a loner who suffers from depression. Sister’s Keeper tells that of an overbearing brother who dominates over his sibling while their parents are away. Let’s just say, all three experience an unexpected twist of events right before the credits roll.

Army Daze (1996)

Before the Ah Boys to Men , there was Army Daze . Unlike its modern successor, this film adaptation of Michael Chiang’s 1987 play features a diverse cast of characters from different classes and cultural backgrounds taking on the rite of passage young Singaporean men have to go through: National Service. The down-to-earth comedy was a box office success when it was released in 1996, and still holds up pretty well after over two decades.

Mee Pok Man (1995)

Hard to say if Eric Khoo's splendid debut feature is an authentic tragedy of erotic obsession or the blackest of black comedies. Either way, it scores brownie points for presenting Singapore in a different light. Named after the flat noodles he makes and sells, the Mee Pok Man lives in the stern shadow of his late father and dotes from afar on the world-weary hooker Bunny. He gets his chance to 'save' this tarnished angel when he finds her bleeding after a hit-and-run accident and takes her home to nurse her. 

Hang Jebat (1961)

Not to be confused with the 1956 historical drama directed by Phani Majumdar, Hussein Haniff's epic duel Hang Jebat is the more popular film adaptation of the Malay legend. Based on the fearless warrior and closest companion of the legendary Malaccan hero Hang Tuah, it has been regarded by many film historians as one of the most significant historical dramas in Singapore's film industry.

Available to watch on Films of Singapore Daily .

Sumpah Orang Minyak (1958)

Written, directed, and even played by triple-threat superstar P. Ramlee, Sumpah Orang Minyak shadows a disfigured hunchback who makes a deal with the devil in exchange for beauty. Trouble ensues when he kills a man and his new life is taken away from him. Begging for another shot, the devil demands he rapes 21 virgins.

Bujang Lapok series (1957-1961)

The series of four films as a whole spotlights three Malay bachelors as played by P. Ramlee, Aziz Sattar and Samsuddin. The first film Bujang Lapok follows them returning to their kampung after working in the modern city of Singapore. The sequels, however, are not a direct follow-up but are as fun as its predecessor. The second entry  Pendekar Bujang Lapok  is considered the best and sees the comedic trio en route to become warriors. It won the Best Comedy award at the 1959 Asian Film Festival.

Pontianak trilogy (1957-1958)

One such genre that still lures audiences in then as it still does today is horror. Shining its torchlight on the vengeful vampire, Cathay-Keris’ Pontianak cult classic, together with sequels Dendam Pontianak and Sumpah Pontianak , defined the horror genre in Singapore and Malaysia. The films also feature music composed by Zubir Said, the composer behind Singapore’s national anthem. Fun fact: some of the earliest surviving kampong scenes filmed in Siglap and Tanah Merah can be found in Sumpah Pontianak .

Invisible Stories (2020-)

Not a movie per se, but his HBO Asia's original deserves to be binged. The six-part drama tells the stories of lesser-seen characters from a fictional housing estate in Singapore. These untold stories include the challenges a mother faces with her autistic son, a taxi driver who channels a spiritual medium by night, and a married husband with a secret that is only out of the bag at night.

Available to watch on HBO Go .

Folklore (2018-)

Another anthology worth binging, this six-part horror takes you on a hellish ride across six Asian countries. Brave up for the superstitions and myths that haunt this side of the world – think pontianak, and its equivalents like the Javanese wewe gombel and Thai pob. “Many of the stories have been passed down hundreds of years but given an update – so there's something familiar but yet something new in each episode,” shares filmmaker Eric Khoo. The second season, featuring seven hour-long episodes, is set to roll out in early 2021.

Read our full interview with Eric Khoo here .

For a movie fix

The best upcoming movies in Singapore

The best independent and alternative cinemas in Singapore

The best video streaming services in Singapore

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Movie review: Award-winning Singapore film A Land Imagined tackles issues of ethics and identity

Mystery Drama

A land imagined (nc16).

95 minutes/Opens on Feb 21/3.5 stars

The story: The police are called in when a Chinese national, Wang (Liu Xiaoyi), vanishes from his work site. Detective Lok (Peter Yu) retraces Wang's steps and his eyes are opened to a twilight world inhabited only by migrant workers in Singapore: their dormitories, cyber cafes and their celebrations. He also finds that their overseers, who take sand from other countries to grow Singapore's coastline, are not telling him everything they know.

In this dreamlike detective story, a cop who cannot sleep searches for a man who cannot wake up from a nightmare. In the background, a woman from China yearns to be anywhere but here, while men from Bangladesh have made a space for themselves that is home away from home.

Singaporean film-maker Yeo Siew Hua tries to crack the puzzle that is Singapore in this ambitious, mostly-Mandarin film that grapples with issues of ethics and identity, all wrapped in a police procedural.

The philosophy graduate from the National University of Singapore likes the big questions: What is the meaning of home? For the sake of comfort and modernity, how much is too much in terms of human suffering? In a variation on the conundrum of the ship of Theseus, can a physical space composed of particles taken from other lands ever be said to belong to its new owners?

That intellectual remove gives the film an air of coolness, and at the cost of urgency and immediacy. And yes, characters do peer into the distance while musing about alienation and belonging. This reviewer cannot remember if smoke curled upwards from cigarettes held in their fingers while they spoke, but it would come as a surprise if it did not.

This is Yeo's second feature after the experimental film In The House Of Straw (2009). Last year, A Land Imagined snagged the Golden Leopard prize at the Locarno Film Festival, and Best Film prize at the Asian Feature Film Competition section of the Singapore International Film Festival.

Yeo's investigator character Lok, played with a lovely hangdog expressiveness by Peter Yu, is cosmic detective, a man whose radar picks up signals others cannot sense, but which enable him to find his quarry. Chinese actress Luna Kwok is Mindy, a femme fatale of sorts whose observations spur Lok on his search.

The villains are the developers who create the straight lines that make up the Singapore coastline and they are - pardon the pun - remarkably concrete characters, in contrast to the goings-on in the rest of the film.

That tonal shift is jarring, but it is a small flaw in a bold work that seeks to unsettle - figuratively and literally - the ground beneath our feet.

A Land Imagined will screen at Cathay Cineplexes (Cineleisure Orchard, JEM, Parkway Parade and The Cathay). It will also screen at GV Vivocity and The Projector.

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Singapore Saloon movie review: Melodrama drowns a few good laughs in RJ Balaji’s film

Singapore saloon movie review: rj balaji's film starts as a charming tale of friendship but loses its appeal in the second half as it transitions into forced social commentary, missing the humor and heart of its initial narrative..

RJ Balaji ‘s Singapore Saloon begins as a tale of two friends, Kathir (RJ Balaji) and Basha (Kishen Das), in a picturesque village. As long as the film revolves around these two  and their bond with the neighborhood barber Chacha (Lal), who operates Singapore Saloon, it is a comedic delight with well-written and heart-touching moments. The narrative even beautifully explores how Chacha becomes the boys’ best friend. Chacha is the one who does circumcision of all Muslim boys, and he also shaves the heads of all the Hindu boys in the village.

The two boys end up becoming the victims of their respective cultures and swear revenge upon Chacha. But gradually, their anger transforms into affection for this charismatic man with a magical touch when it comes to scissors and comb. Kathir develops a fascination for the art of hair styling, learning the skill from Chacha. Let’s label this part of the film as Saloon Paradiso. It’s comparable to the midway feeling during a haircut—unfinished yet promising. If only men had the courage to halt haircuts midway, it could prevent post-haircut trauma. Unfortunately, by the film’s completion, it evokes a similar feeling of regret, akin to the aftermath of an overdone haircut.

The film remains a heartwarming drama as long as it focuses its lens on the two friends and Chacha. It also has a brilliantly written father character (played by Thalaivasal Vijay), who is rational and emotional at the same time. Then comes the second half. The horror, and the never-ending tears.

Kathir pursues engineering to secure a fallback option before pursuing his passion for hair styling, and he quickly becomes a well-paid hair stylist. Then the film introduces a new character, Kathir’s penny-pinching father-in-law (Sathyaraj). The humour during this part of the film is a hit-or-miss. Rabo Shankar’s appearance offers more of the latter; but when it works, it is a riot. The narrative then delves into Kathir’s struggles in establishing and running Singapore Saloon, marking a departure from the warmth and charm of the initial bromance. As the story progresses, Chacha exits, and takes away the good writing and redeeming factors with him. Singapore Saloon transforms into an entirely different entity, lacking the warmth between Kathir and Basha. Basha becomes a sidelined character, with no significant role in the narrative. Amid successive disasters, Kathir contemplates ending it all until a deus ex machina arrives in the form of a cameo. RJ Balaji’s inclination towards old-school techniques blurs the line between such methods and clichés. The sudden appearance of a character providing motivation and disappearing without a trace epitomizes lazy writing, a cliché.

The film then stops being a story about an individual’s pursuit of passion, and turns into a social drama. There is concern for birds; we are introduced to the problems of slum dwellers. A reality TV show. Childbirth in the saloon. Lokesh Kanagaraj tweeting #ISupportSingaporeSaloon. People reacting to Singapore Saloon on social media (straight out of Shankar films). As the movie crosses the point of no return, we are left pondering why our filmmakers have an insatiable need to incorporate a social message, why conflicts escalate from personal to global, and why heroes seldom settle for smaller stakes, and why do we lack the courage to stop the barber before things go downhill.

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Movie review: An honest take on The Projector and the screening of A Friendly Tale by Daniel Cohen

Allyson Tutay

Singapore’s indie cinema: pleasant or pretentious? Spoiler: The Projector is a bit of both. In this series, we give you an inside look into what’s new in the art and culture scene.

It wasn’t the first time I’d heard of The Projector . I’d heard of it from friends, family, dates . Heck, even a research fellow from NUS had mentioned it to me. I’d simply shrug in response. It seemed a little too pretentious for me; the kind of place where you’d find people whose only personality is “I watch foreign films” and then get offended when you use ‘ movie ’ and ‘ film ’ interchangeably.

Admittedly, I am very stubborn. So, you would understand why it took two years before I finally caved. Ultimately, it was the combination of a good friend gushing about good friend gushing about The Projector’s movie offerings and being increasingly dismayed at GV’s selection of movies. I grabbed a friend and booked two tickets to watch A Friendly Tale (Le bonheur des uns) at The Projector.

Initial thoughts on The Projector

Upon arriving at the Intermission Bar, it seemed not everyone was there for a movie. Couples lounged, sharing a bottle of wine. A group of friends clad in party dresses snapped pictures of each other on Leica cameras. An old married couple sat quietly at the corner, a bucket of popcorn wedged between them.

It was a rather cool scene, with a menu that might make a regular bar embarrassed. Decorated with old movie posters, disco balls and fairy lights, I could understand why people see The Projector as a great date place. Catch an indie movie, share a bottle of prosecco (S$70) and just… chill.

Likely on purpose, it’s reminiscent of old-school cinemas with a comprehensive list of both foreign and local films – most of which have been featured (and have won) at international film festivals. So if the pandemic’s hindering you from being able to fly to these festivals, The Projector will make sure you don’t miss out on your yearly affair. If cinemas aren’t your scene, they also offer the option of renting out the movies.

What we think of Daniel Cohen’s French film, A Friendly Tale

A Friendly Tale started, and I’ll be honest: we didn’t have the highest expectations. The trailer didn’t give much and hinted that the humour might be a little heavy-handed. Regardless, the premise was simple enough. It starred four friends. The shy, mousy one of the group, Léa (Bérénice Bejo), publishes a novel that becomes a bestseller. Her success strains the friendship. It did sound like a rather friendly tale.

So perhaps that’s why Daniel Cohen’s movie exceeded expectations. On the surface, it is a simple comedy with rather irritating characters. Léa is a (very stylish) pushover, Marc (Vincent Cassel) is an insecure husband, Karine (Florence Foresti) is an overly competitive and incredibly lousy best friend, Francis (François Damiens) tries a little too hard to be funny.

It’d be easy to dismiss this as another popcorn-drama, had it not been for the cinematic continuity Cohen had drawn. The film opens and closes with the group of 4 attending a dinner party and talking about the meaning of success.

The group dynamics that everyone’s comfortable with are established, with Léa being talked down to and Karine almost forcibly asserting how much more successful she is than everyone else. And as Léa’s success threatens both Karine and her husband’s self-worth and security, we see how the understanding of success begins to shift. Karine’s initial satisfaction with her marriage, children and job suddenly seems meaningless compared to Léa’s success as a novelist, despite the fact that Léa’s personal relationships are far more fragile than Karine’s.

In Léa’s marriage, she’s constantly forced to coddle the insecurities of her husband, who feels increasingly irrelevant as Léa grows out of the ‘doormat’ role that she’s been typecast in by her friends. His masculinity is threatened by no longer feeling superior, and the audience is left not only flummoxed, but also questioning how traditional ideas of masculinity shape marital dynamics even in the 21st century.

It becomes evident what the film is truly trying to get across. Though PG-rated, the themes presented in the movie are far more intellectual, exploring the meaning of success and the fragility of human relationships.

I couldn’t help but wonder: can we be happy for other people’s success? Do we compare ourselves too much to each other to be truly happy? Are our human relationships founded on surrounding ourselves with people who are similarly successful (or unsuccessful)? Are we really so insecure that success levels determine relationships?

I came out of the cinema pleasantly surprised and with a bit of a leg cramp (the seats aren’t the most comfortable). My friend turned to me and she said, “I didn’t expect it to be so sad.”

Long story short

Don’t watch A Friendly Tale if you’re looking for a movie with masterful cinematography and groundbreaking scriptwriting; or if you’re hoping for another zero-calorie blockbuster. Expect to be slightly irritated but also mildly disturbed. Who are the people you surround yourself with? How do you handle another person’s success?

And as for my opinion on The Projector… I’ll be back, and I hope you’ll be there too. Unless you still think watching foreign films is a personality trait – in which case, I hope not to see you.

Tickets start at S$13.50 on weekdays and S$15 on weekends.

The Projector 6001 Beach Road 05-00, Golden Mile Tower Singapore 199589

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Geylang Review: Mark Lee Is Hysterical As Pimp In Red Light District-Set Crime Thriller Produced By Jack Neo

Geylang (M18)

Starring mark lee, sheila sim, shane mardjuki, gary lau, patricia lin, directed by boi kwong.

Good to see a Singaporean movie about the sleazy underside of Geylang that’s shot vividly in actual lorongs.

But as Geylang careens on in neon-noir darkness like a car crash in a washing machine, its characters should be staying instead in Changi.

Changi Prison. Because the body count here can fill an illegal gambling den.

This nocturnal homicidal drama interweaving five individuals takes place in one heady night of high crimes and moral misdemeanours. Inexplicably on the eve of Nomination Day for a looming general election.

Don’t ask me why.

Directed by Boi Kwong and co-produced by Jack Neo, this pic is readily relatable since its title is our principal locale for sin. It’s busy with a lot of scenes. Including right inside a red-light pleasure house. But when these scenes turn messy and plain nuts, well, a familiar name can only go so far.

The body of a prostitute is found by the roadside. Cause and effect are unveiled in a countdown of reverse chronology. From three months, one week, three days ago to the day before the said night, we see flashbacks linking people with things to hide ranging from plausible to preposterous.

Mystery and characters twist, untwine and re-tie themselves into clunky knots. A demented doctor, for instance, harvests an organ from a live victim, but still finds time to make a house call.

Mark Lee is spot-on perfect in this crude environment spouting Hokkien as Fatty, a beleaguered but good-hearted brothel owner who scurries all over the streets. He’s the movie's iffy ethical heart as he grapples with a dementia-stricken father, a missing hooker and a dead Ah Long stuffed into his car boot. Needing to get out of town right away, he’s side-tracked into becoming an accidental fixer by the urgencies of others.

The missing girl, Shangri-la (Taiwanese actress Patricia Lin), is strapped down in the darkened shophouse clinic of the mad doc, Dr Sun (Shane Mardjuki). He’s apologetic about carving out her kidney to save his ailing child but exudes serial-killer vibes like a 10-alarm fire. It stumps me how someone who just had a major organ removed can still flee and converse. “My kidney was taken,” the unwilling donor reveals in a car. Er, okay.

Wrong turn: Sheila Sim picked the wrong night to buy supper in Geylang. 

Meanwhile, Shangri-la's “tattooed cigarette seller” boyfriend, Ah Jie (Gary Lau), searches frantically for her on his neon-lit motorbike — cue night-scene visual effect — by pinging her phone. And a do-gooder lawyer-turned-social worker, Celine Wong (Sheila Sim), kaypohs her way into the picture to the detriment of both life and common sense.

“I'm Celine from Project Angel,” she tells the hookers she's trying to help. You know, without the murderous overkill — no pun intended — this subplot alone would be fascinating enough for a Leaving Las Vegas probe into our very own notorious underworld. In a Leaving Geylang way not seen since Lim Kay Tong went Travis Bickle-loco in 2004’s Perth .

All would be SG-sin fab if only Geylang was more realistic and not over-cooked in high imagination and overwhelmed by way higher improbability.

I’m no expert in crime. But ‘'m pretty sure that mighty rare is any abnormal night in Singapore when a doctor in a signboard-prominent white coat slugs it out with a lawyer in slo-mo on the street. Plus going MMA — Mad Med Aggro — against a pimp and an Ah Beng.

These fights, though, are so well staged, violent and prolonged — especially when supple uncle Lee, scalpels and a killer cupboard are thrown in —  that even a cockroach doesn’t get this much battering.

Director Boi, making a comeback after 2008’s gangster flick, The Days , reportedly said that Geylang is a homage to the likes of Hong Kong shady-underbelly thriller director, Johnnie To. As the sort of tale where a seedy area becomes an ambiguous existential crisis centre for denizens with no easy means of escape.

“Butterflies that can no longer fly, fall to the ground and only death awaits them,” goes the morbid code. Making you wanna slurp the cheng tng there even more gratefully.

But you don’t get a transplanted Johnnie To-ish quality here. Geylang ’s characters, connected more by concoction than fate, don’t convey a sure sense of their trapped place of vice. It may be due to the absence of palpable grit since Boi bathes the movie in decoratively lighted colours — red interiors, assorted hues, a tourist-attraction bicycle flitting by —  instead of an overall dusky tint that would’ve instilled a lurking sinister presence.

Check out Zhang Yimou's historical pic, Full River Red , to feel the suspense this undertone brings straightaway.

But even To doesn’t have any character in his films utter this hilarious legislative line, “Only power can protect me. I want to be in parliament.”

Could be that this film, scripted by Link Sng ( Long Long Time Ago ), wants to claim some official redemption since Geylang, our famous red-light district, is portrayed quite emphatically in an infamous bad light.

I mean, bizarre political folks here actually want to clean up the crime and grime as their big civic ambition as Boi isn’t prepared to go full Saint Jack -cesspool.

The director, to be sure, makes effective use of his location. He keeps his camera low shooting the alleys, lorongs and dark corners while knowing that nothing captures the mood of the hood better than the endemic-terrific face of Mark Lee who’s born to play a procurer afflicted with propriety.

“If you choose to be a pimp, be a righteous one,” his father instructs him as though this is even morally possible.

It’s an incompatibility of sheer opposites —  from authentic to fantastic — which Geylang itself seems to be stricken by too. (3/5 stars)

Photos: mm2 Entertainment

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Singapore Saloon movie review: RJ Balaji is convincing as a hairstylist, but this underdog story has too much going on

Singapore saloon movie review: director gokul has tried to bring together too many elements in the rj balaji-starrer, and this is, sadly, its downfall..

Singapore Saloon movie review: The last few films of director Gokul featured big Tamil stars, but did not fare well at the box office. This time around the Junga director teams up with RJ-turned-actor-and-director RJ Balaji , who is known for his comedy. Singapore Saloon tried to combine director Gokul’s sensibilities with actor RJ Balaji’s to a certain extent, but how well do the two meet? Also read: RJ Balaji exclusive interview

Singapore Saloon's plot

Singapore Saloon starts with Kathir's (RJ Balaji) stunning confession – he is going to die by suicide. He then narrates what compelled him to make this decision. The film revolves around Kathir’s ambition to become a renowned hair stylist.

He grows up in a small town, where he spends a lot of time with his friend Basheer (Kishen Das) at Chacha’s (Lal) barbershop called Singapore Saloon. He feels passionate about this profession, but he feels education is important and arms himself with an engineering degree. His dream of opening his own salon sees him go through severe struggles, financial and otherwise.

His wife’s ( Meenakshi Chaudhary ) miserly father (Sathyaraj) and his own dad lend him money to open his dream salon, and he opens his Singapore Saloon in a building interestingly shaped like Singapore’s Marina Bay Sands. Then in a major twist of fate, he faces a big disaster just before the saloon opens. What happens to Kathir’s dream and his life?

Director Gokul has tried to give us an underdog story of a young man, who dares to make his dream a reality. The first half of the film is filled with lighter moments as we see Kathir in school and develop his first crush. When Sathyaraj comes on screen, there are more fun elements. In the second half, the director makes the film really sentimental and sappy.

What works and what doesn't

The writing is patchy and being an underdog story, it is cliched and doesn’t make you root for him. Though there are scenes, where you empathise with the protagonist or have a laugh, the theme of making your dream come true is stressed through multiple characters in the film. The director also brings in other social themes into the film - religion, economic inequality and so on.

The film lags at points and the protagonist seems to be morose throughout the film for some reason. Shouldn’t the film give the audience hope?

Cut to the performances, RJ Balaji is good and convincing as the hairstylist but his character could have been better written by the director. We needed to see him work as a hairstylist and hone his skills, but Gokul completely misses that. Like mentioned earlier, Kathir’s role is high on sad sentiment and drama which is a downer.

Actor Sathyaraj is superb in the scenes he appears with his sons-in-law. Sathyaraj’s lines may not be howlarious but the way he delivers them and his expressions make you laugh. Kishen Das and Robo Shankar are apt for their roles but Meenakshi Chaudhary doesn’t have too much to do in the film.

The music and songs by Vivek-Mervin are not very average and nothing memorable. The cameos by Arvind Swami and Lokesh Kanagaraj liven up the proceedings and add some excitement.

Final thoughts

The storyline of making hairstyling a noble profession and hairstylists as people, who deserve respect is good. But director Gokul has tried to bring together too many elements in Singapore Saloon and this is, sadly, its downfall.

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Singapore Saloon Movie Review: A Heartwarming Journey of Dreams and Determination

Updated Jan 25, 2024, 11:37 IST

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Singapore Saloon Movie Review : Singapore Saloon is an awkward mix of humour and melodrama

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Users' Reviews

Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

Suneeth Manohar 28 days ago

Very good movie,very nicely done,graceful

KARTHIKEYAN G 172 50 days ago

Good melodrama. Story touches about the profession which was never touched before in cinema..Another excellent film chosen by RJB and great performances by Sathyaraj and Thalaivasal vijay..

Magesh S 2 51 days ago

Nice movie ����

Nagarajan Venkatasubramanian 263 52 days ago

beggar also beg and survive. in the name of comedy they insult one particular religion and community.

User 1 57 days ago

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Singapore Saloon Tamil Movie Review: Get Ready for a Rollercoaster of Laughter and Emotion as RJ Balaji and Stellar Cast Bring ‘Singapore Saloon’ to Life – A Hair-raising Tale of Dreams, Love, and Triumph!

Singapore Saloon Tamil Movie Review

Singapore Saloon is a captivating Tamil movie that transcends cultural boundaries, directed by the talented Gokul. This heartwarming coming-of-age tale stands out for its unique premise and stellar performances. From the impressive RJ Balaji to seasoned actors like Sathyaraj and Lal, the ensemble cast contributes to the film’s success. Meenakshi Chaudhary, in her second Tamil film, adds a fresh charm to the screen. Gokul, taking on the roles of both writer and director, showcases his brilliance in creating a narrative that seamlessly blends humor, inspiration, and the pursuit of dreams.

Movie Details:

Released on January 25, 2024, Singapore Saloon boasts a runtime of 2 hours and 17 minutes. The film falls under the comedy and drama genres, carrying a Universal (U) rating, making it suitable for audiences of all ages. Gokul, known for his previous works, brings a unique touch to this project, teaming up with RJ Balaji, renowned for his comedy, to deliver a cinematic experience that goes beyond the conventional.

Cast and Crew:

The movie features RJ Balaji in the lead role of Kathir, showcasing his versatility as an actor. Meenakshi Chaudhary, Sathyaraj, Lal, Thalaivasal Vijay, and Robo Shankar contribute to the ensemble, each adding depth to the storyline. The behind-the-scenes brilliance comes from Gokul as the director and writer, with Ishari K. Ganesh serving as the producer. The cinematography by M. Sukumaran, editing by Selva RK, and background score by Javed Riaz collectively enhance the visual and auditory experience.

About Singapore Saloon Tamil Movie:

Singapore Saloon takes the audience on a journey of dreams, mentorship, and self-discovery. The plot revolves around Kathir, played by RJ Balaji, who, inspired by a local barber, aspires to become a hairstylist. The film beautifully captures the essence of relationships and personal growth, making it not just a comedy but a celebration of aspirations. The storyline breaks away from clichés, offering a fresh perspective on the pursuit of one’s passion.

The narrative begins with a gripping confession from Kathir, played by RJ Balaji, who contemplates suicide. He unfolds his life story, growing up in a small town, spending time at Chacha’s (Lal) barbershop, named Singapore Saloon. Kathir’s passion for hairstyling is hindered by societal expectations, leading him to pursue an engineering degree. However, his dream of opening a salon faces financial struggles. With support from his wife’s father (Sathyaraj) and his own dad, Kathir opens Singapore Saloon, only to face a major setback. The film explores the twists of fate that shape Kathir’s journey.

Director Gokul weaves a compelling underdog story, portraying Kathir’s determination to turn his hairstyling dream into reality. The first half is filled with lighter moments, depicting Kathir’s school days and his first crush. Sathyaraj’s character adds fun elements, but the second half takes a more sentimental turn, delving into the challenges faced by Kathir. The plot introduces various social themes such as religion and economic inequality. Despite some empathetic moments, the film struggles to create a consistent tone and may leave the audience wanting a more uplifting narrative.

Performances:

RJ Balaji delivers a convincing performance as Kathir, portraying the character’s journey with sincerity. Meenakshi Chaudhary, in her second Tamil film, adds freshness to the screen and shares endearing chemistry with RJ Balaji. The seasoned actors, Sathyaraj and Lal, steal the show with their dynamic mentor-mentee relationship. The ensemble cast, including Kishen Das, Ann Sheetal, Thalaivasal Vijay, John Vijay, and cameo appearances by Lokesh Kanagaraj and Jiiva, contributes to the film’s success, creating a delightful ensemble piece.

Technical Aspects:

Gokul’s dual role as the writer and director is evident in the film’s well-crafted script. The narrative seamlessly combines moments of laughter with poignant scenes, showcasing Gokul’s mastery over storytelling. The cinematography by M. Sukumaran captures the essence of the small town and adds visual richness to the film. Javed Riaz’s background score complements the emotional beats, enhancing the overall cinematic experience. However, the music and songs by Vivek-Mervin receive a mixed response, with some considering them average and forgettable.

Plus Points:

The film’s unique premise, highlighting the journey from barbershop banter to hairstyling dreams, adds freshness to the coming-of-age genre. RJ Balaji’s stellar performance, coupled with the chemistry between the cast members, elevates the film beyond a simple comedy. Robo Shankar’s comic timing contributes to the entertainment quotient, ensuring laughter throughout the narrative. Y. G. Mahendran’s impactful cameo and the brief yet memorable appearances of Lokesh Kanagaraj and Jiiva serve as treats for fans, adding layers to the film.

Minus Points:

The film faces criticism for its overloaded plot, attempting to incorporate too many elements and resulting in a lack of focus. The writing is considered patchy, with a clichéd underdog story that fails to evoke a strong rooting for the protagonist. The second half’s shift towards sentimentality and drama may not resonate well with all viewers, impacting the overall tone of the film. RJ Balaji’s character is criticized for being morose throughout the film, lacking the expected element of hope. The film lags at points, affecting the pacing and engagement of the audience.

Movie Analysis:

Despite its positive aspects, “Singapore Saloon” grapples with a tonally inconsistent narrative. The film attempts to balance humor and sentimentality, resulting in a patchy writing style that hinders the viewer’s ability to fully connect with the protagonist. While the performances, especially by RJ Balaji and the veteran actors, shine, the underdeveloped character arcs and lack of focus in the plot contribute to a less-than-cohesive viewing experience. The director’s effort to bring in multiple social themes adds complexity but might overwhelm the audience.

Also Read: Singapore Saloon OTT Release Date, OTT Platform, Satellite Rights, and More

In summary, “Singapore Saloon” stands as a feel-good masterpiece with moments of brilliance but falls short of delivering a consistently engaging narrative. Gokul’s direction and the stellar performances, especially by RJ Balaji and the supporting cast, make it worth a watch. However, the film’s struggle with plot coherence and tonal shifts may leave some viewers wanting more. If you appreciate unique premises and can overlook certain inconsistencies, “Singapore Saloon” offers a celebration of aspirations, relationships, and the pursuit of passion in the charming backdrop of a small town.

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Lady Gaga’s ‘Joker: Folie à Deux’ Trailer Is Spectacular

WHY SO SERIOUS

Never in a million years did we think this Batman-meets-La La Land sequel to 2019’s “Joker” would look this good. Check out the newly released first trailer.

Coleman Spilde

Entertainment Critic

Warner Bros.

Fine, I’ll admit it: I was dead wrong.

Let me clarify. There was a time, not too long ago, when Lady Gaga signing onto a Joker sequel was unfathomable. Years of fighting to prove her talent and worth to the general public culminated in the musician and actor being nominated for a Best Actress Oscar for her role in 2018’s A Star Is Born . (She missed out on the statuette, only to pick up the Best Original Song trophy later that evening.) After Gaga’s silver screen follow-up, House of Gucci , turned out to be a less-than-ideal vehicle for her star power, joining another big Hollywood production could be a risk. And when rumors about her joining the sequel to 2019’s controversial standalone Joker film began to swirl, many people–including myself—thought Gaga’s participation was incomprehensible. It was so strange and unlikely to me that I even wrote an open letter back in 2022, half-jokingly begging her not to take the role. With the amount of contention surrounding the first Joker film, it seemed unwise for Gaga to associate herself with the franchise.

But time is a funny thing. In the two years since it was announced Gaga would join Joaquin Phoenix in the Joker sequel, Joker: Folie à Deux , Gaga has done quite a few things I wouldn’t have expected. The first and foremost would be teaming up with pharmaceutical overlords Pfizer to hock migraine pills, which I used to think was something relegated to Khloé Kardashian . Gaga, ever the LGBTQ+ activist, also spent most of last summer quiet after a season of legislative attacks on trans and gender-nonconforming people put the health and safety of the queer community at jeopardy—a silence she later ( vaguely ) apologized for. While these haven’t been my favorite surprises that Gaga has pulled on the public in her long career, she certainly keeps us on her toes. That much has once again been proven too with the release of the first trailer for Joker: Folie à Deux . I’ll say it because I mean it: This movie looks really damn good.

In the trailer, we once again meet Phoenix’s Arthur Fleck, now locked away in Arkham Asylum after his murderous rampage ignited Gotham City’s underbelly of criminals and sent them into the streets. It’s at Arkham where Joker meets Gaga’s Harley Quinn who, blessedly, is not doing Harley’s typical bratty-by-way-of-Long Island accent. “I’m nobody,” Harley says to the Joker in a voiceover, while a shot of her putting a finger gun to her head and pulling the trigger, laughing, plays. “I haven’t done anything with my life like you have.” What follows is a montage of staggeringly constructed shots, far from the dimly lit greens and browns that filled the first film. Four colorful umbrellas flank Arthur at Arkham, a clear nod to 1964’s The Umbrellas of Cherbourg , and that’s only the first of several cinematic references.

The montage appears to jump between Joker and Harley’s delusions. As they tango in the real-life Gotham city streets, they envision themselves twirling together on rooftops lit by the night sky. They’re lit on a massive show stage, with lights reading “JOKER & HARLEY”—apparently, after assassinating Robert de Niro’s talk-show host character in the first film, Joker has made a King of Comedy -like twist and secured his own variety hour (at least in his head). “I’ll tell you what’s changed,” Arthur tells his clinical psychologist in a scene set before he and Harley ostensibly escape. “I’m not alone anymore.”

Amidst all of it, there’s Gaga, holding each shot of the trailer that she’s in with as much gravity as she’s held her first two big screen ventures. Her Harley looks defiant and self-assured, bolstered by Joker encouraging her maddest side. She stomps up courthouse steps to throngs of cheering fans, smirking in her clown makeup. She smears lipstick on her face, dances in a sequined fringe dress, twirls down the twisting aisle toward her nuptials, and keeps a gun drawn at her new boyfriend. Unlike the typical Joker-Harley dynamic, this looks to be a marriage of equally demented minds, with each one holding their own twisted power.

Lady Gaga and Joaquin Phoenix

“I want to see the real you,” Gaga’s Harley says at the end of the teaser, before drawing a lipstick smile on the glass that separates her from Joker inside Arkham. Joker leans to his right, aligns his mouth with the smile, and pairs it with his own perturbing grin. It’s a beautifully blocked shot, a memorable kicker for a surprisingly excellent trailer. Joker: Folie à Deux looks far better than anyone could have expected when we initially heard that Lady Gaga might be throwing herself into a Joker sequel.

What’s more, it seems like an ambitious new take, and not just a simple continuation. Joker was was very much the watered-down sum of its parts; Taxi Driver meets Batman was never going to be a particularly novel concept. Folie à Deux , a jukebox musical that reportedly has at least 15 musical numbers, recycles this, giving us La La Land meets Batman . (Or, maybe in Joker’s case, Ha Ha Land ). There is, however, already so much more to chew on in this teaser trailer alone. The sequel looks like a grand spectacle that could take this story to new and fascinating heights for the first time, And with Gaga’s powerhouse voice—and sure to be wackadoo press tour —ahead of us, maybe us doubters will be the ones looking like clowns when Joker: Folie à Deux lands in theaters Oct. 4, 2024.

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‘The First Omen’ Review: A Decently Executed Prequel Pales Next to Superior ‘Immaculate’

Director Akasha Stevenson concocts a twisted-nun backstory to 'The Omen' that's less scary than the 1976 horror classic suggested, but infinitely more profane.

By Peter Debruge

Peter Debruge

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“Why wouldst thou be a breeder of sinners?” spat Hamlet. “Get thee to a nunnery!” Oh, if the Prince of Darkness … er, Denmark, only knew what evil lurks within such walls.

Popular on Variety

Since horror fans know where things are headed, director Akasha Stevenson and co-writers Tim Smith and Keith Thomas can slyly embed references that achieve full ominousness by association with what’s to come — like the nun who steps off a high ledge after pledging, “It’s all for you,” or the close-call opening scene, which foreshadows how the surviving priest dies in the original film. For most audiences, our imaginations did a freakier job of extrapolating Damien’s provenance than this prequel can manage.

Incidentally, long after Ira Levin wrote “Rosemary’s Baby,” he followed it up with a potboiler called “Son of Rosemary,” in which the assumed Antichrist grows up to be a celebrated humanitarian. On the eve of the millennium, the charismatic 33-year-old convinces the whole world to light celebratory candles, unleashing a toxic substance that wipes out humankind … and then Rosemary wakes up — not at the beginning of Levin’s sequel, but at the start of the first book, effectively invalidating all that has come before. There’s a risk, in extending any popular horror myth, of diluting the impact of the original.

Stevenson takes a respectful approach to the “Omen” series, if not to Catholic traditions or clergy. In addition to reverently acknowledging Jerry Goldsmith’s disconcerting choral score, “The First Omen” brings back Father Brennan (Ralph Ineson), whom we saw so iconically impaled in the 1976 film. While it’s fun to see this blathering loon alive again, the true protagonist is a virginal American novice named Margaret ( Nell Tiger Free ), who arrives wide-eyed and openhearted at Vizzardeli Orphanage in Rome, incapable of imagining the scope of the conspiracy practiced within.

Run by prune-faced old nuns (led by Sônia Braga) and the kindly but not-to-be-trusted Cardinal Lawrence (Bill Nighy), the centuries-old orphanage serves as an incubator for the Antichrist. Meek at first but increasingly defiant as she discovers her superiors’ sinister intentions, Margaret embodies modern audiences’ changing relationship to the church: She approaches her faith with sincerity, only to discover a total perversion of her values by the institution’s supposed authority figures.

Once Brennan plants the seed of his own paranoia in her, the empathetic new arrival starts to worry about one of the girls, Carlita (Nicole Sorace), who keeps to herself, scribbling demented portraits of her suspicious guardians in coal-black pencil. Apparently, Margaret had a disturbing childhood as well, and sees herself in the feral outsider. So she takes Carlita under her wing, assuring the orphan that it’s not unusual to experience extreme visions — an admission that gives director Stevenson license to spring all kinds of jump scares on audiences, then immediately dismiss them as hallucinations.

One such scene etches itself in our minds, impossible to unsee. Margaret hears screaming and follows the sounds to the infirmary, observing a childbirth so unnatural, even the climactic delivery of Damien can’t help seeming tepid by comparison. It’s a wild, word-of-mouth-worthy gimmick, closer in spirit to classic Italian gialli (from which Stevenson derives much of the film’s jagged, destabilizing style) than to the Richard Donner-directed original. The “Omen” brand should get them in the door, while this graphic gag distinguishes it, guaranteeing the otherwise expendable entry a certain shelf life.

Free, who plays Sister Margaret, provides an easily identifiable entry point into the film’s appropriately Goth-looking milieu. Like a young Eva Green, her face can read as innocent one moment and cunning the next, inviting the possibility that there’s far more to the character than meets the eye. Through her, the movie takes a righteous approach vis-à-vis this Catholic sect’s transgressions. Ironically, no church on Earth would sanction something so dastardly; it’s the filmmakers who conceived such a twisted plot, with loose ends clearly intended to spawn additional sequels. You’ve heard of faith-based films. A week after Easter, here’s the faith-debasing alternative.

Reviewed at Regency Village Theatre, Los Angeles, March 26, 2024. MPA Rating: R. Running time: 119 MIN.

• Production: A 20th Century Studios release and presentation of a Phantom Four Films production, in association with TSG Entertainment. Producers: David S. Goyer, Keith Levine. Executive producers: Tim Smith, Whitney Brown, Gracie Wheelan.
• Crew: Director: Arkasha Stevenson. Screenplay: Tim Smith & Arkasha Stevenson, Keith Thomas; story: Ben Jacoby, based on characters created by David Seltzer. Camera: Aaron Morton. Editors: Bob Murawski, Amy E. Duddleston. Music: Mark Korven.
• With: Nell Tiger Free, Ralph Ineson, Sônia Braga, Tawfeek Barhom, Maria Caballero, Charles Dance, Billy Nighy, Nicole Sorace.

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