What I loved most: Well-researched plot

What I really hated: Nothing

"District 9" is Neill Blomkamp's directorial debut, a sci-fi thriller where crustacean-like extra-terrestrials, otherwise referred to as the 'prawns', encroach upon Johannesburg and have since failed to integrate into the general populace. Their unwelcome intrusion was viewed as an impingement of human rights, thus hostile efforts to evict them ensued. Tasked with the deportation is Wikus (Sharlto Copley), an officer at Multi-National United (MNU) who has unwittingly contracted the virus which mutates him into the alien. Hunted down by his own kind, he is driven to desperation and forced down the path of violence, his quest to seek a cure for his mutation culminating in fiery battles complete with sanguinary struggles and voluminous bloodshed. Blomkamp, an acolyte of Peter Jackson, shows the same remarkable flair for film-making as his mentor. The ingenuity of deploying hand-held filming techniques and the unconventional yet effective use of actual news footage depicting the unrest and segregation of both species cohabiting the same area is already a testament to his craft. Produced at a modest budget of US $30 million, the visuals are surprisingly uncompromised and rival that of mega blockbusters, with none of the cheap and cheesy feel we often associate with low-budget sci-fi flicks. This sci-fi cum social commentary laden with political metaphors pertaining to racial oppression, experimental ethics and power abuse, is also heavily referenced from sanctionative measures implemented by the apartheid government to cordon District 6 in Cape Town as a "Whites Only" area. The plot is well-researched, with thematic relevance and subtexts which are subtle yet potent. Its emotionally resonant drama gives it heart and spirit, humanizing the outlanders while ironically presenting the glaring side of mankind's bigotry and desensitization towards brutality and carnage. Laced with a hint of dark humor, with a good dose of deprecation at our own ignorance and intolerance, this film has depth and maturity, bold in raising disturbingly uncomfortable issues and acknowledging their pertinence in a world often misguided by preconceived notions and plagued by squalid depravity. Its though-provoking intentions are truly worthy of rumination. On top of it all, it is entertaining, a film that is desperately needed to renew the faith of previous sci-fi lovers, a strong boost to give the flagging genre a new lease of life. A movie with both brains and brawn, what's not to love?

What I loved most: Vivacious cast

What I really hated: Slender plot

It is "Devil wears Prada" meets "Two Weeks Notice", except this time, Bullock is the fiendish boss and Reynolds is her victimized and overworked subordinate. The plot is fairly simple and predictable, two mismatched individuals enter a fraudulent marriage for the sake of their careers and find unlikely love in the company of each other. Though the plot premise sounds trite and rather banal, hardly distinctive from other rom-coms which had hit the screens, what makes this proposal so hard to refuse however, is the delectable and superb cast. Bullocks shows that she is still the reigning queen of this genre with her verve and screwball spunk. Reynolds exudes endearing goofiness and oozes an abundance of charm. Helming the supporting cast is Betty White who is truly a class act, with her perfect comic timing and quirky antics as a practicing Shaman. The ingenuity of incorporating family drama makes this film a genuinely entertaining film, with a classic Hollywood feel and a few heartwarming scenes sure to make your heart grow fuzzy. Granted, this film is no masterpiece and suffers from plot cliches, but what makes this movie a winning formula lies in the charismatic leads who radiates such good humour and palpable on-screen chemistry that it makes their romance so believable and so joyful a viewing experience. Just be sure to treat this as an exuberant excursion or a jaunty frolic and soon you will lose yourselves in the romance and the scenic and picturesque beauty of Alaskan nature. Don't be so hasty to turn this delightful proposal down as you may end up liking it more than you expected to, and that is a guilty pleasure most of us are susceptible to.

What I loved most: Stunning visuals

What I really hated: Absolutely nothing!

Pixar has always been credited for its affecting plots and wonderfully human characters, with every production earning critical praise and commercial success. The sky is clearly not the limit for this animation studio as it continues a winning streak with its 10th offering which dazzles with picturesque artistry, vivid imagination and a poignant storyline bound to cast lasting imprints on the hearts of audiences. The 10 minutes prelude is already a testament to how well-crafted and expertly executed this film is. It is a condensed but no less emotionally invested look into the lives of Carl and Ellie Fredricksen which captures all the blitheness, love, disappointment and sorrow since their union, each scene handsomely delivered with a loving touch. After Ellie's passing, Carl turns into a churlish curmudgeon who before long becomes involved in a lawsuit that evicts him from the house built upon the memories and love for his deceased wife. In a bid to fulfill Ellie's lifelong wish, the septuagenarian makes a bold and resolute decision to tie 10000 balloons to his house and sail to Paradise Falls, a location which holds a central place in their hearts. Much to his chagrin, he discovers a stowaway in the form an adorably cherubic boy Russell, an aspiring wilderness explorer who becomes his companion and responsibility on this life-altering journey. The sight of Paradise Falls gorgeously rendered in 3-D in its splendor and grandeur is truly magnificent to behold. The tasteful artwork not only visually arresting, but also depicts such photographic accuracy that it genuinely does justice to the lush scenery of the Venezuelan landmark. As Carl's quest nears an end, he begins to dawn on the realization that holding on to the house is not the way to live life to the fullest, certainly not the way his late wife Ellie, an avid explorer herself, would have approved of. A heart-wrenching scene which shows Carl reviewing through the photo album which features shots of ordinary daily events in their rich relationship is sure to tug at your heart's strings with its subtlety and quiet melancholy. The subtexts, the layered characterization and the rich and textured plot come together in a blend that is uniquely Pixar. This classic piece of cinematic gem is truly a laudable display of the flair and adroitness of the wizards at Pixar. Its uproarious and uplifting tale about life and emancipation is satisfyingly mature and liberating. Mirth will be shared and tears will be shed in the most charming and enchanting animation to hit the screens for a very long time. I am all revved UP for a second expedition, can't wait.

What I loved most: Gusto of Sacha Baron Cohen

What I really hated: Weak script and direction

Regrettably, Sacha Baron Cohen's latest mockumentary does not quite match up to expectations after his stupendous predecessor "Borat". This time, the English funnyman takes on the role of a flamboyant gay Austrian who seeks to gain fame and celebrity status in America after his embarrassing debacle at a Milan fashion show. His quirkiness and queerness are the chief causes for his social fauxpas, often resulting in hilarious and downright ignominious outcomes. What this caper lacks though, is the sharp wit and subversive humour which was so abundant in "Borat". The comedy this time round is farcical at its best but tastelessly flat and outlandish at its worst. Some bits of truly offensive ribaldry could not have played out so well without the gusto and verve of its engaging lead Baron Cohen. The movie's primary purposes of propagating anti-establishmentarianism and challenging the dogma of homosexuality in testosterone-charged heterosexuals and puritanical evangelicals is featured in boldly amusing interactions of the titular character with celebrities and people of various ilks, and this is probably the sole saving grace of the entire feature.

What I loved most: Energetic cast

What I really hated: lack of character study

A weekend bachelor party at Las Vegas, a.k.a Sin City, goes awry when three groomsmen wake up to find their suite in a state of dishevelment, a tiger cohabiting with them, an abandoned baby in the cupboard and no groom in sight. Their disorientation and discombobulation are courtesies of enhanced booze which rendered them high-strung and delirious, along with an inconvenient case of memory loss in the cold light of morning as they find themselves in a race against time to recover the groom before the impending wedding ceremony. Thus the title “The Hangover”, a movie about three guys establishing staunch fraternal camaraderie through their misadventures and escapades as they traipse all over Las Vegas in a bid to discover clues to piece their night's events together and locate their missing groom. The plot premises are not unlike Todd Phillips' own "Old School" in 2003 which features three puerile middle-aged guys reliving college fun and conviviality through setting up a bogus school. It is also not so different from his 2000's "Road Trip" which features a bunch of frat guys on a journey to stop an incriminating sex tape from reaching the girlfriend of one of the guys. These movies carry Phillips' signature trademarks of male bonding, wild frolics and ribaldry, causing his films to seem so formulaic and predictable that one cannot help but feel that his movies have become a tad banal and trite. It would certainly be a welcome breath of fresh air for Phillips to expand his scope and create films outside the comedy genre, since his last 'serious' film was a documentary titled "Bittersweet Motel" in the year 2000. Another blight of this film is the blatant reinforcement of stereotypes. It must truly be quite galling for blond beauties to be type casted as morally loose women who work the streets or as single mothers saddled with children from unplanned pregnancies, which makes it so puzzling why actress Heather Graham would accept the thankless role of the blond stripper in the film. In addition, the tiresome stereotype of Chinese gangsters who are incapable of articulating perfect English and are well-versed in martial arts (scene when gang boss leaps out from car boot and brandished a crowbar like Bruce Lee wielding nan-cha-kus in "Enter The Dragon") will nettle quite a bit. Furthermore, there is a lack of character study throughout the movie, making the main players come across as being two-dimensional cardboard characters, devoid of true emotions and personalities. This causes their performances to be more perfunctory, and less sincere and affecting. If all you are looking for is a rollicking good time, then this jaunty caper will certainly tickle you from start till end with some crude and offensive but uproariously funny scenes. Otherwise, this farce is just like its title, a painful drag which is readily forgettable.

What I loved most: Compelling acting storyline

What I really hated: None

Having penned and directed the highly acclaimed Infernal Affairs trilogy, Alan Mak and Felix Chong have demonstrated their aptitude for crafting forceful and insightful police dramas propelled by complex male figures. Their latest venture 'Overheard', is no exception. At a brief run-time of 90 minutes, the tight and fast-paced plot is a compendious exploration of the grey areas in law enforcement, duty and justice. The compact storyline even manages to arouse paranoia and unease by tackling issues on surveillance and invasion of privacy, not forgetting the human drama and interplay of characters as well. It may seem rather ambitious of the film-makers to condense the multifarious subplots into the speedy run-time but rest assured it was executed expertly and flawlessly. Veteran actor Lau Ching Wan plays a senior cop who is compelled to tread the shady path for loyalty. His love entanglement with the wife of a colleague culminates in a fatal disaster when unscrupulously crafty and malicious money launderer (Michael Wong) sics his henchmen to silence him, inadvertently causing her to be collateral damage. Louis Koo is laudable in his role as a washed-out cop who is driven to desperation by pecuniary difficulties pertaining to exorbitant medical fees incurred as a result of his son's debilitating health. Equally commendable is Daniel Wu who portrays a young cop, emulous of his father-in-law's wealth. Pressured into making a name for himself, he resorts to using classified audio evidence overheard from stakeouts for his own gains but unfortunately lands himself in a quagmire of financial indebtedness . This cautionary tale relating the moral message on eschewing ill-gotten gains is accurate in its depiction of the squalid depths of blood money and brutally ingenuous in rendering the tragic fates of all three protagonists that it will be hard not to empathize and be sympathetic of their plights.