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There's something about Malice that creeps in quietly and sits with you. It is not loud. It is not violent. It does not need to be. This is not a thriller built on explosions or chase scenes. It is a slow, quiet burn of truths unraveling, of guilt sinking, of moral lines being crossed one inch at a time.

At the centre of it all is Ye Pan, played with nuance by Zhang Xiao Fei. She is a journalist chasing answers after the tragic murder of a child cancer patient and her nurse. From the start, this is not just a whodunit, it is a why-did-it-happen and how-did-we-let-it-happen. The crime itself is painful, the kind that makes your stomach drop and your hands clench. And as we follow Ye Pan deeper into the maze of interviews, lies and uncomfortable truths, it becomes clear that the real horror here lies not in monsters or murderers, but in what ordinary people are capable of especially when they think no one is watching.

The pacing is steady and layered. The story doesn't sprint but it doesn't dawdle either. It peels back bit by bit, one truth leading to another. But the real challenge comes in the dialogue. It's fast and furious. You need extra dose of focus for you to concentrate and follow the story because there are a lot of arguments, debates, speculations and expositions amongst the characters. It's interesting but it can sometimes overfeed the audience which will make it a bore like you're reading a police crime report with lots of info. And yet, there is something fascinating about how the film never underestimates your intelligence.

Zhang Xiao Fei carries much of the weight here. Her character is not always likeable. She's stubborn, obsessive and ca sometimes be harsh but that's what makes her feel real. There's tension in every decision she makes as she struggles with professional integrity, public pressure, and personal doubt. Her performance does not ask you to root for her. It asks you to understand her.

The film explores modern themes including the ethics of journalism, the dangerous ripple effects of virality, the damage a single post can cause to someone's life. It holds a mirror to our social media behaviours and asks uncomfortable questions. Have we ever rushed to judge someone online? Have we contributed to a digital witch hunt without thinking twice? It makes us think how if we've all done malicious things on social media, if we have indirectly contributed to the downfall of a person, diminishing a person's reputation through spreading hate on social media or how far we would go to be unethical just to get the job done. It makes us reflect our past doings.

Where Malice falters is in its final act. The twist arrives with a bang but instead of elevating the story, it feels like a detour. It focuses on its shock value. It is not awful but it does dilute the grounded tone the film worked so hard to build. There is also some repetition in the investigation. The main character can sometimes be back and forth with its suspects, interviewing the same people twice or dealing with trust issues with the same people many times. It can be draining even for a 100-minute long film.

Verdict: Malice is a patient, cerebral thriller that dives deep into the ethics of truth and the weight of speculation. While its twisty third act and info-heavy dialogues may overwhelm some, its exploration of modern media culture is striking and important. Zhang Xiao Fei delivers a compelling performance in a story that reminds us that the most dangerous weapon might just be a headline. This one will stay with you and make you think after the credits roll.

Well, we didn't expect to say this but we had a good time. Honestly. Maybe it was the lack of expectations walking in or maybe it's the fact that Smurfs (2025) isn't trying to be the next big animated masterpiece, it's just here to make you laugh, charm your inner child and give you 90 minutes of light-hearted, blue-skinned fun. And for what it is, it works.

The animation, while not groundbreaking, is quite a visual treat. It takes a few minutes for your eyes to adjust, but once they do, the hybrid of classic comic book vibes and modern CGI starts to pop. There's a vibrant, almost motion-comic quality to it that feels nostalgic but fresh. That said, it does have its janky moments. At times, the style feels like it shifts between scenes which can be a little jarring.

Now let's talk Rihanna. Yep, that Rihanna as Smurfette. She does an okay job but her naturally husky voice feels a little off compared to the sweet, silky tone we're used to with the character. It's not bad, it's just different. It's clear she's here more for the marketing push than perfect casting, but hey, it's Rihanna and kids probably won't mind.

And the story is nothing revolutionary. In fact, it tries to cram quite a bit into its short runtime. You get the Smurfs' village, Gargamel drama, human world antics, and even a touch of multiverse chaos. It can feel a little all over the place. But at its heart, the story is about a No Name Smurf trying to figure out his purpose, just a simple, sweet idea that many can relate to.

What surprised us the most was how often we laughed. Not every joke lands, but there are plenty of awkward Smurf moments that were just genuinely funny. Silly? Absolutely. But funny? Also yes.

If you're a longtime Smurfs fan, there's not much new here. Same villain, same type of message, similar laughs. But if you just want to see a bunch of tiny blue creatures stumble through life with goofy smiles and an odd amount of self-awareness, you're in for a fun little ride.

Verdict: Smurfs (2025) is the kind of movie that asks you to shut your brain off and just smile. While it brings nothing new to the table story-wise, the charm, the laughs, and the visual flair are enough to carry it through. A fun, fast but messy adventure that is perfect for kids and for adults on a lazy Sunday afternoon who need a break from overthinking everything.

There's a strange kind of beauty in watching Fantastic Four (2025). This is a film that walks into the room fully aware of its history, of all the past attempts that fizzled, of all the groans whenever a new reboot was announced. And instead of hiding from it, it embraces it. It reclaims its origin story but does so with a refreshing simplicity, presenting it in a way that feels nostalgic yet new. The old TV-style aspect ratio that frames the first 10 minutes is just bold and effective.

Okay, the pacing here is what stands out first. There's no rush to throw the team into endless CGI battles or make them save the world every ten minutes. This is a slower, more deliberate origin tale that still manages to feel purposeful. It builds. It breathes. It takes its time and it works wonderfully.

Vanessa Kirby is the star of this film. Her Sue Storm is magnetic, layered and deeply human. From the moment she appears on screen, you feel she was born for this role. We've seen Jessica Alba give us elegance and Kate Mara try her hand at a quieter Sue, but Kirby just owns it. She is the Invisible Woman and she makes sure you never forget her presence. Ebon Moss-Bachrach as Ben Grimm brings us the most charming and textured version of The Thing yet. He isn't just rocks and rage. He is warmth and pain and humour all rolled into one. Pedro Pascal as Reed Richards, however, is a bit complicated. He's great, always is but halfway through, Reed takes a sharp turn. He makes decisions that feel off, uncharacteristic even and the film never really explains why. It leaves you scratching your head, questioning if the genius we saw in the first half is the same man in the second.

If you're here for wall-to-wall action, you might be disappointed. Fantastic Four doesn't go for that. The action scenes are few and for some, that might be a letdown. But when the punches finally land, they hit well. They may not be jaw-dropping or earth-shattering but they're definitely clean, fun and serve the story rather than overwhelm it.

Narratively, this is one of the cleaner Marvel stories we've seen in a while. It sets up the team, teases the larger world, and plants seeds for Avengers: Doomsday without feeling like a commercial. It gives us a different kind of threat, one that feels weighty but contained. And then there's Silver Surfer. She isn't just a side piece of fan service. She brings an emotional gravity to the film that lingers long after the credits roll.

The production design is also gorgeous. There's a retro-futuristic warmth in the Baxter Building that makes it feel like home. The textures, the colour palettes, the way light bends around the characters, it's masterfully and artfully done. It's visually striking.

And at its heart, this is a movie about family. About finding yourself when the world has changed you. About love that is chosen, not just inherited. It isn't subtle about this theme nor does it need to be. You can feel it in every pivotal scene, every little argument and every beautiful reconciliation.

Talking about the villain, it may be polarizing. If you walked in expecting the comics' unstoppable god-tier threat, you might leave wanting more. The film dials it down for the sake of its narrative. It works for the story but part of you will wish they let him truly loose but hey, maybe they are keeping it for Avengers: Doomsday. We believe that this is just the beginning.

Verdict: This one feels proper and polished. The narrative is neat. It carries a sense of warmth and comfort and most importantly, it has its own beating heart. Truth be told, there are not many action scenes but the bond between this quartet is what makes it truly engaging to watch, elevated by a production design that perfectly matches its tone and narrative. It is more than just a superhero film. It is a story about identity, chosen family, and finding purpose when the world demands you be more than human. This is Marvel's First Family finally finding their voice, and it feels like the beginning of something truly special.