Two action-packed Chinese movies make their debut this week.
FILM REVIEWS:
DISCLOSURE DAY (USA 2026) ****
Directed by Steven Spielberg
DISCLOSURE DAY is a 2026 American science fiction film directed and produced by Steven Spielberg from a screenplay by David Koepp, based on a story by Spielberg.
` The story is set in the present of 2026, when the world stands poised on the brink of World War III. Cybersecurity specialist Daniel Kellner (Josh O’Connor) steals a piece of extraterrestrial technology and related files detailing various events of human-alien contact dating back to the Roswell incident from the Wardex Corporation, a secret arm of the U.S. government. Wardex CEO Noah Scanlon (Colin Firth) detects the theft and has Daniel branded as a foreign spy, making him the target of federal authorities; Daniel goes into hiding at a convent with his girlfriend, Jane Blankenship (Eve Hewson).
In Kansas City (a nod to THE WIZARD OF OZ), television meteorologist Margaret Fairchild is preparing for work when a cardinal flies into her home, briefly observes her, and then flies away. The incident awakens latent psychic abilities, allowing Margaret to intuitively understand the thoughts and emotions of others and unconsciously communicate in languages she has never learned. During a live weather broadcast, Margaret unexpectedly begins speaking in an unknown language. Footage of the broadcast goes viral and draws the attention of Wardex, which identifies the language as extraterrestrial in origin. After being hospitalised and nearly getting captured by Scanlon's agents, Margaret also goes into hiding.
The film turns into both an action flick with lots of car chases and hanging on the edge of trains, with occasionally too many bits for the film’s own good. But this is what moviegoers demand these days, and Spielberg knows it and delivers in the action and his audience's anticipation and suspense, a genre he is totally comfortable with.
Emily Blunt delivers the performance of her career, really immersing herself into the role of the human with all the intuitive instincts guiding her that no one quite gets, thinking she is plain crazy. Director Spielberg has the audience rooting for her, wanting everyone to believe her, and also wanting her character to prove herself, as is a typical Hitchcock audience anticipation ploy.
The film contains dozens of nods to classic films. There is a couple running in the rain holding their coats to shelter from the water, as in Woody Allen’s ANNIE HALL, or dialogue like “It is not that you have lost faith in God but you have lost faith in people,” advises a nun, as compared to Mariel Hemingway telling Woody Allen to have a little faith in people at the end of MANHATTAN. Nods to Hitchcock are too many to count, such as the revelation of what everything is all about, or at least a clue of it, happening only an hour through the film. Hitchcock has the first bird attack after the audience had to sit through half of the film in THE BIRDS. And of course, like the Richard Thornhill character in Hitchcock’s NORTH BY NORTHWEST, it is always the innocent person, not knowing what is going on, who is trapped in a web of intrigue, in this case, a conspiracy to hide alien contact.
Spielberg’s first alien film, CLOSE ENCOUNTERS OF THE THIRD KIND, succeeded in keeping the mystery gaping and the audience guessing because the alien figure was never shown. DISCLOSURE DAY goes one step further with a full showing of the dialogue with the alien, a bold move.
DISCLOSURE DAY, destined to be a hit as big as Christopher Nolan’s ODYSSEY, is set to open everywhere Friday.
THE FURIOUS (HK/China 2025) ***
Directed by Kenji Tanigaki
After the daughter of Wang Wei (Xie Miao) is kidnapped by a criminal network and he receives no help from the corrupt police, Wei sets out on a rampage to find her himself. His only ally is Navin (Joe Taslim) – a relentless journalist whose wife has mysteriously disappeared. Fueled by a furious vengeance, the unlikely duo ruthlessly fights against the kidnappers in this explosive martial arts showdown.
Action movies make a lot of money. Examples being the John Wick franchise, the Bourne Identity franchise, the EQUALIZER series, just to mention a few. The key to all these is the choreographed action scenes and maybe a little plot. THE FURIOUS satisfies the plot criterion with a deaf-mute kung-fu expert father who trains his daughter before she is kidnapped in a human trafficking scheme involving top brass. The plot is only secondary to the film, but at least the film plays the plot as if it is all important, which is a good plan. The action sequences are excellent and better than the average Hollywood action flick. The introduction of an archer bad guy and a strong man bad guy helps, too. Just sit back and enjoy the violence!
I AM FRANKELDA (Mexico 2025) ***1/2
IT’S DOROTHY! (USA 2025) ***
Directed by Jeffery McHale
Strictly for fans of THE WIZARD OF OZ and the classic’s spin-offs of the film, this documentary examines the legacy of THE WIZARD OF OZ through a century of change, adaptations and legacy. If one is unamused by the classic Judy Garland film, then what transpires might seem superfluous, redundant and boring. On the other hand, the doc will take fans through a walk down the yellow brick road of nostalgia.
It's Dorothy! It is not a fictional story film but a documentary directed by Jeffrey McHale that explores the lasting cultural impact of Dorothy Gale, the heroine of The Wonderful Wizard of Oz and its many adaptations.
Since Dorothy Gale started her epic journey down the Yellow Brick Road 125 years ago in L. Frank Baum’s The Wonderful Wizard of Oz has become a celebrity, a brand, and a beacon for marginalised voices across our culture. IT’S DOROTHY! brings her timeless adventures in Oz to life through the human experiences of a new generation of star performers, infused with the spirit and influence of Judy Garland and more.
With a chorus of cultural icons, unforgettable music, and a magical remix of archival and cinematic art, this film centres the perspectives of women, people of colour, and LGBTQ+ voices. Exploring the meaning and evolution of a cherished character through the eras, Dorothy is celebrated as an enduring symbol of hope and a touchstone in our universal quest to fly over the rainbow and find home again.
The documentary begins by tracing Dorothy's origins in L. Frank Baum's classic novel follows her transformation into one of the most recognisable characters in popular culture. The doc hardly tells of Dorothy's adventures in Oz, as it assumes that audiences are already familiar with the story, but the film examines why Dorothy continues to matter more than 125 years after her creation.
The film primarily moves through the many actresses who have portrayed Dorothy over the decades, focusing especially on Judy Garland in the 1939 film version. It will be surprising to note that Garland was considered too old and unfit for the role, but her exuberance won the part.
Another actress in the spotlight is Diana Ross in The Wiz. Critics initially panned THE WIZ, saying that Ross was tooled and coloured for the part. But the act cherished her, and the film not only became a box-office hit but won many awards as well.
A major section examines how Dorothy became an icon for people who feel like outsiders, such as the gay community, who are known as Dorothy’s friends. The documentary discusses the phrase "Friend of Dorothy" and explores Dorothy's importance within LGBTQ+ culture. Commentators argue that Dorothy's longing for acceptance, home, and belonging resonates strongly with marginalised communities.
Throughout the film, interviews with performers, writers, critics, and celebrities—including John Waters, Margaret Cho, Lena Waithe, and Gregory Maguire—are interwoven with archival footage, clips from Oz adaptations, and discussions of how Dorothy has been reinterpreted across generations.
The doc is available on VOD on 12th June
MATERNAL INSTINCT (USA 2026) ***
Directed by
OPERATION HADAL (China 2026) ***
Directed by Dante Lam
Operation Hadal or Operation Leviathan is a 2025 action war film. It is the follow-up to the 2018 film Operation Red Sea. Differing from the previous film's above-water action set-pieces, this film is about a nuclear submarine and features mainly underwater action.
In the near future, the Chinese Navy intercepts critical intelligence—an advanced super-submarine is secretly plotting a top-secret military operation against cities along China's southeastern coast. In response, China deploys its latest submarine, Longjing, to coordinate with the elite Jiaolong Squad in a high-stakes mission. The battlefield beneath the ocean is fraught with danger as the squad faces relentless traps, and the submarine engages in a series of intense confrontations with the enemy. As they manoeuvre through ambushes, they venture deep into the vast abyss filled with undersea volcanoes.
The bottom line of the story! Though set in a fictitious futuristic world, the story contains frightening parallels with what is occurring in the world today. In the film, it is the white caucasians agains the Chinese, who speak Mandarin. So, it is likely that China is under attack by the U.S. for world dominance. It is a scary game that puts entire countries at risk, in this case, the Chinese mainland, all for the sake of who can become number one, like kids playing King of the Castle. In this film, it is good to see the Chinese as the good guys and the Americans (not named Americans, but obviously so, from the accents) as the bad guys. Right now, the U.S. is claiming dominance over several countries like Cuba, Venezuela, Canada and Greenland. The oddest thing is that Americans do not realise what their President is doing, and that is making them the most hated country in the world, for their arrogance and dominance. One thing that is also for sure is that OPERATION HADAL, which costs about $150 million, puts a lot of Hollywood action blockbusters to shame.
Director Lam’s action set-pieces are very technical and involve both fighting above ground in enclosed spaces or underwater, often involving pyrotechnics, and hand-to-hand combat. The landing of troops on the oil platforms in the beginning action sequence is indeed impressive. But despite the action, the film suffers from weak character development and a weak plot and narrative.
The human Jailing team includes Meng Chuang, who leads the commandos. He is experienced but emotionally burdened by previous combat losses. Han Xiao is a younger commando eager to prove himself. At the same time, Zhao Qihang commands the submarine Longjing and becomes the calm strategic centre of the story. Nothing too impressive, as many military action films like this one spend time establishing camaraderie among the soldiers before placing them into increasingly impossible situations.
“Hadal” refers to the hadal zone — the deepest region of the ocean, usually depths below about 6,000 metres (20,000 feet), including ocean trenches such as the Mariana Trench.
The word comes from “Hades,” the Greek underworld, and in oceanography, the hadal zone is considered an extreme, dark, high-pressure environment.
On the international festival circuit, OPERATION HADAL won a special jury award, the Golden Deer, at the Changchun Film Festival, Xuan Huang won the Golden Lotus Award as Best Actor at the Macau International Movie Festival (where the film was also nominated for Best Feature Film, Best Director & Best Cinematography), and the film took home the Golden Angel Award for Outstanding Film as the Chinese American Film Festival (C.A.F.F.).
OPERATION HADAL debuts on Digital June 16 from Well Go USA Entertainment. It is the third entry (alongside Operation Mekong & Operation Red Sea) in award-winning filmmaker Dante Lam’s epic war series. OPERATION HADAL will also land on Blu-ray™ and DVD exclusively through Amazon® on September 29.
RENOIR (Japan/Singapore/France/Philippines/Qatar 2025) ***
Directed by Chie Hayakawa
RENOIR captures the delicate and troubled transition from childhood to adolescence through the eyes of Fuki, an 11-year-old girl grappling with her father’s terminal illness, portrayed by incredibly talented newcomer Yui Suzuki. Drawing on her own childhood experiences and set in the late 1980s when the director was the same age as her protagonist, Hayakawa’s narrative unfolds through the eyes of Fuki (Yui Suzuki), an 11-year-old girl coping with her father’s terminal illness. As Fuki navigates the emotional turbulence of preadolescence, she is left to fend for herself, with her mother (Hikari Ishida) overwhelmed by work and the stress of caring for a dying husband (Lily Franky). The film is a slow burn but explores grief, emotions, adolescence, and a parent-daughter relationship. The heart of the story is of Fuki’s father having cancer while her mother is working and stressed out over the situation, leaving Fuki much to herself. The film covers too many issues, such as a sex predator and leaves too many unanswered questions about the issues brought forward. One can argue that life is similar without many solutions, and director Jayakawa is providing a nuanced, though authentic, story of her past.
THIS ORDINARY THING (USA 2025) ****
Directed by Nick Davis
Haunting and unforgettable, THIS ORDINARY THING is a holocaust documentary that explores the heroism, bravery, and self-sacrifice of non-Jewish people throughout Europe who risked their very lives to hide Jewish strangers, a powerful reminder that one person can make a difference.
The film combines never-before-seen archival footage with the testimonies of over forty different people who, operating independently and at great risk to themselves and their families, saved thousands of Jewish strangers from almost certain death. Narrated by an all-star cast, the film is a timely reminder of the pockets of goodness that can rise in a sea of evil: everyday people helping others who were "different" from them.
The film benefits from the talents of, in alphabetical order, stars like F. Murray Abraham, Jeannie Berlin, Eric Bogosian, Ellen Burstyn, Bill Camp, Carrie Coon, Hope Davis, Stephen Fry, Joanna Gleason, Marcia Gay Harden, Mamie Gummer, Harry Hadden-Paton, Jeremy Irons, Bill Irwin, Louisa Jacobson, Kasia Koleczek, Anna Krippa, Stephen Lang, John Leguizamo, Donal Logue, Kelly Macdonald, Helen Mirren, Bebe Neuwirth, Kelli O’Hara, David Hyde Pierce, Martha Plimpton, Lily Rabe, Rufus Sewell, J. Smith-Cameron, David Strathairn, Lily Tomlin. They perform excerpts translated from the original transcripts.
The music for the film is by Tony-Award-winning Adam Guettel, composer of The Light in the Piazza, Floyd Collins, and numerous other stage and screen productions.
Notably, none of the people featured in the film thought of themselves as heroes. And yet the film, with immense contemporary resonance, causes each of us to ask ourselves, “What would I have done?”
Another film about the Holocaust? One might add. But yet another film on the Holocaust that needs to be seen. So that what had happened in the past will never ever happen again.
The film employs some of the world’s greatest actors, performing excerpts translated from the original transcripts. The cast, including Helen Mirren, F. Murray Abraham, Carrie Coon, Jeremy Irons, Ellen Burstyn, and Stephen Fry, have amassed five Oscars (and over twenty nominations), over sixty Emmy nominations, and over twenty-five Tony nominations in their illustrious careers.
The doc delves deeply into the motives of the sympathetic non Jews like Catholics, Protestants, and Muslims who helped the Jews. “There is no collective soul.” These words are splashed on the screen. Souls with feelings are only present in individuals - not in governments or groups. There is evil and good, and something has to be done to stop the killing of the Jews. The doc elicits great gut-wrenching emotion when it shows what it is like, by archive footage and a voiceover of what the Jew ghetto was like. With children crying mama, leftover dough in a pan turning green with mold, and abandoned dolls and food, the none Jew who walked through the ghetto to see what it was like said in one's words: “That night, I vomited blood.”
Nick Davis's moving documentary THIS ORDINARY THING, which will have a Nationwide (US/Canada) VOD Release on June 12 on Apple/ iTunes, Amazon, and all major platforms, perfectly timed to the anniversary of Anne Frank's birth.
THE VOICES OF OUR MOTHER (Canada 2026) **
Directed by Mark O’Brien
When a family matriarch falls seriously ill, relatives gather and discover their shared ancestral ties bind them in unexpected ways.
The story centres on Harriet Scaflen (Sheila McCarthy), an elderly woman who suffers a mysterious health crisis shortly after the death of her 95-year-old mother. Concerned for her welfare, Harriet's four estranged adult children return to the family home. As old resentments, family secrets, and long-buried grievances resurface, they begin to suspect that something far more sinister is happening. What initially appears to be a family drama gradually becomes a supernatural nightmare. The siblings discover that an evil force connected to their family's past has awakened within and can be watched on Shudder, the horror streaming service, on June 12th, Harriet. The entity seems determined to keep her alive while exacting revenge on her children, forcing the family to confront both their fractured relationships and a terrifying supernatural presence.
THE VOICES OF OUR MOTHER is a Canadian movie shot on location in the town of Hamilton in Ontario. It is a pretty bad film overall, but not for want of trying. The film has the titular Sheila McCarthy, who rose to fame starring in the Canadian film by Patricia Rozema’s I HEARD THE MERMAIDS SINGING, and went on to do big Hollywood blockbusters like DIE HARD 2 and THE DAY AFTER TOMORROW. In this film, her performance is reduced to a series of screaming and more screaming.
As the synopsis of the film implies, the horror story involves a dysfunctional family that gets together when the grandmother dies, and the mother is hospitalized. The doctor tells the adult children that their mother is very healthy, though she has dementia. Obviously, something is not right here. There are also many wrong things with the family.
William (played by the director himself) has an affair with his sister's wife. Director O’Brien’s real-life wife, Georgina Reilly, plays one of his siblings. Another sibling snorts coke while another sister is involved religiously in something or other. The children finally conclude that the master is possessed, allowing McCarthy to scream even more, to be exorcized.
The film is all over the place and unintentionally hilarious at that. The film is a mix of dysfunctional family drama (such as family gatherings like Thanksgiving or Christmas, but this one, when the mother is hospitalized), possession and exorcism horror, all dumped together, so that anything can happen at any time. Skeletons come out of the closet as the siblings scream at each other. Added to the drama is the fact that the children were all bused by their father while their mother just watched on and never did anything, something the children can never forgive her for.
Despite the film being all over the place, one could debate that the film can be considered to be a religious and occult horror with family secrets, generational trauma, and possession-style supernatural elements.
THE VOICES OF OUR MOTHER opens and can be seen on Shudder, the horror streaming service, on June 12th.
