Drama Review | One Cent Thief (2022)

Sunday 4 December 2022


Pengarah : Ariff Zulkarnain
Penulis Skrip : Alfie Palermo
Pelakon : Syafiq Kyle, Faizal Hussein, Azira Shafinaz, Fabian Loo, Aghonderan Sahadevan, Sofia Jane, Amerul Affendi, Amir Nafis
Syarikat Produksi : Astro Shaw, Independent Pictures 
Penyiaran : Astro Ria, Astro Vinmeen, Astro Shuang Xing, PRIMEtime
Genre : Drama / Aksi
Jumlah Episod : 8 Episod (45 minit setiap episod)
Tarikh Tayangan : 8 Oktober 2022 – 26 November 2022
Trailer : 


Diinspirasikan dari kes jenayah sebenar yang berlaku di Malaysia sekitar 80-an, One Cent Thief mengisahkan tentang pekerja bank, Iman Shah (Syafiq Kyle) yang terbeban dengan masalah kewangan. Abahnya (Faizal Hussein) dimasukkan ke hospital kerana sakit jantung dan memerlukan pembedahan segera dan dalam masa yang sama, Devan (Aghonderan Sahadevan) si ceti hutang minta lunaskan hutangnya sebanyak RM30 ribu dalam masa dua hari sahaja. 

Mana Iman nak cari duit sebanyak tu. Kos pembedahan pula dah telan belanja sebanyak RM90 ribu dan kedua-duanya diperlukan dalam masa yang sangat singkat. Kerja di Bintang Bank cuma dapat gaji cukup makan untuk mereka dua anak-beranak. Kawan baiknya, Intan (Azira Shafinaz) hanya dapat pinjamkan separuh saja. 


Menggunakan kepintarannya, Iman menggodam sistem keselamatan Bintang Bank untuk mencuri satu sen dari setiap akaun pelanggan bank kemudian masukkan dalam satu dormant account untuk dikeluarkan. Amaun yang banyak hanya boleh dikeluarkan menggunakan akaun syarikat jadi Iman perlu cipta surat wakil dan hantar kepada pengurus bank. 

‘Bila sebut hacker, orang selalu bayangkan mamat nerd yang suka buat hal pakai komputer tapi maksud hacker yang sebenar ialah orang yang boleh selesaikan masalah tak kira cara halal atau haram, janji selesai.’ – Iman Shah


Walaupun hutang sudah dilunaskan beserta bunga, Devan masih tak puas hati macam mana Iman boleh bayar dalam sekelip mata. Iman minta bantuan Kadak (Amerul Affendi) untuk lari dari Devan dan jalannya cuma satu, iaitu minta bantuan Ibu Zara (Sofia Jane). Pengasas Yayasan Zara ini memerlukan duit untuk kerja haramnya dan juga cipta laluan untuk masuk ke dunia politik. Sebagaimana Iman perlukan Ibu Zara, begitu juga sebaliknya. 

Kudos to Alfie Palermo sebab berjaya cipta drama yang menarik plotnya walaupun tema godam sistem sudah banyak di Malaysia. Sebelum ni hackers mesti ada pc yang mengagumkan dengan teknologi tinggi tapi Iman cuma perlukan sebuah laptop dan sistem untuk dia hack sistem sekuriti setiap bank. Iman dan Intan bukan tipikal orang IT yang selalu digambarkan dalam filem atau drama. 


'Menerusi One Cent Thief, saya cuba ketengahkan isu keselamatan data serta sistem perbankan, di mana betapa mudahnya digodam oleh penjenayah. Harapan saya agar siri ini sedikit sebanyak dapat membuka mata masyarakat pada isu-isu keselamatan data yang semakin meruncing kebelakangan ini.' - Alfie Palermo 

Barisan pelakon yang mantap adalah salah satu kekuatan drama One Cent Thief terutamanya Syafiq Kyle yang menggalas watak utama. Sesuatu yang segar juga untuk watak Iman sebab gray character, yang ada kelemahan dan bukan hero material. Monolog yang dilakukan oleh Iman adalah kunci untuk penonton rasa connected dengan Iman. Masa babak Iman congak berapa lama dia masuk penjara kalau kantoi tu sama macam I kalau kantoi bila buat salah. 


Muka baby face Syafiq Kyle pun mainkan peranan besar bila dia keluarkan dialog yang provokatif kepada pihak lawan. Devan atau Ibu Zara pun tak gamak nak marah sebab polos sangat, tak sesuai langsung dalam dunia gelap mereka. Comel juga bila dia buat kira-kira sebelum nak hack mana-mana bank. Tona suara yang digunakan pun sesuai dengan setiap situasi tambah pula kalau terfaktab. Penulis tarik perhatian dengan ilmu IT yang ditonjolkan dalam bahasa yang mudah difahami. Bila tengok One Cent Thief baru tahu kenapa online banking ataupun ATM out of service. 

Dinamik gandingan Iman dengan Kadak menjadi tarikan pada pertengahan cerita terutamanya pada babak yang mempunyai aksi. Chemistry yang kuat juga walaupun kedua-duanya berbeza karakter pada awalnya. Nampak Kadak concern dengan Iman bila dia tanya macam mana orang pandai macam Iman boleh terjebak dengan dunia gelap dan kotor. Cun jugak kalau both of them berlakon dalam filem aksi atau ejen risikan. Style, posture, aura semua dah ada. Amerul nampak cool dalam avatar Kadak. Sama juga dengan Amir Nafis sebagai pengawal di Bintang Bank. Harap dekat Season 2 nanti dia dapat lebih banyak screentime. 


Watak yang paling kesian adalah Intan, ketua bahagian sekuriti di Bintang Bank sebab dipermainkan oleh dua orang yang penting dalam hidup dia. Kesian bila tengok dia menangis sebab Iman tipu walaupun dia dah tahu dari awal perkara tu. Mak sendiri pun cari Intan bila perlukan duit. Lakonan Azira nampak natural terutamanya pada babak dramatis. 

Tak boleh imagine dalam Season 2 nanti bila Intan berjumpa dengan Ibu Zara yang pandai manipulasi orang dengan kata-kata dia. Jiwa Intan tengah rapuh jadi mudah sangat kalau Ibu Zara nak cucuk jarum dan Intan adalah kelemahan Iman selain Abah. Ni bukan spoiler tapi teori palatao sebab lambat-laun Intan akan berjumpa juga dengan Ibu Zara cuma bergantung pada penulis lah nak karang apa yang akan jadi pada masa tu. 


Sinematografi dari Tan Teck Zee menambahkan impak pada penceritaan selain dari lontaran dialog yang padu. Lagu tema pun digubah mengikut jalan cerita. Ada beberapa misteri yang boleh diteka dari awal dan ada juga plot twist yang tak dijangka which adds the fun. Pendek kata, drama One Cent thief antara drama terbaik pada tahun 2022 keluaran Astro Shaw. Kudos to all team! 

1. Team Production +1, 2. Visual +1, 3. Audio +1, 4. Storyline +1, 5. Casting +1, 6. Genre +1, 7. Themes +1, 8. Editing +1, 9. Social Message +1, 10. Personal Thought +1 = 10/10

Movie Review | Abang Long Fadil 3 (2022)


Pengarah : Syafiq Yusof
Penulis Skrip : Syafiq Yusof, MF Kencana, Effindi K 
Pelakon : Zizan Razak, Johan Raja Lawak, Elizabeth Tan, Maya Karin, AC Mizal, Shuib Sepahtu, Kazar Saisi, Ozlynn Waty, Tania Hudson, Wak Doyok dan Daniella Sya   
Syarikat Produksi :  Skop Productions, Astro Shaw
Pengedar : Astro First 
Genre : Aksi / Komedi 
Durasi Tayangan : 116 minit
Tarikh Tayangan : 8 September 2022
Trailer :


Kejayaan filem Abang Long Fadil 2 (2017) membawa Fadil (Zizan Razak) bertemu dengan Chief Kazar(Kazar Saisi), Ketua National Secret Service yang dibantu oleh anaknya, Ejen Maya (Maya Karin). Nasib Fadil tak berubah dari dulu, keluar dari mulut buaya masuk pula mulut naga. Kali ni Fadil kena bantu NSS halang Chow Han (Johan), ketua S.S.O. (Secret Society Organization) dengan misi rahsia yang baru. 

Alice (Elizabeth Tan) akan bantu Fadil sepanjang operasi tersebut kerana dia menyamar sebagai tukang urut peribadi Chow Han. Chief tahu Fadil nak hidup kaya jadi ganjaran kepada dia adalah kereta dan rumah yang dilengkapi dengan gadget khas untuk ejen NSS. Prof Joey (Joey Daud) dan Prof Amirul (Jay Iswazir) juga sediakan alat penyembur tidur dan spek mata hitam yang boleh mengimbas X-Ray.

 
Selain belajar untuk adapt sebagai Ejen Jefri dalam masa yang singkat, Fadil terpaksa jelaskan kepada Yana (Tania Hudson) yang selalu saja muncul setiap kali dia buat kerja. Kembar ketiga, King Cobra (Dato AC Mizal) datang untuk lunaskan dendam terhadap Fadil yang sudah membunuh dua orang kembarnya sebelum ini. 

Bermula dari watak seorang budak kampung dalam Abang Long Fadil 1 (2014) kemudiannya masuk ke dunia mafia, kali ni skala yang lebih besar untuk Fadil bila dia dibawa masuk ke dunia risikan. Bajet yang digunakan pun dua kali ganda lebih besar sebab lebih banyak aksi dan letupan yang digunakan dalam installment ketiga franchise Abang Long Fadil kepunyaan Syafiq Yusof ni. 


Set Khidmat Risikan Malaysia juga tampak meyakinkan dengan design yang serba canggih juga skrin berteknologi seperti yang kita lihat dalam filem antarabangsa. Kostum yang digunakan juga tampak menarik. Tak hairan lah kenapa bajet yang digunakan lebih besar sebab props yang digunakan memang membantu menghidupkan penceritaan.

Masa sidang media lagi Johan dah bagitahu yang filem Abang Long Fadil 3 terbitan Skop Productions ni adalah stress reliever dan bukannya filem yang serius jadi pergi tengok untuk ketawa saja. Maka tak hairanlah kalau pengarah tak tekankan sangat bab logik atau lakonan lemah pada watak sampingan seperti Shuib dan Tania Hudson. Filem abang Long Fadil 3 juga jadi reunion platform kepada pelawak JoZan yang pernah popular dulu. Walaupun berbeza peranan, seorang protagonist manakala seorang lagi antagonis tapi tak menghalang mereka berdua untuk wujudkan unsur komedi yang menghiburkan.


Patutnya penulis buang watak Inspektor Shuib dan Inspektor Sahab (Siraj Alsagoff) sebab polis tak lah membantu sangat. Watak Inspektor Sahab seeloknya jadi ejen NSS sebab watak dia kelakar. Rasanya Syafiq pay homage untuk Kluang Man sebab watak inspector polis seakan sama. 

Bab komedi ada hit and miss moment lah macam watak Prof Amirul yang sengaja dibikin gagap untuk elemen komedi. Dah masuk 2022 pun penulis masih rasa disability ni sesuatu yang kelakar. Watak kembar yang muncul pun dah mula kelihatan jelak sebab tak berhenti muncul. Kalau setiap kali muncul semakin kuat, best lah juga nak tengok. 


Tertarik dengan babak aksi yang dipamerkan dalam Abang Long Fadil 3 terutamanya babak pertarungan antara Sherina (Daniella Sya) dan Alice. Sebelum ni dah pernah tengok potential Daniella dalam KL Gangster Underworld (2018), dalam filem ni nampak energy Elizabeth Tan pula. Setahun lebih Lizzy prep role dengan join training seni pertahankan diri dan usaha tersebut buahkan hasil bila stunt dia terlihat cantik pada setiap babak yang memerlukan. 

Selain lakonan, Lizzy dan Zizan sama-sama come up dengan single Payung sebagai lagu tema Abang Long Fadil 3. Untuk installment kali ni pengarah tak spend banyak pada lagu sebab Abang Long Fadil 2 dulu ada 3 buah lagu untuk promosikan filem tersebut. 



Tengok pada ending, boleh nampak aka nada Abang Long Fadil 4 walaupun Syafiq kata mungkin akan berhenti di installment ini. Kalau dah berjaya raih kutipan sebanyak 32 juta, kenapa berhenti kan? Kalau buat spin-off atau kembalikan watak Malik pun menarik juga. 

1. Team Production +0.7, 2. Visual +1, 3. Audio +1, 4. Storyline +0.8, 5. Casting +0.6, 6. Genre +0.8, 7. Themes +1, 8. Editing +0.6, 9. Social Message +0.6, 10. Personal Thought +0.7 = 7.8/10

Movie Review | Rasuk (2022)


Pengarah : James Lee
Penulis Skrip : Adib Zaini
Pelakon :  Alif Satar, Ikmal Amry, Elisya Sandha, Alicia Amin, Ayie Floor 88, Taufiq Hanafi, Abbas Mahmood, Syazwan Razak, Atiq Azman 
Syarikat Produksi : Multimedia Film Productions, Golden Screen Cinemas, Astro
Pengedar : Golden Screen Cinemas, Astro First
Genre : Seram
Durasi Tayangan : 94 minit
Tarikh Tayangan : 29 September 2022
Trailer :


Ustaz Nazmi (Alif Satar) kembali masuk bekerja untuk elak fikir tentang isteri dan juga anak-anak yang meninggal dalam kemalangan. Semasa cuti sekolah tersebut, Adli (Ikmal Amry), Wari (Abbas Mahmood), Kechik (Ayie Floor 88), Nik (Atiq Azman) dan Sam (Syazwan Razak) pergi berkelah di sungai berdekatan ditemani oleh Alia (Elisya Sandha) dan Kak Fiza (Alicia Amin). 

Mereka berlima perlu balik sebelum pak guard (Taufiq Hanafi) kunci pintu pagar dan warden buat night check. Malangnya tak sempat dan kantoi dengan Ustaz Nazmi bila helah mereka tak menjadi. Mereka didenda mencuci bilik air asrama walaupun blackout kerana bekalan elektrik terputus. Wari pula merasa tidak sedap badan ekoran perbuatan dia pecahkan botol berwarna hitam yang dijumpai di dalam hutan tempat mereka berkelah siang tadi. 


Wari dengar namanya diseru tanpa henti, badannya pula panas sehingga muntah keluarkan darah berwarna hitam. Adli pergi minta bantuan dengan Ustaz Nazmi sementara yang lain jaga Wari di dorm. Wari berubah ganas dan menyerang kawannya yang lain. Muka dia penuh dengan urat yang timbul sementara matanya berubah menjadi hitam. 

Angkara Wari habis pelajar lain diserang dan berubah menjadi zombie. Ustaz Nazmi terpaksa cari jalan untuk selamatkan semua pelajar yang masih selamat dan juga dirinya. Adli pula minta bantuan kakaknya, Alia sebelum dia juga berubah menjadi seperti Wari. 


Naskhah Rasuk merupakan karya kedua bertemakan zombie dari Adib Zaini selepas muncul dengan filem KL Zombi (2013). Kalau sebelum ni Adib cuma berfantasi menggunakan zombie, kali ni dia upgrade dengan gabungan kuasa rasukan hantu bersama zombie. Pendek kata, sesiapa saja yang terkena gigitan zombie akan dirasuk hantu kemudian menyerang manusia. Idea tu memang nampak menarik on paper tapi bila keluar filem seperti Rasuk, rasa macam pointless. 

Kenapa pointless? Sebab tak ada happy ending pun. Tak ada survival skill yang boleh kita ceduk pun dari naskhah sebegini. Siapa nak tengok filem yang musnahkan kehidupan manusia sejagat? Cukuplah dengan virus covid-19 yang belum habis pun dan sentiasa cari jalan untuk bermutasi. Review ni akan jadi emosi lah sebab watak I suka tak kena simpan sampai habis cerita. 


Benda pertama yang I geram sangat kenapa Alia dengan Fiza pergi ke asrama tanpa sebarang backup protection sedangkan Adli dah bagitahu mereka dalam bahaya. Kalau ada babak Alia minta bantuan polis tapi polis ignore then yes, boleh faham situasi tu. Second bila Ustaz Nazmi bagitahu zombie ni takut cahaya tapi kenapa tak ada yang suluh pun torchlight dekat muka zombie untuk protect diri? 

Ketiga, tak tahu kenapa Adli tak berubah jadi zombie walaupun dia dah terjun sedangkan semua zombie ada kebolehan untuk sembuhkan diri macam Wari yang sihat balik lepas ditikam oleh Adli. Keempat, kenapa Ustaz Nazmi boleh kena gigit padahal tangan kena simen. Power betul zombie sampai simen pun boleh tembus. Lastly, kenapa Farid korbankan diri sedangkan boleh lari ke tempat lain untuk divert attention zombie terhadap Fiza dan Kechik? Penulis tak bagi langsung ruang untuk beberapa watak berkembang macam Farid dan Nik sedangkan ada potential.


Kekuatan Rasuk hanyalah pada idea segar yang dibawa dan lakonan barisan pelakon baru terutamanya Ikmal Amry dan Abbas Mahmood. Rasanya ni pertama kali tengok lakonan Abbas dan penulis bagi watak dia berkembang dari seorang yang pendiam berubah menjadi ketua zombie yang pandai brainwash dan memujuk supaya manusia tergoda dengan kata-kata dia. 

Personally I rasa James Lee boleh hasilkan movie zombie yang menarik dan bagus kalau dia jumpa penulis skrip yang bagus. Lepas Zombitopia (2021) dan KL Zombi, Rasuk definitely way better than these two cuma sayangnya skrip lemah terutamanya pada second half.

1. Team Production +0.7, 2. Visual +0.5, 3. Audio +1, 4. Storyline +0.5, 5. Casting +0.7, 6. Genre +0.4, 7. Themes +0.4, 8. Editing +0.5, 9. Social Message +0.3, 10. Personal Thought +0.4  = 5.4/10

Movie Review | Freddy (2022)

Saturday 3 December 2022


Director : Shashanka Ghosh 
Writer: Parveez Shaikh, Aseem Arora (Dialogues)
Cast: Kartik Aaryan, Alaya Furniturewala, Karan A. Pandit, Sajjad Delfrooz, Jeniffer Piccinato, Harshika Kewalramani, Tripti Agarwal 
Production Companies : Balaji Motion Pictures, NH Studioz, Northern Lights Film
Distributor : Disney+ Hotstar
Genre : Psychology / Thriller
Running Time : 124 minutes
Release Date : 2 December 2022 
Trailer :


Dr. Freddy Ginwala (Kartik Aaryan) merupakan seorang doktor gigi yang pemalu dan introvert. Dia lebih banyak menghabiskan masa dengan Hardy, kura-kura peliharaan yang juga merupakan kawan baiknya. Sudah 3 tahun dia cuba untuk mencari kekasih tapi semuanya tidak berjaya. 

Satu hari Freddy jatuh cinta pandang pertama dengan Kainaaz Irani (Alaya Furniturewala) di sebuah majlis kahwin. Malangnya Kainaaz sudah pun berkahwin dengan Rustom Irani (Sajjad Delfrooz), pemilik restoran yang baran dan abusive. Tak ambil masa yang lama pun untuk Kainaaz balas cinta Freddy hingga Freddy percaya bahawa Kainaaz adalah teman sehidup sematinya. 


Freddy cuba untuk tolong Kainaaz dengan bunuh Rustom secara langar lari tapi setelah usaha tersebut dia dapat tahu dia cuma dipergunakan oleh perempuan tersebut. Kainaaz rupanya bercinta dengan chef di Blue Café kegemarannya, Raymond (Karan A. Pandit). Freddy yang patah hati cari jalan untuk balas dendam terhadap Kainaaz. 

Walaupun naskhah psikologi thriller dari pengarah Shashanka Ghosh mempunyai plot yang mudah dijangka melalui trailer dan separuh masa pertama namun kekuatan watak Freddy buatkan cerita dia patut ditonton sehingga selesai. Root for him and he need that justice. Masa dia peluk badan dia dekat lantai tu rasa kesian sangat dengan watak Freddy yang cuba untuk hidup secara normal dalam dunia yang agak kejam buat dia. Ironi lah bila Freddy ada board 'Home is where the heart is' tapi meringkuk meratap dalam rumah tu. 


Music album hasil gubahan Pritam mencuri perhatian dengan 3 buah lagu yang dicipta khas untuk menceritakan dunia Freddy. Lagu romantik Tujhse Pyaar Karta Hoon dan Tum Jo Milo dibikin untuk menggambarkan perasaan jatuh cinta pertama kali buat Freddy. Manakala lagu Kaala Jaadu lebih terarah pada sisi psiko Freddy. 

Masa tengok babak Veer murung dengan kata-kata Zoe dalam filem Love Aaj Kal 2 (2020), I was like maybe psycho thriller or mental illness theme will suit Kartik. And Freddy happened. Masa tengok Freddy ni terus lupa Kartik Aaryan yang suka berlakon filem komedi dan rasa selesa dengan genre komedi. 



Kalau dalam Dhamaka (2021) ada few hiccups pada lakonannya sebagai news anchor tapi tidak untuk Dr. Freddy. Untuk jayakan watak Freddy, Kartik tambah 14kg berat badan supaya dia boleh berjalan macam Freddy, keluar dari fizikal cantik dunia glamor. Walaupun facial expression dia tampak tenang tapi bahasa badan dia yang banyak mainkan peranan sepanjang movie. 

Sayangnya Kartik Aaryan sahaja yang galas filem ni dari awal sehingga habis bila genre berubah pada separuh masa kedua. Dia macam skrip asal boleh je bila masuk episod balas dendam sebab banyak details macam diendahkan oleh penulis. Masa Kainaaz kena alergik tu kenapa cuma muka yang terkesan? 


Dalam babak Kainaaz kena marah dengan mak dia, ada mention dekat situ baru 10 hari Rustom meninggal, jadi kenapa tak ada majlis pengebumian atau tempoh berkabung? Masa Raymond tanya jiran tak pelik ke dia datang rumah Kainaaz dan Kainaaz dah ada jawapannya. Dekat situ nampak jiran memerhati tapi kenapa tak ada yang pelik kenapa gaya pakaian Kainaaz berubah secara drastik?

Polis pun macam endah tak endah saja dengan kes langar lari Rustom Irani. Untuk I yang selalu layan movie Hindi, I faham lah yang Mumbai memang ada banyak kes jenayah jadi polis lebih suka tutup kes dari buang masa dan tenaga untuk siasat. Keluarga pun tak kisah langsung untuk cari siapa pembunuhnya jadi memang selayaknya lah polis buat kertas laporan tu sebagai alas samosa sahaja. 


Filem Freddy ni ada banyak ruang untuk plot dikembangkan supaya jadi lebih menarik namun pengarah lebih selesa pilih untuk tetapkan pace perlahan dalam menceritakan kehidupan Freddy yang malang. Lakonan Alaya tak cukup kuat sebagai heroin yang manipulatif, I expect dia akan jadi macam Kareena Kapoor Khan dalam Fida (2004) dengan gandingan yang kuat macam Fardeen Khan tapi rupanya tidak. Karan A. Pandit juga tak mampu nak galas watak Raymond tambah pula bila duduk dalam satu skrin yang sama dengan Kartik. Kalau pengarah panggil Tahir Raj Basin ataupun Vijay Varma mungkin Freddy ada saingan yang sengit. 

Sinematografi yang digunakan oleh Ayananka Bose juga dibikin malap untuk menghadirkan suasana dan elemen misteri thriller pada cerita. Ada beberapa babak yang tenggelam dalam visual tersebut. Babak silhouette Freddy tarik mayat tu seram dan I rasa Kartik Aaryan perlu cari skrip yang betul-betul bagus untuk tema ni. 


Anyway, kudos to team production yang ambil langkah untuk perbanyakkan lagi koleksi filem dari genre psychological thriller walaupun ada kekurangannya. Thanks to Kartik for making my Saturday feels great, Untuk fans Kartik memang wajib tonton Freddy and baba, I am so proud of you! 

1. Team Production +0.8, 2. Visual +0.5, 3. Audio +1, 4. Storyline +0.5, 5. Casting +0.4, 6. Genre +0.6, 7. Themes +0.6, 8. Editing +0.4, 9. Social Message +0.8, 10. Personal Thought + 0.4 = 6/10

Movie Review | Runway 34 (2022)


Director : Ajay Devgn
Writer : Ajay Devgn
Cast : Ajay Devgn, Amitabh Bachchan, Rakul Preet Singh, Boman Irani, Angira Dhar, Ahmad Harhash
Production Companies: Ajay Devgn FFilms, Panorama Studios 
Distributors: Panorama Studios, Yash Raj Films, Amazon Prime Videos 
Genre : Thriller / Drama
Running Time : 148 minutes
Release Date : 29 April 2022
Trailer :


Runway 34 mengisahkan tentang Kapten Vikrant Khanna (Ajay Devgn) bersama co-pilot Tanya Albuquerque (Rakul Preet Singh) menerbangkan pesawat komersial dari Dubai ke Cochin. Disebabkan ribut dan kesilapan pekerja di pusat kawalan trafik udara tidak memaklumkan status terkini kepada mereka, Kapten Vikrant terpaksa menggunakan ilmu dan pengalaman penerbangan dia untuk mendarat dengan selamat bersama 150 penumpang bersama stewardess yang lain. 

‘He’s widely popular, he’s an ace pilot. In fact, the video of your landing in Hong Kong among strong winds become pretty viral.’ – Tanya Alburquerque


Walaupun mendarat dengan selamat namun situasi panik yang dialami oleh penumpang dan cabin crew yang lain menyebabkan seorang warga emas meninggal dunia kerana sakit jantung. Kerana panggilan mayday dari Kapten Vikrant juga buatkan Aircraft Accident Investigation Bureau menghantar Narayan Vedant (Amitabh Bachchan) untuk menyiasat kes tersebut. 

Narayan terkenal dengan no nonsense dan akan pastikan pilot bertanggungjawab untuk kesilapan yang dilakukan tapi Vikrant kekal tenang sebab dia tak langar mana-mana protokol. Tanya pula gelisah dan risau lesen dia akan digantung sebab dia tahu Kapten Vikrant minta dispirin semasa terbang sebab penat gara-gara berparti sebelum masuk bertugas. 


Nishant Suri (Boman Irani), pemilik syarikat Skyline Airway yang awalnya berbangga dengan publisiti percuma kerana Kapten Vikrant diangkat menjadi hero berubah respon bila dapat tahu Narayan dapat bukti kuat iaitu botol arak di dalam tandas pesawat. Bukan saja lesen pilot saja yang terjejas, imej syarikat juga tercalar sekaligus keuntungan akan merudum kerana kemalangan ni. 

Naskhah thriller drama hasil buah tangan ketiga Ajay Devgn sebagai penulis dan pengarah adalah diambil dari insiden sebenar penerbangan  Boeing 737-800 dari Doha ke Kochi pada Ogos 2015 kerana penglihatan terhad akibat cuaca buruk. Sama seperti yang diceritakan dalam Runway 34, kapal terbang tersebut hanya mempunyai 4,844 kg minyak dan terpaksa mendarat menggunakan teknik crash landed. 


Walaupun tiada kecederaan dilaporkan ada yang label pilot tersebut sebagai cuai sebab banyak persoalan yang timbul untuk pendaratan kecemasan. Dalam filem boleh nampak isu utama adalah disebabkan cuaca dan minyak yang semakin berkurangan lantas menyebabkan mereka terpaksa berlawan dengan masa. 

Dalam Runway 34, tak boleh faham sangat kenapa Narayan bersifat menekan Kapten Vikrant walaupun dia selamatkan semua penumpang dan cabin crew. Bila baca kes sebenar baru faham bila kebanyakan syarikat penerbangan ni suka jimat minyak dan mendarat di lapangan terbang alternatif. Jadi Narayan berpegang pada budaya tu dan bukannya kerana faktor cuaca. 


But still dia patut persoalkan kenapa pilih Trivandrum dan bukannya Bangalore macam Tanya bagitahu bila air traffic control dah halang untuk mendarat di situ. Kenapa Narayan fokus dengan isu berparti, baca weather details tak sampai satu minit dan tutup mata sedangkan dia boleh soalkan kenapa pilih runway 34 dengan kekuatan angin yang berbeza dengan landasan lain. Mungkin Ajay perlu masukkan perbalahan tentang isu minyak dalam filem ni.

‘You turned entire aircraft into a time bomb. One small spark could’ve blown the entire aircraft. On one side of the runway is the Arabian Sea and the entire city is on the other side. One small mistake and you cannot imagine the disaster it would’ve caused!’ – Narayan Vedant


Nak sembang pasal penerbangan atau teknik yang digunakan dalam filem ni I tak arif sangat lah tapi naskhah ni berbeza dengan filem lain bila Ajay guna separuh masa pertama untuk ceritakan situasi panik di udara kemudian separuh masa kedua dengan situasi getir di dalam perbicaraan bersama Narayan Vedant. 

Bab lakonan, gandingan Ajay dan Amitabh juga Boman Irani deliver watak masing-masing dengan cemerlang memandangkan barisan pelakon bukan calang-calang namun pelakon sampingan ada banyak kekurangan misalnya Rakul Preet, si isteri ataupun anak mangsa korban tersebut. Dia tak mampu nak zahirkan perasaan trauma dan marah kepada Kapten Vikrant. Mungkin dia cuma nak cari orang untuk disalahkan atas kematian ibu dia sebab kalau nak salahkan Tuhan, neraka lah tempatnya. 


Visual antara faktor kelemahan filem Runway 34 sebab VFX masih lemah untuk buatkan penerbangan dan cuaca buruk yang digambarkan tampak benar. Tona yang digunakan pun agak gelap sampai tak nampak betapa ngerinya landasan 34 tu. Tak pasti kalau landasan sebenar pun macam tu juga. Masa separuh masa kedua pun Aseem Bajaj banyak gunakan close-up walhal tak perlu pun sebab tak ada reaksi yang menambahkan impak pada babak tersebut. 

Music album juga biasa saja dan beberapa dialog yang digunakan macam over dan try hard untuk menghidupkan elemen dramatik. Nak kata Runway 34 tak best tu tak lah tapi nak kata syok nak layan pun tak juga. Yang pastinya, I tetap dengan pendirian shit happens….

1. Team Production +0.7, 2. Visual +0.5, 3. Audio +0.5, 4. Storyline +0.8, 5. Casting +0.6, 6. Genre +0.8, 7. Themes +1, 8. Editing +0.7, 9. Social Message +1, 10. Personal Thought +0.8 =  7.4/10

Beri Sumbangan Kepada Asnaf PPR Lembah Subang 2

Friday 2 December 2022


Selain bantu klien dalam urusan guaman, ada juga urusan lain yang diberikan perhatian seperti beri sumbangan kepada yang memerlukan menggunakan harta pusaka yang diamanahkan dari pengurus tadbir. Bulan lepas kami diberi kesempatan untuk beri sumbangan kepada beberapa orang asnaf di kawasan PPR Lembah Subang 2. 

Kalau ikutkan perlu bagi kepada 5 buah keluarga asnaf tapi ada yang kena pergi buat rawatan susulan dengan doktor pakar dan ada juga yang terpaksa ditahan di wad. Kita mampu merancang saja untuk program ni tapi ikut rezeki masing-masing lah macam mana. 


Nak berurusan di sini, kami berjumpa dengan Puan Bada selaku AJK Surau PPR Lembah Subang 2 untuk tahu status asnaf. Kemudian cari tarikh yang sesuai untuk buat program sumbangan tu. Memandangkan PPR Lembah Subang 2 ni dekat saja dengan pejabat Ram Reza & Muhammad cawangan Petaling Jaya, tak ada masalah sangat lah untuk pergi setiap rumah untuk bagi sumbangan. Bajet dalam sejam setengah dah habis sebab setiap rumah berbeza blok jadi kena berjalan lebih sikit. 

Sambil berjalan tu sambil ambil tahu kawasan kejiranan PPR Lembah Subang 2. Kawasan ni memang terjaga lah sebab sekitar koridor, kawasan tangga dan laluan semuanya bersih dari sebarang tahi kucing atau sampah. Setiap blok pun nampak cantik dan bersih sebab dijaga oleh AJK Surau dan JMB. 


Lawatan pertama ke rumah penjual satay yang mesra dipanggil Abang Jo di mana baru saja sembuh dari strok. Masa PKP dulu terlantar atas katil sebab strok dan tak boleh bekerja langsung. Lepas makan ubat, buat rawatan susulan dengan fisio baru keadaan beransur pulih. Masa melawat tu pun tangan sebelah kiri belum dapat grab barang sepenuhnya. Ada masa tak boleh bergerak langsung. Ada masa terketar-ketar. 


Walaupun sumbangan kami agak lambat namun sekurang-kurangnya dapat bantu tampung perbelanjaan harian yang lain. Mungkin boleh juga guna duit sumbangan tersebut untuk beli supplement supaya badan Abang Jo makin kuat untuk berniaga semula. 

Rumah kedua pula melawat warga emas yang tinggal dengan anak bongsu tapi masa kami datang ni anak dia keluar bekerja. Kebanyakan masa berehat atas katil atau kerusi malas di ruang tamu sebab tak kuat untuk bergerak. Nak bercakap pun perlahan saja suaranya sebab dah uzur. 



Rumah ketiga pula tak ada respon, mungkin sebab tak sihat sangat. Sebelum datang katanya ada dekat rumah tapi bila datang panggil tak menyahut. Maka terpaksa lah kami tinggalkan saja duit sumbangan kepada Pn. Bada dan AJK surau yang lain. Semoga sampai lah kepada keluarga yang memerlukan. 


PPR Lembah Subang 2 ada banyak program dan aktiviti kejiranan, kalau ada rezeki dan kelapangan Insya-Allah akan pergi dan join aktiviti dekat sini sebab dekat je dengan office. Lepas ni kalau nak bagi sumbangan pun dah tahu mana nak pergi dan dengan siapa nak berurusan. Sesuai lah dengan objektif CSR firma untuk bantu masyarakat sekitar. Semoga dengan sumbangan kami dan klien dapat bantu sedikit sebanyak keluarga yang memerlukan. 

THOMAS BRODIE-SANGSTER, DAVID THEWLIS AND MAIA MITCHELL TO STAR IN DISNEY+ AUSTRALIAN ORIGINAL SERIES ‘THE ARTFUL DODGER’ | Cast Also Features Esteemed Australian Talent Including Damon Herriman, Miranda Tapsell, Tim Minchin, Susie Porter, Kym Gyngell, Damien Garvey, Jessica De Gouw, Andrea Demetriades, Luke Carroll and Huw Higginson


The Walt Disney Company has today announced the stellar cast of the Disney+ Australian original series “The Artful Dodger” as filming commences. 

“The Artful Dodger” is a premium international character drama set in 1850s Australia and is a well-known and much loved story with a twist. 
Across eight episodes the scripted series explores the adult double life of Charles Dickens’ famous prince of thieves - Dodger - now a surgeon, but who can’t shake his predilection for crime. From high-octane heists to life-and-death surgeries, glittering parties to colourful streets, this series is a rock’n’roll tale with an Aussie connection. 

Thomas Brodie-Sangster (Pistol, The Queen’s Gambit), David Thewlis (Landscapers, Fargo) and Australia’s own Maia Mitchell (Good Trouble, The Fosters) lead the stellar-cast, with Brodie-Sangster taking on the role of “Jack Dawkins” aka “The Artful Dodger,” Thewlis as “Fagin” and Mitchell as “Lady Belle Fox”. 
 
The cast includes an incredible line-up of Australian talent, featuring Damon Herriman (Once Upon a Time in Hollywood, Judy and Punch), Miranda Tapsell (Top End Wedding, The Sapphires), Tim Minchin (Upright, Californication), Susie Porter (Wentworth, Gold), Kym Gyngell (Love Me, Black Snow), Damien Garvey (Nautilus, Jack Irish), Jessica De Gouw (The Secrets She Keeps, The Drover’s Wife), Andrea Demetriades (The End, Seven Types of Ambiguity), Luke Carroll (Upright, Preppers) and English-born, Australian export Huw Higginson (Total Control, Janet King).

Joining the cast are rising talents, Lucy-Rose Leonard, Nicholas Burton, Jude Hyland, Finn Treacy and Albert Latailakepa

“The Artful Dodger” is a co-production with Sony Pictures Television (SPT) and produced by Beach Road Pictures and SPT’s Curio Pictures. The series is Co-Created and Executive Produced by Beach Road Pictures’ David Maher & David Taylor. Jo Porter represents Curio Pictures as Executive Producer. James McNamara (Co-Creator and Co-Executive Producer), Andrew Knight (Co-Executive Producer and Writer), Jeffrey Walker (Co-Executive Producer and Director) and Ross Allsop (Producer) complete the producing team.
 
Jeffrey Walker (Young Rock, The Commons, Modern Family) serves as set up director and Co-Executive Producer, with Directors Corrie Chen (New Gold Mountain, Bad Behaviour) and Gracie Otto (Heartbreak High, The Clearing) and the series is written by James McNamara, Andrew Knight, Vivienne Walshe and Dan Knight, with Miranda Tapsell.

The series will be filmed in New South Wales, Australia, with financial support provided by the State Government through Screen NSW's Made In NSW fund.


About Disney+
Disney+ is the dedicated streaming home for movies and shows from Disney, Pixar, Marvel, Star Wars, and National Geographic, along with The Simpsons and much more. In select international markets, it also includes the new general entertainment content brand, Star. The flagship direct-to-consumer streaming service from The Walt Disney Company, Disney+ is part of the Disney Media & Entertainment Distribution segment. The service offers commercial-free streaming alongside an ever-growing collection of exclusive originals, including feature-length films, documentaries, live-action and animated series, and short-form content. With unprecedented access to Disney’s long history of incredible film and television entertainment, Disney+ is also the exclusive streaming home for the newest releases from The Walt Disney Studios. And through Star, it offers the latest from 20th Century Studios, Disney Television Studios, FX, Searchlight Pictures, and more. For more, visit disneyplus.com, or find the Disney+ app on most mobile and connected TV devices.

About Beach Road Pictures 
Beach Road Pictures is an independent Australian production company co-founded in 2021 by multi-award winning producers David Maher and David Taylor.  Its current slate includes North Shore, the 6-part crime thriller for Channel 10 and Paramount UK starring John Bradley, Joanne Froggatt and Kirsty Sturgess. The duo has produced over 200 hours of drama with local and international successes which include Bloom, The Commons, The Code, Reckoning, Love Child, The Wrong Girl, Friday On My Mind, House Husbands and Hiding whilst at the helm of Playmaker Media over 11 years.  Beach Road works with leading creative talent on artistically ambitious scripted projects for premium content platforms. 

About Sony Pictures Television 
Sony Pictures Television (SPT) is one of the television industry’s leading content providers, producing, distributing and carrying programming worldwide in every genre and for every platform. In addition to managing one of the industry’s largest libraries of award-winning feature films, television shows and formats, SPT is home to a thriving global content business, operating a robust portfolio of wholly-owned and joint-venture production companies across the U.S., Europe, Latin America, and Asia Pacific, as well as linear and digital channels around the world. SPT is a Sony Pictures Entertainment company, a subsidiary of Tokyo-based Sony Group Corporation.
 
About Curio Pictures 
Launched in February 2022, Curio is an Australian TV and film production company driven by a team of experienced, ambitious and passionate people, led by Managing Director Jo Porter and Creative Director Rachel Gardner. Curio has a focus on working with leading creatives and dynamic new voices to deliver compelling, distinct projects with something to say for premium local and international commissioning platforms. With an exciting new slate of projects in the pipeline, Curio possesses the nimbleness and daring of an indie with the global strength and backing of Sony Pictures Television, its parent company. along with a collaborative synergy of being part of SPT’s International Production companies.




THE WALT DISNEY COMPANY ASIA PACIFIC TO SHOWCASE THEATRICAL AND STREAMING CONTENT SLATE FOR 2023 | Disney and leading Japanese publishing house Kodansha expand strategic collaboration to include anime, starting with ‘Tokyo Revengers: Christmas Showdown Arc’ which will launch exclusively on Disney’s streaming service worldwide 

Over 50 shows will be presented at Disney’s Content Showcase to international press and partners including upcoming slate of movies and series from Marvel Studios, Walt Disney Animation Studios, Pixar, Lucasfilm as well as expanding collection of APAC Originals for Disney+ and Disney+ Hotstar

At a star-studded press and partner event at Singapore’s iconic Marina Bay Sands today, The Walt Disney Company Asia Pacific will showcase its upcoming slate of movies from its major studios and unveil an expanding collection of APAC Originals for its streaming service, told by some of the world’s best storytellers. 

Over 50 shows from Disney’s 2023 theatrical and streaming content slate will be presented to over 400 international press and partners. Some of the celebrities in attendance include the cast and creative minds behind Disney’s APAC Originals -- Japanese director Miike Takashi, Korean stars Jung Haein, Ko Kyungpyo and Kim Hyejun from the crime fantasy thriller Connect; Lee Donghwi, Heo Sungtae and acclaimed director Kang Yunsung from Big Bet; Yuya Yagira, Riho Yoshioka and director Shinzo Katayama from Japanese drama series Gannibal; and Chelsea Islan from the upcoming Indonesian super hero series Tira. Pixar’s director/animator/storyboard artist/voice actor Peter Sohn, director of the all-new, original feature film, Elemental, will also be at the event. 


“Last October, at our first APAC Content Showcase, we made our first step into local content production with an ambitious, long-term plan to uncover the world’s best stories from this region, and to showcase creative excellence that can shine on the world stage,” said Luke Kang, President, The Walt Disney Company Asia Pacific in his opening remarks. “This year, it was important for us to showcase the breadth of our global branded content from our award-winning studios and iconic franchises, as well as our APAC content slate for 2023.”

Over the last year, over 45 new APAC titles have sunrised on Disney’s streaming service, with several shows gaining commercial and critical success. Big Mouth, Soundtrack #1 and IN THE SOOP: Friendcation were among the top three most watched titles in the majority of APAC markets in their premiere week. The total hours of locally-produced Asian content streamed on Disney+ is eight times more than it was a year ago.

“We are focusing our content development on what we refer to as our content whitespace,” said Mr. Kang. “Investing in areas that require more local specificity – either due to high popularity in select markets, like Japanese Anime, K-Dramas or Indonesia rom-coms and horror, or the need for local storytelling with talent that are familiar to our local audiences. We want to serve our viewers in every market with globally branded content like Disney, Marvel, Star Wars and Pixar, as well as locally produced stories that resonate with them – while also taking the best of those stories global.”

The Walt Disney Company Asia Pacific also announced today an expansion of its long-standing collaboration with leading publishing house Kodansha to include Japanese anime. For 70 years, Disney and Kodansha have worked together in the publishing space, and will now venture into the world of anime. This expanded collaboration will include licensing exclusive SVOD anime titles based on manga produced by Kodansha, starting with Tokyo Revengers: Christmas Showdown Arc that will launch exclusively on Disney+ and Disney+ Hotstar in January 2023. Disney’s streaming services now reach over 235 million subscribers across 154 markets worldwide.

“The special relationship between Kodansha and Disney stretches back over 70 years, and has seen us bring to life many Disney licensed publications,” said Yoshinobu Noma, Kodansha Representative Director and President. “With today’s announcement, we are thrilled to be able to further diversify and elevate the relationship between our two companies and share even more of our beloved anime titles with the world on Disney+ and its streaming platforms."

“We are thrilled to deepen our strategic collaboration with our long standing partner Kodansha on such an exciting genre,” said Carol Choi, Executive Vice President of Original Content Strategy, The Walt Disney Company APAC. “Japanese anime fills the white space in our content development plans and we believe this expanded collaboration will be a game changer in Disney’s future animation strategy in Japan. We look forward to bringing the anime titles and prized IP by Kodansha to the world stage.”

As part of Disney’s International Content & Operations, the new APAC projects that will be unveiled today will include original productions by leading content creators. The slate will feature star-studded scripted live action tent-pole series including drama, comedy, fantasy, romance, science-fiction, crime, horror; to variety shows, documentaries and anime from several markets including Japan, South Korea, Indonesia and Australia. The new projects unveiled today are part of Disney's ambition to greenlight over 50 APAC Originals by 2023.


***************************
 
About Disney International Content & Operations:
The Walt Disney Company’s International Content & Operations (IC&O) group is responsible for developing and producing local and regional entertainment and sports programming outside the U.S. for The Walt Disney Company’s streaming services. IC&O was established in January 2022 as the Company’s fourth content creation unit, joining the Studios, General Entertainment, and Sports. In addition to local content development and production, IC&O oversees such regional operations as international linear channels, regional streaming, local ad sales, and local content sales and distribution in Asia Pacific (APAC), Europe, Middle East & Africa (EMEA), India, and Latin America (LATAM).

About Disney+
Disney+ is the dedicated streaming home for movies and shows from Disney, Pixar, Marvel, Star Wars, and National Geographic, along with The Simpsons and much more. In select international markets, it also includes the new general entertainment content brand, Star. The flagship direct-to-consumer streaming service from The Walt Disney Company, Disney+ is part of the Disney Media & Entertainment Distribution segment. The service offers commercial-free streaming alongside an ever-growing collection of exclusive originals, including feature-length films, documentaries, live-action and animated series, and short-form content. With unprecedented access to Disney’s long history of incredible film and television entertainment, Disney+ is also the exclusive streaming home for the newest releases from The Walt Disney Studios. And through Star, it offers the latest from 20th Century Studios, Disney Television Studios, FX, Searchlight Pictures, and more. For more, visit disneyplus.com, or find the Disney+ app on most mobile and connected TV devices. 

KOREAN STARS TAKE CENTER STAGE AT DISNEY CONTENT SHOWCASE IN SINGAPORE | This year’s showcase featured announcements for over a dozen Korean series, including the highly anticipated “Connect” and “Big Bet,” as well as the newly revealed “Call It Love” as part of the Company’s growing slate of APAC Originals

Several of Korea’s biggest entertainment stars and creatives touched down in Singapore today to attend the Disney Content Showcase. Featuring announcements for over 50 titles, including an upcoming slate of movies and series from Marvel Studios, Walt Disney Animation Studios, Pixar, Lucasfilm and an expanding collection of APAC Originals for Disney+ and Disney+ Hotstar, day one of the showcase delighted Korean drama and K-pop fans with exciting updates for over a dozen shows set to launch on Disney’s streaming service in the next year and beyond.

Hosted at Singapore’s iconic Marina Bay Sands, some of the top talent from Big Bet, Connect, and the newly announced series Call It Love were on stage at the showcase to share details of what audiences can expect from the upcoming series.

With all episodes to launch on Disney+, Disney+ Hotstar and Hulu on December 7, Connect stars Jung Haein as Ha Dongsoo - a new type of immortal human known as a “connect”, who is kidnapped by a gang of organ harvesters determined to take his eyes. During the showcase, Korean stars Jung Haein, Ko Kyungpyo, Kim Hyejun and legendary Japanese director Miike Takashi made appearances on stage, sharing their excitement about the upcoming series with over 400 international press and partners in attendance.

Big Bet stars Lee Donghwi and Heo Sungtae, and director Kang Yunsung speak at a press conference at the Disney Content Showcase in Singapore (Courtesy of The Walt Disney Company)

Big Bet stars Lee Donghwi and Heo Sungtae, and director Kang Yunsung also made an appearance to promote this upcoming tale of a man who struggles to become a casino mogul but soon after hits rock bottom due to a chain of unfortunate events. Set to debut on Disney+, 

Disney+ Hotstar and Hulu on December 21, Big Bet also stars legendary Old Boy actor Choi Minsik in his first return to TV in 25 years.

Director Lee Kwangyoung and stars Kim Youngkwang and Lee Sungkyoung rounded out the Korean segment’s surprise appearances to officially announce their Korean drama Call It Love, which is set to launch on Disney+ next year. Centered around the main protagonist, Woojoo, Call It Love follows her on a downward spiral after she discovers her father’s infidelity. Woojoo’s situation goes from bad to worse when her father unexpectedly dies and his mistress kicks her out of the family home, but while she plans her revenge, Woojoo begins to fall in love with a man who turns out to be the son of the woman who ruined her life. 

Call It Love stars Kim Youngkwang and Lee Sungkyoung and director, Lee Kwangyoung, speak at a press conference at the Disney Content Showcase in Singapore. (Courtesy of The Walt Disney Company)

Big Bet, Connect and Call it Love were just a few of the newly announced Korean series updates from today’s content showcase, including:

🎬Moving: Starring Ryu Seungryong, Han Hyojoo and Zo Insung, Moving is based on a popular webtoon by Kang Full and tells the story of three teenagers who discover they’ve inherited unusual powers from their secret agent parents.

🎬The Worst of Evil: Set in 1990s Korea, The Worst of Evil follows an investigative taskforce as their undercover officer, Park Joonmo, infiltrates a new criminal organization responsible for fuelling a drug trafficking triangle. Starring Ji Changwook, Wi Hajun and Lim Semi, production is currently underway on this exciting new crime drama.

🎬The Zone 2: Survival Mission: Following a breakout first season, veteran entertainers Yu Jaesuk, Lee Kwangsoo and Kwon Yuri return to The Zone for a second season of this beloved variety show that will challenge them to survive several everyday disaster scenarios. 

🎬Soundtrack # 2: Music enthusiasts Hyunseo and Suho met as a vocalist and keyboardist in a college band and fell in love, spending almost every day together for six years. However, once they graduated, the pressures of life began to build and the two eventually split. Four years after their breakup, fate brings them back together again, but will they be able to rekindle what they once had?


🎬Shadow Detective Season 2: Directed by Han Donghwa, Lee Sungmin, Gyeong Sujin, and Lee Hakjoo return for another series of Shadow Detective. With the stakes now higher than ever, will Detective Taekrok be able to solve his final case before it’s too late?

🎬RACE: Written by acclaimed screenwriter Kim Roori and starring Lee Yeonhee, Moon Sori, Hong Jonghyun and Chung Yunho, RACE is about a mediocre employee who unleashes her potential after discovering she was hired at her top-tier publicity company for diversity reasons.

🎬SUPER JUNIOR: THE LAST MAN STANDING: On November 6, 2005, a k-pop group, SUPER JUNIOR 05, made their debut. First leaving their mark on Asia, they rapidly grew, becoming SUPER JUNIOR, and amazed audiences across the world. In SUPER JUNIOR: THE LAST MAN STANDING, viewers are taken behind-the-scenes in a one-of-a-kind exploration of SUPER JUNIOR and its members, offering new insights into the modern K-pop industry.

🎬NCT 127 The Lost Boys (Working Title): Documenting this popular Korean boyband on their 2022-2023 World Tour across North America, Korea, Japan and South East Asia, NCT 127 The Lost Boys will follow Mark, Johnny and Yuta in a series that will track the band's growth and success over the years.


🎬j-hope Solo Documentary (Working Title): Following pop star j-hope in the lead-up to his recently released solo album, this upcoming documentary features never-before-seen interviews with j-hope, a behind the scenes look at his solo album preparation process, his 2022 Lollapalooza performance and a unique look at the album’s listening party. 

🎬BTS MONUMENTS: BEYOND THE STAR: An exclusive Disney+ original, this music docu-series will chart the incredible journey of 21st century pop icons BTS. With unprecedented access to a vast library of music and footage over the past nine years, the series will feature the daily lives, thoughts and plans of BTS members, as they prepare for their second chapter.

Announced as part of the Disney Content Showcase, these Korean Originals were also revealed alongside a host of Japanese live action and anime titles and Indonesian dramas as part of the Company’s ambitious plans to greenlight over 50 APAC Originals by 2023. 

********************************

About Disney International Content & Operations:
The Walt Disney Company’s International Content & Operations (IC&O) group is responsible for developing and producing local and regional entertainment and sports programming outside the U.S. for The Walt Disney Company’s streaming services. IC&O was established in January 2022 as the Company’s fourth content creation unit, joining the Studios, General Entertainment, and Sports. In addition to local content development and production, IC&O oversees such regional operations as international linear channels, regional streaming, local ad sales, and local content sales and distribution in Asia Pacific (APAC), Europe, Middle East & Africa (EMEA), India, and Latin America (LATAM).


About Disney+
Disney+ is the dedicated streaming home for movies and shows from Disney, Pixar, Marvel, Star Wars, and National Geographic, along with The Simpsons and much more. In select international markets, it also includes the new general entertainment content brand, Star. The flagship direct-to-consumer streaming service from The Walt Disney Company, Disney+ is part of the Disney Media & Entertainment Distribution segment. The service offers commercial-free streaming alongside an ever-growing collection of exclusive originals, including feature-length films, documentaries, live-action and animated series, and short-form content. With unprecedented access to Disney’s long history of incredible film and television entertainment, Disney+ is also the exclusive streaming home for the newest releases from The Walt Disney Studios. And through Star, it offers the latest from 20th Century Studios, Disney Television Studios, FX, Searchlight Pictures, and more. For more, visit disneyplus.com, or find the Disney+ app on most mobile and connected TV devices. 

JAPANESE PSYCHOTHRILLER “GANNIBAL” STALKS ONTO SCREENS DECEMBER 28 ONLY ON DISNEY+ (HOTSTAR) | Featuring an electrifyingly tense storyline, take a first look at this upcoming series with a newly released trailer revealed at the Disney Content Showcase

This winter, be sure to turn on all the lights and check behind the sofa before settling in to enjoy Gannibal, a heart-pounding new Japanese psychothriller coming to Disney+ (Hotstar) December 28. 

Recently selected to be screened at the Tokyo International Film Festival, and with a trailer and premiere date revealed today at the Disney Content Showcase, this upcoming Star Original is set in Kuge, a fictional Japanese village, and sees newly hired police officer Daigo Agawa arrive a broken man. While things start off promisingly for the new arrival, a series of alarming events begin to unfold that will lead Daigo to the horrifying realization that something is deeply wrong with the village and those who live there. Thrown into a hostile environment with suspense around every corner, will the latest police officer to roam the streets of Kuge village be able to bring those responsible to justice before it’s too late?

Based on the hit manga series of the same name by Masaaki Ninomiya, Gannibal features a unique storyline brought to life exclusively on Disney+ (Hotstar) by some of the biggest names in the Japanese creative industry. Produced by Teruhisa Yamamoto, producer of this year’s Academy Award-winning Drive My Car and Tatsuya Iwakura, Gannibal is directed by Shinzo Katayama (Siblings on the Cape) and adapted for the screen by Best Adapted Screenplay Academy Award-nominee Takamasa Oe, who most recently wrote the screenplay for the Academy Award-winning Drive My Car.

“Gannibal is a thriller that will leave audiences gasping with shock after every episode,” said producer Teruhisa Yamamoto. “But it’s also a human story that reflects upon the differences between family values and culture that, at a glance, seem so contradictory and yet are so relatable. With Gannibal and our other Japanese local content, we are building on Disney’s rich history of storytelling and are combining it with Japanese creativity to open new doors of entertainment for everyone.”


Audiences can enjoy a first look at this upcoming series starring award-winning actors Yuya Yagira (HOKUSAI, Asakusa Kid), Show Kasamatsu (Tokyo Vice, Love You as the World Ends) and Riho Yoshioka (Haken Anime!, The Romance Manga Artist) and in the newly released trailer.

Gannibal is the latest series to be announced as part of The Walt Disney Company’s growing APAC content slate, joining a whole host of stories announced at today’s Disney Content Showcase, including: Dragons of Wonderhatch, a groundbreaking series set to combine live-action and anime elements that tells the story of a high school girl who struggles to fit in with her classmates before being swept up on an adventure with a boy from another world who will forever change her destiny; House of the Owl, an upcoming live-action drama about a revered fixer in Japan who can guide his clients through any scandal; and Tokyo Revengers: Christmas Showdown Arc - the first title to be released as part of the Company’s extended collaboration with Kodansha, that will see former bad boy Takemichi use his accidentally acquired powers of time travel to go back and save his high school girlfriend from being murdered by the Tokyo Manji gang, unwittingly changing the destinies of those around him.

Enjoy the nail-biting series Gannibal, exclusively on Disney+ (Hotstar) starting December 28.


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About Disney International Content & Operations:

The Walt Disney Company’s International Content & Operations (IC&O) group is responsible for developing and producing local and regional entertainment and sports programming outside the U.S. for The Walt Disney Company’s streaming services. IC&O was established in January 2022 as the Company’s fourth content creation unit, joining the Studios, General Entertainment, and Sports. In addition to local content development and production, IC&O oversees such regional operations as international linear channels, regional streaming, local ad sales, and local content sales and distribution in Asia Pacific (APAC), Europe, Middle East & Africa (EMEA), India, and Latin America (LATAM).

About Disney+

Disney+ is the dedicated streaming home for movies and shows from Disney, Pixar, Marvel, Star Wars, and National Geographic, along with The Simpsons and much more. In select international markets, it also includes the new general entertainment content brand, Star. The flagship direct-to-consumer streaming service from The Walt Disney Company, Disney+ is part of the Disney Media & Entertainment Distribution segment. The service offers commercial-free streaming alongside an ever-growing collection of exclusive originals, including feature-length films, documentaries, live-action and animated series, and short-form content. With unprecedented access to Disney’s long history of incredible film and television entertainment, Disney+ is also the exclusive streaming home for the newest releases from The Walt Disney Studios. And through Star, it offers the latest from 20th Century Studios, Disney Television Studios, FX, Searchlight Pictures, and more. For more, visit disneyplus.com, or find the Disney+ app on most mobile and connected TV devices.