Aaron Yap

Minari’s characters, images and moments come alive with breathtaking specificity.

This film is a meticulously mounted period adventure that’s good enough for you to wish it was a little better.

The Assistant might be the most unsparing portrayal of modern workplace toxicity since In The Company of Men.

Noble but frustratingly uneven attempt to revitalise stale haunted house conventions.

Should keep anyone with an appetite for bloodthirsty action satiated.

A much-needed gasp of air from tentpole franchises.

If you came for a doll saying profanities, this isn’t it.

The film is low-boil Soderbergh-lite.

This could have made for a rich, elegant, atmospheric horror flick.

Warning: this one will hurt.

May heat up your déjà vu meter, writes Aaron Yap.

It’s also Welles’ giant last-gasp fart at Hollywood, a deeply cynical meta-movie.

Gaga and Cooper ooze charisma and chemistry.

Damien Chazelle has made a stodgy, pedestrian biopic.

Aaron Yap on the prequel spin-off to the sequel.

Often when it seems like there’s nowhere for zombie movies to go, a little out-of-left-field film comes along to prove you wrong, squeezing a smidgen more life out of the genre’s exhausted conventions. Aussie epidemic pic Cargo does just that: injecting bracing, subtle layers into long-established flesh-munching lore while not completely reinventing anything. Its family-in-peril […]

It’s an earnest David vs Goliath story with no fancy outfits, geeky gadgets or elaborate team-ups.

Last Flag Flying is at once burdened and enriched by the past, writes Aaron Yap.

There’s a nagging seen-it-all-before sensation that hangs over this 90-minute repackaging.

Calculated to appease both secular and non-secular audiences. The Passion of the Christ this isn’t.

Should’ve made for a unique, even potent, supernatural period piece. Unfortunately, it doesn’t writes Aaron Yap.