I sat down to watch Ejen Ali: The Movie expecting a polished children’s spy flick, and what I got was something a little more ambitious, a little uneven, but—yes—definitely worth my time. This isn’t perfect, but it’s brave, energetic, sometimes goofy, sometimes solemn, and as much about identity as it is about gadget fights.
In this film, Ali is no longer a rookie who accidentally stumbled into the spy life. He’s now a full agent in MATA, wielding the IRIS gadget (or so he thinks). The organization is rolling out a new version, IRIS Neo, allowing multiple agents to use the “override” mode that Ali once had all to himself. That upgrade triggers trouble: he starts doubting his place in the hierarchy. Meanwhile, we get a tangled backstory involving Niki, Aliya, stolen technology (Azurium fuel, weapon caches, and a pen-drive in a music box), and betrayals that tie Ali’s lineage to the hidden conspiracies behind Cyberaya’s power structure. The emotional core comes when Ali finds that Niki has deep personal reasons for her path, and when his mother Aliya, ’s choices cast long shadows. One of the more affecting choices is that the film doesn't treat its younger hero as invulnerable—he gets hurt, forced to choose, and loses a lot on the way.
Let me start with what works. The animation is a highlight. The action sequences are energetic, with chase scenes, melee fights, and gadget-infused standoffs that feel like they have real weight. The colors pop; Cyberaya’s skyline, Beta Tower, and the slums outside each setting feel distinct. The designers clearly labored over placing futuristic tech alongside grungy alleys so that nothing looks too generic. And in scenes where Ali and Niki clash, or when Ali confronts the moral ambiguity of MATA’s choices, the directing gives them space. It’s not all explosion and eye candy; there are moments when the film slows enough to let sadness or regret land.
Character-wise, Ali is serviceable. He’s the kind of protagonist who works better when surrounded by a stronger supporting cast. Alicia, Bakar, and Niki (when she’s on screen) carry extra weight. The villain arc is more grey than black-and-white, which I appreciate. I even found myself sympathizing with some of Niki’s motivations, even as I rooted against her methods. Also props for giving Aliya (his mother) more presence than just an absent figure; her past is leveraged, not just name-dropped.
The film’s ambition is commendable. It grapples with questions of loyalty, the price of progress, and how power can be misused even by institutions meant to protect. It doesn’t always land every nuance, but it leans in. I also like that things don’t reset entirely by the end. Consequences stick (Ali loses IRIS for a period, and the Neo system is axed). That gives the journey weight.
But now, the faults. First, the pacing suffers. The film wants to weave two timelines, betrayals, tech intrigue, and emotional reveals, all in under two hours. That means some transitions feel rushed. A betrayal that should sting feels telegraphed; a revelation that should shock feels tacked on. Scenes meant to build suspense sometimes sprint past. I felt certain character motivations weren’t given enough space. For example, Niki’s actions—while understandable in retrospect—are sometimes glossed over in the moment; I needed more scenes to ground me emotionally before she went full antagonist.
Second, the dialogue sometimes leans a bit too hard on exposition. When characters explain how IRIS Neo works, or why Azurium is dangerous, it feels like the script is reading a tech manual to you. A few of those lines got clunky. (Yes, I cringed when someone said something like, “The override function is now weaponized!” in a way that sounded more like a game patch note than elite spy talk.)
Third, a side criticism: the film’s balance between spectacle and emotional stakes can sway too far into spectacle, especially mid-film. There are moments when the gadget battles feel like “battle mode on rails,” less about clever moves and more about bombastic set pieces. That’s fine if you like visual punch, but when those scenes dominate, the character conflicts get overshadowed.
Another minor gripe: some subplots feel underdeveloped. The political intrigue behind Vikram, the role of Othman, and some of the secondary agent arcs could have been trimmed or better integrated rather than half-explored. At times, I was juggling too many names and relationships. For a viewer not already familiar with the TV series, some of that could get fuzzy.
But let me be clear: the film often scrapes through its flaws thanks to sheer energy and heart. There are moments I rooted so hard for Ali that I nearly screamed at the screen. I liked that the film didn’t always paint its agency as pure good. I dug that the sacrifices are real. And I enjoyed watching a Malaysian animated film that reach for something more than “safe kids’ entertainment.”
If I were advising the creators, I’d tell them: slow down in Act Two, deepen one subplot rather than juggling four; punch up the emotional bridging lines when characters make big choices; and be careful that spectacle doesn’t drown out the reasons we care who survives. But I also admire that those are the kinds of critiques you give to a film trying to stretch its muscles, not one hiding behind formula.
In sum: Ejen Ali: The Movie is not flawless, but it’s spirited, ambitious, and fun. It doesn’t always stick the landing, but it keeps you invested in the ride and in Ali. It’s exactly the kind of local animation I want more of—one that shows its cultural roots, takes risks, and dares to treat its younger heroes seriously. That blend of high-tech action and messy emotional cores gives it personality. If you come in ready to accept some rough edges, you’ll walk away entertained and maybe thinking about loyalty, sacrifice, and whether the best path isn’t always the one laid out for you.
Final Score- [6/10]
Reviewed by - Anjali Sharma
Follow @AnjaliS54769166 on Twitter
Publisher at Midgard Times