LATEST REVIEWS BY THE POPCORN PANEL
No-holds-barred reviews of movies, TV shows, and streaming services by film and TV connoisseur Alex Cearns. 

PRETTY LETHAL

Five young adult ballerinas (led by actress Maddie Ziegler, who gained global fame after five seasons on ‘Dance Moms’ and appearing alongside Sia in her 2014 ‘Chandelier’ video clip) and their teacher head to Hungary for a ballet competition. After their flight gets diverted and their bus breaks down, they seek refuge in a remote gothic bar owned by Devora (Uma Thurman) who, coincidences of coincidences, happens to be a one legged ballerina. Unbeknown to the girls, the venue is a haven for underworld criminals with nefarious motives, and they soon find themselves in grave danger. Thurman’s accent lacks believability and her cheesy role is a big step down from the glory days of the Hattori Hanzo sword wielding bride she played in ‘Kill Bill’. She doesn’t even get a big battle moment. Luckily the other cast members make up for it, as they pirouette, grand jeté, and arabesque their way through multiple bloody battles. The stunts go full send, with innovative and acrobatic manoeuvres used to take out their opponents. Incorporating graceful, choreographed dance moves into violent fight scenes with improvised weapons is a fresh take for an action movie. All the busyness nearly makes up for the plot, which sits close to the mediocre threshold and offers zero character backstories. The ninety minute run time is perfect and the block pink title font is a nice nod to ‘Pretty Woman’. Fun girl power that doesn’t take itself too seriously.

SCORE:

Alex's Score 7.5/10

BALLS UP

Geez, where to start with this ridiculous film?! I watched it because I saw the trailer and it looked funny – talk about false advertising. It stars Mark Wahlberg and Paul Walter Hauser as Brad and Elijah, two guys who work at a marketing firm and design a novelty condom. That’s probably your first clue as to the low brow tone of what’s to come. They fly to Brazil for the football World Cup final and scandalously interrupt the match with disastrous consequences. Chased out of the arena by angry fans, they are kidnapped by murderous cartel boss Pavio Curto (Sacha Baron Cohen) and end up being hunted across the country by locals, criminals, and authorities. At a rumoured cost of $80 million to make, the entire plot feels like the silliest scenarios conceivable were drunkenly brainstormed in a teen boys’ locker room. Directed by Peter Farrelly, one half of the Farrelly brothers, it scrapes the bottom of the slapstick, dirty-joke barrel. There’s silly and then there’s plain awful. The only positive facet was filming in Queensland, Australia, which injected $60 million into the state’s economy and employed 250 locals as crew members. It would be nice to have something decent to show for all that. Put it in the “no” bin.

SCORE:

Alex’s Score 3/10 (for the karaoke scene)

KEVIN

This wacky animated series revolves around a highly-strung tuxedo cat called Kevin (voiced by Jason Schwartzman) who moves out of home and into ‘Furrever Friends’ pet shelter after his owners Dana (voiced by Aubrey Plaza, who is also a co-creator) and Dan separate. He embraces his newfound independence and becomes friends with a group of misfit animals, while deciding if he ever wants to live with humans again. With raunchy humour, this is adults-only content and definitely not for kids – it has a similar vibe to shows like ‘Family Guy’ and ‘Rick and Morty’. Cupcake, the street-smart hairless cat (voiced by Whoopi Goldberg), is disappointingly the most vulgar and least funny. Some of the jokes fall flat and are extremely cringey, pushing the boundaries of decency, but the more you watch, the more the characters’ connections grow and the story becomes quite endearing. My favourite feline is the chronically ill Scottish Fold, Judy (voiced by Aparna Nancherla), who’s an eternal optimist, despite her health afflictions, and longs to be adopted. Based on Plaza’s real experience of owning a cat and experiencing a breakup, pet people will relate. Satirical and deranged.

SCORE:

Alex's Score 6/10

THRASH

A category five hurricane causes a storm surge to beak through a concrete levee and flood the town of Annieville. The rapid influx of water causes a meat packing trick laden with blood and animal remains to puncture, and is contents to spill out, creating a thick chum which attracts a hoard of bull sharks. They take to the underwater streets, mauling anyone in their path. The story follows several locals who fail to evacuate in time, and find themselves trying to survive against the rampaging, hungry predators. Picture of a worse-case-scenario situation that takes safe and familiar spaces and turns them into watery gauntlets. Add in a woman about to go into labour, three kids in foster care stuck on a table in a water filled farmhouse, and a marine biologist desperate to rescue his niece. Then Nelly, a pregnant great white, swims in to join the fray – she wins the prize for the best scene in the film. I replayed it eight times. Recorded in a panoramic letterbox format, the special effects are excellent, particularly the 15 foot surge that smashes the town to pieces and fills it with debris. This movie might sound like it has a B-grade plot but it’s well executed with horrifying realism. There’s a couple of corny lines which get a pass given these poor people are fighting for their lives. The tension increases with the body count and the gore delivers. Having spent time working on a great white shark research boat in South Africa in 2002, I can confirm that the sharks move with a believable cadence and are anatomically accurate. Best line “Hey Will, bet you never saw this on shark week!”. This was so much better than I expected it to be. Loved it and was thoroughly engrossed.

SCORE:

Alex's Score 8.5/10

PIKE RIVER

This emotional drama is based on the true events of the 2010 Pike River coal mine explosion in New Zealand, where 29 men lost their lives. Sonya Rockhouse (Robyn Malcolm) and Anna Osborne (Melanie Lynskey) are connected by their grief after Sonya’s son Ben (Richard Crouchley) and Anna’s husband Milton (John Leigh) are both killed in the disaster. When the mining company announces that the men’s bodies will not be recovered and the mine entrance will be sealed shut, Sonya and Anna team up to fight the system. Their combined efforts see them become formidable and outspoken activists. Malcolm (who is phenomenal in everything she touches) and Lynskey both excel in character driven roles and masterfully capture Sonya and Anna’s tense and exhausting legal battle of nearly a decade. They have incredible chemistry together on screen and give stellar, grounded performances. The supporting cast are also wonderful and Jacinta Arden’s cameo as herself is a touching nod to her role in helping the real life Sonya and Anna. Everything about this retelling is superb, including the cinematography which captures the rugged natural beauty of the local area and the strong commitment to accurately presenting the facts. An unforgettable and tragic story told with integrity.

SCORE:

Alex, Amanda, Mel and Chani’s Score 10/10

HULK HOGAN: REAL AMERICAN

For close to fifty years, Hulk Hogan was a wrestling icon. A master showman and cultural phenomenon, he put wrestling and the WWE on a global stage. This engaging four part documentary tells the story of his humble beginnings and how he came to be one of the most recognised athletes in the world. With unfettered access to Hogan himself (real name Terry Bollea), he candidly shares recollections of his highest highs and lowest lows, alongside interviews with friends, family members, and wrestling colleagues. When the larger than life character he created began to impact his personal relationships, he struggled to define where the persona of Hogan ended and Terry began. I grew up watching WWE and remember the height of the Hulkamania craze – then in 2009 I saw Hogan at Perth Airport and even as he went through security screening, he was a jovial and had a commanding presence. Nothing is off limits in this series and it’s one of the best deep dives into the makings of a celebrity I’ve seen, largely thanks to Hogan’s generous, forthright participation. Nothing is speculated, as it all comes straight from the horse’s mouth. Love him or hate him, and regardless of whether you agree or disagree with his politics, the genuine way he interacted with his young fans (many of whom he visited through the Make-A-Wish Foundation and other organisations) showed his true spirit. By the end of the final episode, I knew so much more about this “Real American” than I did at the start, despite his second wife of eleven years being omitted from the story. An intriguing, and sometimes depressing, look at the cost of fame.

SCORE:

Alex's Score 7.9/10

THIS IS A GARDENING SHOW

A passion project of Zach Galifianakis, this series offers an unconventional take on the traditional gardening show format. Each episode focuses on a different plant, fruit, or vegetable and commences with Zach doing a quirky introduction directly to camera. He then has unscripted conversations with local children who mostly have zero interest in the gardening theme of the day. Initially I found these random interjections irritating, but as Galifianakis eased into them and stopped trying to force the jokes, they grew on me, especially when the kids gave vague answers that were genuinely funny. The series regularly visits grassroots community gardens run by extremely knowledgeable people who are passionate about developing the best produce they can and through these segments Zach learns new things … and so did I. With the fourth wall constantly broken and the crew frequently included in the banter, some of the humour felt a bit contrived, but overall this show has good intentions and a genuine dose of heart. The eccentric cast combined with Zach’s earnest curiosity make it a refreshing and worthwhile time investment.

SCORE:

Alex's Score 7.9/10

THE DEVIL WEARS PRADA 2

Following up a smash hit like ‘The Devil Wears Prada’ was always going to be a big ask and while sequels rarely supersede their originals in terms of production quality, script, and performances, there were more things I liked about this film than didn’t like. Let’s start with the “didn’t like”: Andy Sachs (Anne Hathaway) has zero chemistry with her love interest Peter, played by Aussie actor Patrick Brammall, and their relationship is an unnecessary inclusion. The plot is also all over the place, attempting to focus on too many modern themes like cancel culture, trying to remain relevant, and the phasing out of print media. The things I did like: the glam costumes, particularly those worn by Miranda Priestly (Meryl Streep), are absolutely stunning and every single one is a showstopper. This movie also feels like the Meryl Streep show. She steals every scene and although you know exactly what to expect from her sharp-tongued, ruthless character of Miranda, she’s still fabulous on screen. The rest of the cast, including Emily Blunt (Emily Charlton), Stanley Tucci (Nigel Kipling), and Miranda’s robotic assistant Amari (Simone Ashley), are solid across the board. Location wise, New York City has never looked better, and opting to shoot at iconic places in Milan during fashion week adds authenticity. A number of celebrities have fun cameos, including Amelia Dimoldenberg from Chicken Shop Date, Law Roach, Domenico Dolce, Heidi Klum, Donatella Versace, and Lady Gaga in a speaking role as herself. Soundtrack highlights are the inclusion of Madonna’s ‘Vogue’ along with Gaga’s gothic performance of ‘Runway’. The sheer spectacle of the fashion and the brilliance of Streep adequately returns us to this high-stakes world. Fun style over substance.

SCORE:

Alex's Score 7.5/10

Lee’s Score 8/10

Kyleigh’s Score 7/10

Suzanne and Janette’s Score 6.5/10

Leeanne’s Score 6/10

Deborah’s Score 5/10

IMPERFECT WOMEN

Eleanor (Kerry Washington), Mary (Elisabeth Moss), and Nancy (Kate Mara) are close friends who’ve been in each other’s lives for decades. When Nancy is murdered, Eleanor and Mary are devastated and can’t think of anyone who’d want to harm her … after all she had a seemingly perfect life. As the investigation unfolds, everyone falls under suspicion and long held secrets are exposed, causing the plot to spiral off into a few unexpected areas. Mary is the standout character, with Moss playing against the type of role she’s usually known for – instead of being a woman who fights back, she’s a devoted middle class mother. She also gets the most mundane wardrobe, while Washington and Mara have ultra stylish aesthetics. Some of the houses and apartments featured are so luxurious they’d be considered real estate p*rn. With a loaded cast, the acting is notable. The eight episodes revolve around fractured friendships, hidden resentments and how you don’t always know someone as well as you think. This series started off strongly, but it slumped for a few episodes, before picking up again. The ending is predictable and, if you’re even remotely paying attention, the big reveal isn’t that big.

SCORE:

Alex and Amanda’s Score 7/10

THE STRANGER

Set in Algiers in 1942 this psychological drama is based on the famous novel of the same name by Albert Camus. The film follows the story of Meursault (Benjamin Voisin), a young man whose detached observations of how French settlers are treated in Algiers lead him to commit a violent and senseless act on a beach. He’s a cold, complex person who refuses to lie, is emotionally absent and lacks empathy. He only smiles twice in the entire movie and his one enraged outburst occurs in prison when a priest (Swann Arlaud) tries to push him into finding God – it’s also a scene that feels out of place and goes on for too long. Beautifully captured in black and white, which emphasises the 1940’s timeframe, I wonder if this deliberate avoidance of colour is to show that Meursault himself is very black and white and refuses to entertain the grey of human behaviour. Compared to the book, this production has been toned down regarding the overt racism of colonial Algeria which is central to Meursault’s detachment. It also scraps the first person narrative that lets us hear his inner thoughts and instead relies on Garrel’s superb performance to convey his character’s emptiness. It’s fascinating to see the randomness of the French justice system during the court sequences where Meursaults demeanour is under question more than his crime. Depressing but intriguing.

SCORE:

Alex, Janette and Jason’s Score 7/10

Led and Leigh’s Score 8.5/10

EXIT PROTOCOL

Seasoned hitman Charles Mansfield (68 year old Dolph Lundgren) is desperate to quit the murder business but must complete one final job to earn his freedom. His plans go pear shaped when he falls for his much younger target Danique (Charlotte Kirk) breaking the executioner code. His whole career has involved eliminating other operatives who have tried to leave the industry and now he’s become the very target he normally kills. High level assassin Sam Hayden (Scott Martin) is tasked with taking out Mansfield, but when he can’t go through with it, he also becomes a wanted man. Mansfield enlists the help of Hayden, realising it’s the only way he’s going to make it to retirement. The story is told through an irritating voiceover from Hayden, who also likes to mumble to himself a lot. Martin doesn’t have a strong screen presence and the acting across the board isn’t great, with a dodgy Australian accent from Kirk and some jerky, overly rehearsed performances from everyone else. Part of the blame for this lies in the basic, blunt writing. Packed with fast cars, private jets, and lots of guns, the pacing moves along consistently and there are a few unexpected twists along the way. The stunts are fun and Lundgren is a consummate professional, doing most of his own sequences which is impressive for his age. If you want a straightforward action movie, you can blitz this in under 90 minutes. It’s by no means perfect but leave your expectations at the door and you’ll be entertained.

SCORE:

Alex's Score 5.9/10

DETECTIVE HOLE

This Norwegian crime thriller revolves around Detective Harry Hole (Tobias Santelmann) who is tasked with investigating a potential serial killer alongside a corrupt cop, Tom Waaler (Joel Kinnaman). The series is packed with twists and turns as it follows Hole through a dark, complex investigation where the police always seem to be one step behind. As with all good lead detectives, Hole battles the demon drink, but overcomes it at a brisk pace, without any lasting consequences. While the plot moves forward reasonably well, the nine episode duration feels long. The story loses its way near the end, when the different narrative threads, some of which are convoluted, are conveniently and unrealistically finalised. Hole’s hallucinatory second sight (or drug-induced visions) feel like lazy crime solving shortcuts. There are also lots of moving parts between multiple players, plus minor inconsistencies in the narrative that don’t make sense. The filming locations depict Oslo as a gritty, trash-ridden metropolis mixed with neat, upper-class neighbourhoods, and overall it has a brooding vibe. Being mostly character-driven, Santelmann and Kinnaman play off each other well as good cop / bad cop, supported by a solid cast. Decent but crammed.

SCORE:

Alex's Score 6.9/10

Amanda’s Score 7/10

THE MANDALORIAN – SEASONS 1, 2 & 3

I’m 7 years late to the party on this show. I’ve never been into ‘Star Wars’ and usually stick to my rule of only watching and reviewing content that’s less than 12 months old, but I wanted to catch up on this before the feature film ‘The Mandalorian & Grogu’ hits cinemas next month. Now I’m hooked. The series follows bounty hunter Din Djarin, whose nickname is Mando (voiced by Pedro Pascal and mostly played by his stunt and body doubles Brendan Wayne, grandson of John Wayne, and Lateef Crowder) five years after the fall of the Empire. He’s tasked with terminating an asset, only to discover the target is an infant called Grogu, who’s of the same species as Yoda. Grogu is 50 years old but develops slower than a human and is still a child. Unable to go through with the execution, Mando takes the “foundling” under his wing. Together they travel the universe, fighting Imperial forces led by bad guy Moff Gideon and rival mercenaries while trying to protect Grogu and his evolving “Force” powers. The cinematography, prop construction, and set design are superb, creating a blockbuster quality that would feel at home on the big screen. Using puppetry and animatronics for Grogu gives the actors a realistic weight and physical presence to interact with, which CGI simply can’t replicate. It’s old school mixed with modern tech. I adored all of Grogu’s authentic, curious toddler scenes, particularly him eating things he shouldn’t. Unfortunately, Season 3 doesn’t live up to the bar set by the preceding instalments, with constant side quests and a drop in the visual quality of the backgrounds and creature effects. Plus two odd cameos from Lizzo and Jack Black. That said, I still loved these 24 eps as a whole. With more than 15 guest directors and at a cost of $120 million for every 8 episodes, this entire production feels like an epic cross between ‘Star Trek’, ‘Dune’, ‘Guardians of the Galaxy’ and at times ‘Doctor Who’. Stylishly designed and highly absorbing, I’m looking forward to the watching the movie – and nothing had better happen to Grogu!

SCORE:

Alex and Amanda’s Score 9.5/10

APEX

Five months after the tragic death of her husband Tommy (a brief cameo by Eric Bana) in a rock climbing accident, American Sasha (Charlize Theron) travels to the fictional Wandarra National Park in New South Wales to spread his ashes and seek closure. While refuelling her camper van at a petrol station filled with stereotypical locals, she meets Ben (Taron Egerton). He’s initially charming and helpful but soon reveals himself to be an unhinged “apex” predator. Sasha finds herself in a dangerous game of cat and mouse as Ben hunts her through the treacherous terrain and taunts her psychologically. The cinematography perfectly captures the brutal grandeur of the inhospitable location and adds to the futility of Sasha’s situation. She’s a formidable target though and is trying to escape a maniac while absolving the guilt she carries over her role in Tommy’s death. In a parallel universe type scenario, she eventually finds her strength. Theron delivers a tough physical performance, with Sasha taking a battering at every turn. Props to her stunt double for the impressive show of skills. Egerton also cops a hammering and is always superb when he plays the psychotic bad guy. He adds a chilling audible element to his sinister sneer by making crow like screeches as a way to announce himself in the wilderness, and while his convincing Australian accent is to be commended, surely there are authentic Aussie actors who could’ve filled his role – Theron is a big enough name to carry the star power requirement for the whole film. Ben also lacks any character development and backstory, so his motivations remain unclear. It would’ve been interesting to know what made him the way he was. The action and suspense are fairly consistent throughout and although some of the CGI backgrounds left a bit to be desired, the convincing leads made up for these small lapses. A bone breaking, battle heavy survival thriller.

SCORE:

Alex's Score 7/10

Amanda’s Score 7.5/10

AMRUM

CONTAINS SPOILERS – Set in 1945, twelve year old Nanning (Jasper Billerbeck) lives on the German North Sea island of Amrum with his Nazi supporting mother, Hille (Laura Tonke), his aunty and two younger siblings. With the Second World War in its final days and his father away serving as an SS officer, the family’s situation is increasingly desperate. Hille is heavily pregnant and Nanning is forced to support her by performing manual labour at a nearby farm owned by Tessa (Diane Kruger). When the news of Hitler’s death sends Hille into labour, she falls into a deep depression and refuses to eat anything, stating that she only wants white bread with honey and butter. Desperate to please her, Nanning sets out to barter, buy and beg for, the scare ingredients. There are two horrible scenes of animal cruelty, including the skinning of a rabbit and shooting of a seal, that bring a jarring sense of violence to the otherwise peaceful and idyllic location. Based on the experiences of screenwriter Hark Bohm, the story is bleak and slow. While the acting is good and Billerbeck carries his leading role well, not a lot happens beyond Nanning’s determination to feed his mother. This is a film about a young boy trying to maintain his humanity despite the indoctrinated beliefs of his parents. That said, I found it hard to care about, or morally connect with, a Nazi family who ran away to avoid the horrors of a war that they actively endorsed. The irony is not lost when Nanning’s father sends a letter from a prisoner of war camp stating that his captors are treating him well. His experience is a far cry from the brutal and inhumane conditions the Nazis inflicted upon their own detainees. An uncomfortable perspective that left a bitter taste.

SCORE:

Alex's Score 5.5/10

Saraj’s Score 6/10

EXIT 8

This film takes place in the confines of a sterile, brightly lit subway system and revolves around three main characters, the Lost Man (Kazunari Ninomiya), the Walking Man (Yamato Kochi), and the Boy (Naru Asanuma). They are trapped in a seemingly endless maze of tiled corridors and must follow a set of instructions posted on the walls if they want to make it back to the outside world – if they spot an anomaly they must turn around immediately, and if everything appears normal they must proceed, with the goal being to reach Exit 8. I understand that there are metaphors at play here regarding taking responsibility, paying attention to the mundane details of life, and moving towards who you’re meant to be, but these messages felt lost in the tedious frustration of the characters being trapped in this monotonous purgatory. The set remains almost entirely the same for the duration of the film, except for a brief outdoor beach scene, which adds to the repetitive experience. Although it’s billed as a psychological horror, the intellectual points it tries to emphasise aren’t clear and require too much digging to decipher, and it fails to hold any tension. The plot dragged on and didn’t deliver any real suspense. Based on the popular video game of the same name, this movie has received positive reviews for being a faithful representation of the source material, but it seems that the playable version might be more engaging than the watchable one. It didn’t land its emotional or philosophical punches for me.

SCORE:

Alex's Score 5.5/10

HALLO BETTY (‘HELLO BETTY’)

Emmi Creola-Maag (Sarah Spale) was a talented copywriter who became a national cooking icon. Set in Switzerland in 1956, this true story follows Emmi as she navigates her misogynistic advertising agency job, where it’s believed that good ideas only belong to men. When she’s tasked with marketing cooking oil for a client, she invents ‘Betty Bossi’, a fictional housewife who shares simple, foolproof recipes, promotes kitchen appliances and offers household advice. Betty becomes an overnight sensation, leading to a regular cooking newspaper, best-selling cookbooks, and eventually a television show – and the general public is convinced that she’s a real person. As Emmi juggles her ambitions with her role as a wife and mother, conflicts arise in her marriage and she has to choose between being Betty or being herself. Sarah Spale perfectly portrays Emmi’s steely determination and the supporting cast brings a stereotyped authenticity to their 1950’s characters. The sets are stylishly designed with a colour palette identifiable to the era and the themes covered are relatable even in 2026. An inspiring journey about a woman who defied gender roles.
YOU’LL ENJOY THIS IF YOU LIKED: ‘Mad Men’ & ‘Lessons in Chemistry’

SCORE:

Alex's Score 8/10

MICHAEL

This biopic chronicles the early life and rise of singing superstar Michael Jackson, beginning with his childhood as the standout talent in the ‘Jackson 5’. It delves into the controlling treatment he received at the hands of his overbearing father, Joe Jackson (Colman Domingo), who insisted on relentless rehearsals and dished out brutal disciplinary action … but the plot frustratingly fails to explore any other relationships in Jackson’s life. His sister Janet’s absence is glaringly obvious (she declined to participate), the characters of his four brothers feel more like background extras than independent people, and the actress playing his other sister La Toya only appears on camera three times and doesn’t speak. Jackson’s nephew, Jaafar Jackson, portrays him as an adult and is a superb dancer with some physical similarities to his uncle. While his concert reenactments are a standout and feel authentic in their attempt to capture Jackson’s atmospheric stage presence, I never fully believed I was watching Michael Jackson himself. There was clearly a checklist of items in Jackson’s life that the writers wanted to tick off by way of justification and clarification: he kept exotic animals because he saw them as “friends”, he underwent rhinoplasty because Joe called him “big nose” as a child, and he was obsessed with the story of Peter Pan as a form of escapism. There is even a hospital scene where he mentions pain medication making him feel sleepy, which felt tone deaf given he died from an intravenous drug overdose. Produced in cooperation with the Michael Jackson Estate (where multiple family members are still riding his coat tails all the way to the bank) this film feels incomplete. It misses the mark if you are after a deep dive into who Jackson really was. A glossy tribute that fans will love, but one that ultimately plays it safe.

SCORE:

Alex, Jason, Cath, Marie, and Saraj’s Score 7/10

Chloe’s Score 10/10

Andii’s Score 8.5/10

Sam’s Score 8/10

Amanda and Claires Score 6/10

THE TRUTH AND TRAGEDY OF MORIAH WILSON

The 2022 murder of popular 25 year old professional cyclist Moriah “Mo” Wilson sent shockwaves through the gravel racing community. Respectful in tone, this 97 minute documentary is more of a tribute than a crime procedural. It focuses on Mo’s background as a competitive skier and college graduate, then shines a light on her cycling success. Her parents Karen and Eric, brother Matt, and close friend Caitlin Cash share their memories of Mo and describe the devastating impact her death has had on their lives. She is remembered as a kind and humble young woman who cared about those around her. The way US Marshals tracked her cold blooded killer Kaitlin Armstrong to Costa Rica and used a fake advertisement for a yoga teacher to dig her out of hiding was impressive. The questionable behaviour of fellow cyclist Colin Strickland, Mo’s boyfriend and Armstrong’s former boyfriend, including using a fake name to hide his communication with Mo and purchasing of the firearm used by Armstrong, deservedly led to intense public scrutiny and the loss of his pro sponsorships. A senseless crime told through the lens of those who loved her.

SCORE:

Alex's Score 7.9/10

IT’S NEVER OVER, JEFF BUCKLEY

Jeff Buckley was an American singer, songwriter and guitarist known for his incredible vocal range and emotional intensity on stage. Regarded as one of the most promising artists of his generation, this documentary chronicles his early life, rise to fame, and tragic death at 30 years of age. His story is told through behind the scenes footage, video clips, childhood photos, and personal voice messages to and from his mother Mary Guibert (who was also an executive producer), plus interviews with friends and bandmates. Highlights include two renditions of his haunting cover of Leonard Cohen’s “Hallelujah” which didn’t become a global hit until 2008, more than a decade after he passed away. It’s also a sobering look at the inner machinations of the music industry – despite his only album ‘Grace’ being a hit, Buckley owed his record label hundreds of thousands of dollars in touring and recording expenses when he died. The common misconception that his death was related to drugs or alcohol is cleared up, with confirmation that he accidentally drowned. As someone who is only familiar with his most famous song, I learnt a few new things about the man himself. But because everything was pieced together posthumously, this doco lacked the depth that comes from interviewing a subject directly and presenting curated questions that provide real insight. Some of the voicemail recordings were difficult to understand and the addition of subtitles would’ve benefited to determine what was being said. Additionally, the people speaking on camera weren’t clearly named from the start, or were only named once, which left me frequently wondering who they were in relation to Buckley. The quirky animation occasionally used also felt out of place for such serious subject matter. More a celebration of Buckleys creative spirit than a deep dive into his persona.

SCORE:

Alex's Score 6.5/10

Saraj’s Score 5.5/10

GRIZZLY NIGHT

This survival thriller unfolds like a b-grade horror movie but is actually a dramatisation of true events. Set in 1967, it reenacts a night in the Glacier National Park, Montana, where two separate fatal grizzly attacks occurred kilometres apart – something that had never happened before in the park’s history. The story follows rookie park ranger Joan Devereaux (Lauren Call), who is working her first overnight shift at a crowded holiday cabin. Due to overbooking, several tourists are forced to sleep outside. Terror erupts when a grizzly stalks the grounds and mauls teenager Julie Helgeson (Brec Bassinger) to death. Several miles away at Trout Lake, a group of young campers including Michele Koons (Laurie Fortier) are targeted by a second bear, and Michele is killed. While some of the acting is stilted, the bears are a standout and their handling was overseen by the American Humane Association (AHA) to ensure safety and welfare requirements were maintained. Camera techniques and editing are used to avoid direct interaction between the bears and the human actors, but this definitely lessens the intensity of the attack scenes, which are only implied as a result. There’s a disconnect where you can tell the bears and cast aren’t in the same places at the same times. With a muted colour treatment, the aesthetic has a distinct 1960’s feel which ties the action into the era. The scenery is breathtaking, with most of the outdoor content filmed in Park City, Utah. Music is used to build the tension, though on occasion it’s a little overdramatised. The real life attacks were largely caused by the parks’ chalets and kitchens users dumping leftover food to attract bears, a practice that was outlawed following that fateful night. As the “let’s kill what we can’t control” ending depicts, grizzlies were aggressively hunted until the Endangered Species Act of 1973 was implemented, which is credited with preventing their extinction. A grim reminder on the dangers of poorly managing our interactions with the natural world.

SCORE:

Alex's Score 6.5/10

THE MUMMY

The first thing you need to know about this movie is that Brendan Fraser isn’t coming to save the day. Instead you are thrust into the world of horror director Lee Cronin. Set in Cairo, a young girl called Katie (Emily Mitchell) is kidnapped and vanishes without a trace. Eight years later, a teenaged Katie (Natalie Grace) is miraculously discovered alive, locked inside a sarcophagus following a plane crash. It’s evident she’s experienced severe trauma – her limbs are painfully contorted and she’s suffering from locked-in syndrome. Her parents Charlie (Jack Reynor) and Larissa (Laia Costa) have since relocated to Albuquerque, New Mexico, where they live with their two other children and Larissa’s religious mother. As they desperately try to reconnect, Katie’s behaviour becomes increasingly violent and unmanageable. Detective Dalia Zaki (May Calamawy), who originally failed to locate Katie in Cairo, tries to solve the mystery of her abduction and work out where she’s been. This film is a wild ride, particularly in the last half hour where it really lets loose. The sound effects are every bit as visceral as the visuals. There are wince inducing moments of Katie reacting violently to her new surroundings and lashing out at her family. It’s more disturbing than scary, with strong bouts of vomiting, eating insects and peeling off strips of skin. One scene was so revolting that my stomach lurched which was a first. Having said that, I also laughed a lot, but it was mostly a “What the heck?!” response because I couldn’t believe the insanity I was seeing. Grace is so convincing as Katie that I never once doubted her characters story. This feels like an updated take on ‘The Exorcist’, with the addition of an ancient Egyptian sub plot. Gripping, messed up mummy madness.

SCORE:

Alex, Ann, Duncan and Matt’s Score 8/10

Claire’s Score 5.5/10

FUZE

Paddington in London grinds to a halt when an unexploded World War II bomb is discovered half-buried on a busy construction site. Chief Superintendent Zuzana (Gugu Mbatha-Raw) orders an exclusion zone and Police evacuate everyone in the vicinity. Military bomb disposal expert Major Will Tranter (Aaron Taylor-Johnson) is called in to manage the threat, but his attempts to defuse the device don’t go to plan. While the authorities are distracted, a group of criminals, including Karalis (Theo James) and X (Sam Worthington), breach the exclusion zone to rob a bank vault filled with jewellery. The two story threads initially don’t seem to tie together, other than occurring concurrently, but as several unexpected twists unfold, pieces of the plot puzzle fall into place. Coming out of the gate hard, this film launches into the action immediately and the pace is consistent all the way to the end. It doesn’t blow the roof off (pun intended), but I was entertained and invested.

SCORE:

Alex's Score 7.5/10

YOU, ME & TUSCANY

When house sitter Anna (Halle Bailey) meets real estate agent Matteo (Lorenzo de’ Medici) in a bar, he shows her pictures of his Italian villa and family’s restaurant in Tuscany. With a plane ticket at her disposal, a gift from her late mother, Anna takes off on a whim and flies to Italy, deciding to stay in Matteo’s empty villa without permission. When his family discovers her living there, she panics and lies, saying that she’s his fianee. She learns that his relationship with his father is fractured due to past grievances. Matteo’s cousin Michael (Regé-Jean Page of ‘Bridgerton’ fame) spends time with Anna and the two begin to develop feelings for each other. When Matteo unexpectedly arrives, he adds to this complicated mess and joins Anna in pretending they are engaged. Charming and stylish in its production, this film will leave you with a big smile on your face. The rolling hills of Val d’Orcia and quaint narrow streets of Pienza (standing in for the fictional village of San Conessa) showcase the romantic atmosphere of the region. The food cooked in the family’s restaurant is mouth-wateringly fresh and the dishes are presented so vibrantly you can almost smell them through the screen. There are a few small moments that feel overly saccharine, but that’s to be expected with a rom-com. I loved that there was a properly concluded ending, complete with some hilarious ad-libbed deleted scenes in the credits. An uplifting, cheerful movie that takes you on an escape to a beautiful part of the world.

SCORE:

Alex and Ann’s Score 8/10

Duncan’s Score 7/10

DOG 51

It’s 2045 and futuristic Paris is divided into three distinct zones – the affluent Zone 1, the middle class Zone 2, and the decaying, crime ridden Zone 3. Armed checkpoints exist between zones and residents from Zone 3 are severely restricted in where they can go. All residents must wear an ID tracking bracelet 24/7 or risk fines and jail. The city’s peace is maintained by Alma, a sophisticated AI system that reconstructs crime scenes and has slashed the crime rate by 70%. When Alma’s inventor George Kessel (Thomas Bangalter) is murdered, two detectives from different zones are assigned to the case – Zem Brecht (Gilles Lellouche) from Zone 3 and Salia Malberg (Adèle Exarchopoulos) from Zone 2. They soon uncover a wide spread conspiracy and in retaliation Alma goes rogue, manipulating surveillance devices and taking control of deadly drones. This film starts with a jarring and unexpected shooting in the opening seconds that took me by surprise and nearly had me wearing my drink in the cinema. It has consistent action and a few speccy stunts along the way. The acting is decent and several of the futuristic sets are real locations in Paris known for their brutalist architecture. This is a sobering reminder of what can happen when we hand over too much control to machines, and it feels like a foreboding “tap on the shoulder” regarding AI becoming smarter than its creators. The characters didn’t listen in time … I wonder if we will.

SCORE:

Alex's Score 7/10

DTF ST LOUIS

TV weatherman Clark Forrest (Jason Bateman) forms an intense friendship with his on-air ASL interpreter, Floyd Smernitch (David Harbour). Bored with their respective marriages, the two begin exploring a new hook-up app called DTF St Louis. This eventually leads to a messy love triangle involving Floyd’s wife, Carol (Linda Cardellini), a passive aggressive woman who constantly says “Can you speak up!” to get under people’s skin. The suspicious death of a main character in episode one sparks a whodunnit, investigated by two badly cast detectives, veteran agent Homer (Richard Jenkins) and special crimes officer Jodie Plumb (Joy Sunday). Their methods are haphazard and bear no resemblance to real police procedures, and Sunday in particular isn’t convincing. This series starts off strong with an intriguing premise and a high-calibre cast that initially draws you in, then it falls flat as the story becomes ridiculous. I don’t want to yuck someone else’s yum, but the plot veers off into kinky behaviour and weird fixations. Too much screen time is taken up by images of full-frontal male nudity which border on p*rnography. By the time I got to the final episode, watching this felt like a giant waste of time and I wasn’t emotionally invested at all. I’m not sure who the target audience is supposed to be. Is it women? Is it men? It definitely isn’t me. Dreadfully Tedious Filler that has no point.

SCORE:

Alex and Amanda’s Score 2/10

CALLE MALAGA

Maria Angeles (Carmen Maura) lives in the Tangier apartment her husband purchased more than 40 years ago. Now in her seventies, she loves her community, neighbours, and daily routine. When her estranged daughter Clara (Marta Etura) turns up unexpectedly, the surprise is devastatingly twofold – Maria learns that her husband legally transferred the property into Clara’s name before his passing two decades earlier, and now Clara wants to sell. Before the news can even sink in, Clara has Maria’s belongings packed up and cleared out. Still in shock by this betrayal, Maria opts to move into an aged care facility, but after a brief and unhappy stint there she signs herself out and reclaims her home by secretly breaking in. Needing funds to buy back her furniture and prize possessions from a secondhand dealer, she begins hosting game-watch gatherings for local soccer fans, selling them beer and homemade food. Her newfound resilience leads to a late in life love interest (Ahmed Boulane) and a sense of being in control of her destiny once again. Maura is superb as the defiant and spirited Maria, and the rest of the cast also pull their weight. The story has a balance of lighter, fun moments mixed with the sad vulnerabilities of ageing. There’s no explanation for the distance between Maria and Clara and I would’ve liked some context on the cause of their fractured relationship. I also found the ending to be lacking as it left me wondering about Maria’s future – it’s basically up to the audience to write what happens next. Charming and sentimental.

SCORE:

Alex and Wayne’s Score 7.5/10

Karen’s Score 10/10

Deborah, Coralie, Mon, Liz, Suzi, and Claire’s Score 9/10

Glen’s Score 8.5/10

Janette, Grace, Katherine, Serena, and Eve’s Score 8/10

Cec, Hilda, Charmaine, Virginie and Flora’s Score 7/10

Janine’s Score 6.5/10

Amber's Score 3/10

MEGADOC

Francis Ford Coppola’s passion project ‘Megalopolis’ was confusing, self indulgent and went for shine over substance. Back in October 2024 I scored it 3.9/10. This behind the scenes “making of” documentary sheds light on why it felt so disjointed. Determined to bring his vision of 40 years to life his way, Coppola self funded the $120 million production by selling part of his wine business. It was a $650 million dollar deal which gave him a $200 million dollar line of credit, so don’t feel too bad that he wasted a heap of his moola on such a hot mess. On camera he frequently mentions wanting to “Just have fun” and it’s obvious that making cinema lights him up – so he created a job where he could immerse himself in the process and be at the front of the room once again. His direction style is chaotic, and at times unorthodox, and he seems difficult to work with. In particular, Shia LaBeouf, who is a bit of a loose unit, struggled with Coppola’s rigid and controlling way of doing things. Some of the cast confess to joining the project without reading the script, simply to be involved with the legendary director (hello Dustin Hoffman), while others never understood the story from the get-go (like Aubrey Plaza and Giancarlo Esposito). It was surprising to me that the latter actors cared more about their pay check than the finished product making sense or having any worthwhile meaning. Maybe my expectations of the industry are too high in that regard? ‘Megalopolis’ lead Adam Driver hits the nail on the head when he candidly states that Coppola cares more about the emotion of a scene than the logic of one. When a member of the production team is asked what was missing from the ‘Megalopolis’ set, he replies “Someone saying no.” Yikes! This was also something I mentioned in my original review. It’s fair to say I enjoyed this documentary more than the actual film. It’s an eye opening look into the world of a man who has the freedom and the resources to pursue his obsession at any cost.

SCORE:

Alex's Score 7.5/10

500 DAYS IN THE WILD

Initially intended to last 500 days, filmmaker Dianne Whelan’s epic Trans Canada Trail adventure took 1,862 days to complete across six years. This two hour documentary offers a glimpse into her 24,000 kilometre journey from one end of the trail to the other, through winter wonderlands, frozen lakes, gravel roads, rapids, and untouched wilderness. Driven to escape the stresses of life after turning 50, Dianne set out to reconnect with nature and to immerse herself in Indigenous wisdom. Along the way she braved extreme temperatures, navigated treacherous waters, dodged territorial wildlife and pushed through physical exhaustion. Periodically travelling with others, including several close friends and her partner Louisa, the hardships she endured are a testament to her resilience and determination. Whether she was facing the isolation of the forest or the literal ice of the Canadian winter, she held firm in going with the flow and allowing everything to unfold in whatever time it took. There were many meaningful interactions with First Nations people and Dianne travelled with their blessing. Her nods to their culture show a deep respect for their custodianship of the areas she covered. Dianne’s view that the environment and its creatures are sacred is evident in every frame and the technical execution of her story is exceptional. Mostly shot using GoPros, Osmos, and a mobile phone, the footage is stunning on the big screen, capturing the trail with incredible clarity. Clearly viewed through a photographer’s lens, no two scenes feel the same due to the wide array of camera angles and filming techniques used. This powerful production is filled with adventure, humour, and inspiration, and is perfectly closed out by Xavier Rudd’s ‘Follow the Sun’. Watch it to vicariously visit places most of us will never see, to take in the important wisdom of this pioneering explorer and as a reminder that we only get one life to live. Absolutely outstanding. Give it all the awards.

SCORE:

Alex, Bron and Amanda’s Score 10/10

JURY DUTY: COMPANY RETREAT

In this mockumentary, Anthony Norman is a temp worker who believes he’s landed a job at ‘Rockin’ Grandma’s Hot Sauce’. In reality he’s joined a fictitious company filled with a dozen actors playing his new colleagues. This series follows the group as they head off on a seven day company retreat, where team building exercises and seminars frequently spiral into chaos. Following the success of the original ‘Jury Duty’, this second instalment keeps the same format and the unsuspecting Anthony is the only real person involved. This show has an incredible amount of heart and is consistently funny. Anthony is kind and patient, making him the perfect candidate to navigate the increasingly bizarre situations and awkward social dynamics. All of the actors are brilliant and convincingly feel like everyday people. They stay in character 24/7 to maintain the illusion and think on the fly when situations don’t go as planned, without giving the game away. The logistics behind the scenes, some of which are shared in the final episode, are a choreographed dance, with a 30+ member production team hiding on site throughout the week to ensure that Anthony never suspects the truth. Over 3,600 hours of footage was filmed to produce the four hour series, which is made up of eight thirty-minute episodes. A prank filled social experiment that proves some people are as good as they seem.

SCORE:

Alex's Score 9/10

Amanda’s Score 10/10

WOLFRAM

Set in the remote Northern Territory during the early 1930’s, two young Aboriginal children, Max (Hazel May Jackson) and Kid (Eloise Hart), are kidnapped and forced to work in a wolfram (tungsten) mine. Their mother Pansy (Deborah Mailman) begins a desperate search to find them, traversing the harsh countryside in a horse and cart alongside a man who has taken her under his wing. When Max and Kid run away from their captor, they become hunted by two racist white sociopaths, Casey (Erroll Shane) and Frank (Joe Bird), whose existence is fuelled by cruelty, exploitation, and murder. This is not a feel good movie. It’s a story about survival grounded in an undeniable truth that lays bare Australia’s dark colonial history and documents the atrocities experienced by First Nations people. The spectacular cinematography provides a jarring contradiction to the heavy subject matter. Captured in a panoramic format, this film effectively uses sweeping low-angle shots to make the vast Australian landscape feel even more immense and imposing. My only picks are bits of muffled dialogue which are difficult to decipher and a few moments in the plot that feel too coincidental. Impactful and unyielding.

SCORE:

Alex, Janine, Debbie, Amber, Sharon and Amanda’s Score 8/10

Liz, Suzi and Chris’s Score 9/10

Mick‘s Score 8.5/10

Bron‘s Score 7.5/10

Marie and Katherine’s Score 7/10

Fiona, Serena and Bryan’s Score 6.5/10

Bob’s Score 5/10

Janette’s Score 3/10

UNDERTONE

Evie (Nina Kiri) hosts a supernatural podcast with co-host Justin (Adam DiMarco) from her dying mother’s home. To coincide with Justin’s time zone, she records episodes at the creepy hour of 3am. All of the characters apart from Evie exist as disembodied voices through her microphone, including Justin and various members of the public who call into the podcast – plus there’s a home care nurse who turns up once and remains off camera. The filming is heavy on shallow depths of field with edgy close ups and shadowy, blurred backgrounds that create a sense of isolation. A standout feature is the multidirectional sound, which is masterfully mixed to move around. It switches from muffled tones when Evie plays recordings through her headphones to jarring silence. While the cinematography and audio aim to build an eerie atmosphere, the story is a slow burn that sadly doesn’t reach its peak. Despite the last five minutes descending into chaos, the build up lacks the genuine terror I’d hoped for and overall this just isn’t scary. The ending was abrupt and feeds into urban legend stuff. I wanted so much more and this could’ve been so good! It had the bones but not the meat.

SCORE:

Alex's Score 6/10

THE SUPER MARIO GALAXY MOVIE

Bowser Jr. (Benny Safdie) attempts to rescue his incarcerated father, Bowser Sr. (Jack Black), leading to a chaotic space adventure. Princess Peach (Anya Taylor-Joy) and Princess Rosalina (Brie Larson) get caught up in the fray, prompting brothers Mario (Chris Pratt) and Luigi (Charlie Day) to go on a rescue mission with their faithful sidekick Yoshi (Donald Glover). Toads, the mushroom-headed, humanoid citizens of the Mushroom Kingdom who serve Princess Peach, are hilarious, and Princess Rosalina’s floating star children, the Luma, are the cutest characters. This movie is a ball of fun from start to finish. I’ve only played Donkey Kong and Mario Kart, so a few of the locations and references went over my head, but I still thoroughly enjoyed it. Plot wise, everything moves at a rapid pace with high energy. The animation is possibly the best I’ve ever seen, and the way the characters appear to be almost 3D within a 2D format is remarkable. The close-up face shots are flawless and it’s clear a lot of time, effort, and expense went into making this look super sleek and polished. The rich colour jumps off the screen and every single frame is packed with detail. There’s consistent humour that will engage kids while ensuring adults don’t miss out on the laughs. Most importantly, this film will appeal to a broad audience as well as die-hard gamer fans. So fun!

SCORE:

Alex's Score 8/10

Kate’s Score 8.5/10

LEAVE ONE DAY

Cecile (Juliette Armanet) is a former ‘Top Chef’ contestant who’s about to open her dream restaurant with her partner Sofiane (Tewfik Jallab). She returns to her parents’ small town truck stop cafe to help out after her arrogant father Gerard (François Rollin) has his third heart attack. Pregnant and stressed about her own future, Cecile juggles Gerard’s resentment towards her for specialising in fine dining with her mother FanFan’s (Dominique Blanc) desire to retire from the exhausting family business. She reconnects with three male friends she’s known since high school. None of them have grown up and they still behave like teenagers, including her former crush Raphael (Bastien Bouillon), who’d rather spend his time boozing and riding dirt bikes than with his wife and child. The story focuses on the serious subject matters of ageing parents and the complexities of motherhood for a woman who does not want children, which are trivialised by the characters constantly breaking into jovial song. This frequent interjection is disjointed and feels like you’re watching two different movies that are fighting for space, with neither succeeding. The songs are cheesy and cringey, and none of the actors can actually sing. One point for the sweet Weimaraner dog and one point for the long suffering character of FanFan who just wants to escape her mundane life by driving off in a camper van. A confused mess that would’ve been more enjoyable had it abandoned the musical elements.

SCORE:

Alex's Score 2/10

Janette’s Score 8/10

GURU

Matt (Pierre Niney) is a personal development coach who packs out seminars that promise a life altering experience. Behind the scenes, he’s secretly supported by a team who feeds him private information about audience members through an earpiece, allowing him to manipulate his disciples. His ruse begins to crumble when the French government moves to regulate the coaching industry by introducing mandatory qualifications. When Matt is called before a tribunal to explain his practices, his testimony is a train wreck and the court of public opinion starts to turn against him. As the online hate grows, he spirals into a state of paranoia which impacts his close relationships and leads to a series of deranged decisions. Niney is believable as unlikeable character of Matt and does a good job of portraying his descent from charismatic front-man to a drunk, hot mess. The abrupt ending, which seems synonymous with French films this year, made me feel short changed after sitting through two hours of Matt’s psychological domination. This film definitely gives food for thought about the hero worship of prominent figures in the real life self-help, motivational, and personal development industries, and exposes how easily someone’s quest for guidance can be exploited for profit. One man’s guru is another man’s snake oil salesman.

SCORE:

Alex and Janette’s Score 6.5/10

THE PARTY’S OVER

Wealthy Parisian lawyer Philippe (Laurent Lafitte) and his famous actress wife Laurence (Élodie Bouchez) arrive at their French country estate for their annual three-month vacation. They are joined by their daughter Garance (Noée Abita) and her boyfriend Mehdi (Sami Outalbal). A drunken incident involving stuffed vegetables and a new iPhone 15 leads to the firing of their long term caretakers Tony (Ramzy Bedia) and Nadine (Laure Calamy). What begins as a solvable transgression spirals into a battle of wills when Tony and Nadine demand a payout. Mehdi finds himself caught in the middle, attempting to act as a mediator. When both families refuse to negotiate, he realises he may be out of his depth. With a witty script there are plenty of playful moments in this fast paced drama. The acting is acting is fabulous across the board, with the cast perfectly capturing the arrogance of the owners versus the greedy desperation of their aggrieved staff. I loved the colour palette, particularly the bright, bold tones popping against the stark white walls of the luxurious villa. Engaging and entertaining with several surprising twists.

SCORE:

Alex and Janette’s Score 7.5/10

A PRIVATE LIFE

Lillian (Jodie Foster) is an American working as a psychologist in France. When her patient of nine years Paula (Verginie Ef) commits suicide, Lillian becomes convinced that darker forces are at play and suspects that she was murdered. She ropes in her former husband Gabriel (Daniel Auteuil) to help her investigate Paula’s death, and they riskily start following a trail of breadcrumbs in an attempt to prove her theory. Despite being divorced for more than twenty years, the pair has maintained a close friendship and the film’s humour stems from their chemistry and playful dialogue. The injection of occasional comedy into this crime thriller x psychological drama adds to its genre confusion and at times it undermines the seriousness of the subject matter. As the story evolves, it makes you question whether Lillian is uncovering a genuine cover up or is simply projecting her own professional shortcomings onto the situation and being led astray by her assumptions. Either way, it’s quite implausible. As always though, Jodie Foster is a class act. She speaks fluent French throughout, occasionally switching to English, mostly when Lillian swears. The production design oozes a French aesthetic, from Lillian’s beautiful high-ceilinged apartment to her stylish wardrobe. With the energetic opening song ‘Psycho Killer’ setting the pace, I felt that the plot moved briskly, but some of my movie club members found it to be a slow burn – maybe due to the focus on character relationships and behaviours over any sort of thrilling action. While Foster always gives her best, this film is not one of her best. Save it for a rainy day.

SCORE:

Alex, Chris and Jason’s Score 7/10

Deb’s Score 8.5/10

Janette and Michelle Score 8/10

Bron’s Score 6.9/10

Ally and Catherine’s Score 6/10

RIOT WOMEN

Teacher Beth (Joanna Scanlan) is at her lowest point in life when her pub owner friend Jess (Lorraine Ashbourne) phones her out of the blue to ask if she wants to form a punk rock band for a local talent quest. They rope in retired cop Holly (Tamsin Greig), her uptight sister Yvonne (Amelia Bullmore) and a trio of backup singers. When Beth hears jaded but talented singer Kitty (Rosalie Craig) doing karaoke, she convinces her to be the band’s lead and ‘Riot Women’ is born. The group develops original material, based on the rage they feel towards the patriarchy, how they are becoming invisible to society, and the complexities they face navigating perimenopause and menopause – essentially real songs with real meaning for women of their generation. Absolute belters plus theres a recurring cover of Hole’s high energy song ‘Violet’. The character development is rich and layered, thanks to the skilful writing of creator Sally Wainwright, the BAFTA award winner for ‘Happy Valley’. By episode three you clearly know who these women are, what they stand for, and why they behave the way they do. The heart of this six part series is the portrayal of authentic friendships and strong relationships between the lead characters. They share honest, true to life conversations and have each other’s backs through their ups and downs. Beth and Kitty in particular have big character arcs. In contrast the portrayal of nearly every male character cleverly flips the usual cliches on their head. There are several standout scenes and the acting is phenomenal across the board, without a single weak link in the cast. If you mixed together all the essential ingredients for a meaningful, funny, and clever production, this is the result you’d hope to achieve. An absolute gem that captures the defiant spirit of women refusing to be sidelined. It would’ve been a perfect 10 if the final scene was of a certain someone getting tapped on the shoulder.

SCORE:

Alex and Amanda’s Score 9.5/10

SOMETHING VERY BAD IS GOING TO HAPPEN

A week before they are due to tie the knot, Nicky Cunningham (Adam DiMarco) and Rachel Harkin (Camila Morrone) head to his family’s spectacular holiday home, secluded in the woods. They are joined there by his mother, matriarch Regina (Jennifer Jason Leigh), father, sister Portia (Gus Birney), brother, sister-in-law, and young nephew. As the week progresses, the family’s behaviour becomes increasingly bizarre, leading Rachel to question what she’s getting herself into. Being a horror series, something bad definitely does happen. The plot is filled with supernatural elements, rituals, and a generations-old family curse. The house itself is immaculately decorated and features long, wide hallways with lots of closed doors. It feels like a sprawling maze with no escape, and characters are always popping up in unexpected places and lurking in the shadows. The cinematography is phenomenal and the dark, moody interiors deliberately lack warmth to starkly contrast with the blinding white snow outside. Every frame looks expensive, from the classy costumes of the rich to the sweeping drone shots of the estate. Splashes of red frequently appear, usually as fresh blood, providing one of the few pops of colour. Intimate handheld camera angles heighten the sense of paranoia by swinging from one character to the next during the more intense conversations, and continuous takes are frequently used, creating a feeling of relentless dread. Moments of comedy, mostly courtesy of pragmatic Rachel and anxious Portia, provide light relief from the grisly, wince-inducing moments … of which there are several. Episode one starts off very strongly and is brilliant, making it one of the best pilots ever, but the series loses pace in the middle – stick it out though, because the story picks back up and will hook you in again. Has similar vibes to productions by David Lynch, with one very ‘Twin Peaks’ type character, and a scene near the end reminded me of Stephen King’s ‘Carrie’. You’ll know why when you check it out. Loved the overall message to wisely choose who you marry.

SCORE:

Alex's Score 8/10

Amanda’s Score 8.5/10

REDRESS

Clara (Galatéa Bellugi) is a talented chef working for her father Paskal Jankovski (Clovis Cornillac) in his two star Michelin restaurant. When Paskal vanishes during a hunting trip along with his sous chef, Antoine (Julien de Saint‑Jean), who is also Clara’s secret boyfriend, they are both presumed dead. Skipping forward two years later, Clara arrives in Taipei after receiving a suspicious email inviting her to a gastronomy festival. While dining as the guest of a celebrated new restaurant, she is shocked to be served several dishes which are exact replicas of her father’s. This raises new questions about what truly happened to the men and sends Clara on a mission to uncover the truth behind Paskal’s disappearance. I really enjoyed the fact that I never knew exactly where this film was going, especially since I wrongly assumed it was about a high pressure restaurant environment. If anything, I wish there had been more scenes focussing on the food, but this is more of a missing persons drama than a cooking class. The wilderness areas of France and Taiwan are picturesque and beautifully filmed, and the plot does a great job of keeping you guessing. Just when I felt the story was becoming predictable, it would pivot in a new direction. With a run time of 104 minutes, the pacing drops off near the end but everything is closed out with a satisfactory resolution. Intriguing, even if it slightly overstays it’s welcome.

SCORE:

Alex and Janette’s Score 7/10

Brons’s Score 8.5/10

Lee and Catherine’s Score 8/10

THE DEB

Maeve (Meg Connors), a self absorbed activist, is sent to the outback town of Dunburn after being suspended from her private school. She meets up with her cousin Taylah (Natalie Abbott), a socially awkward farm girl who is the extreme opposite of her performative, cynical relative. Maeve immediately takes issue with the town’s traditions, particularly the annual debutante ball, which she considers to be a “heteronormative sh*t show.” Despite her initial arrogance and propensity for cancel culture, she eventually finds common ground with Taylah, and the two form an unlikely alliance to take on the local hierarchy which is made up of of conservative women. Shane Jacobson co stars as Rick the mayor and the late Julian McMahon features in a brief cameo. The strongest attributes of this film are its quintessentially Australian cinematography and the colourful and authentic set design. While the musical numbers are catchy and the most sweary one will become an earworm, the overall writing lacks the satirical tone it was aiming for. First time director Rebel Wilson, who also stars as overbearing stage mum Janette, adapted this feature from the musical of the same name and has absolutely put her stamp on it. Her writing leans heavily into a stereotypical bogan archetype where the characters constantly trade aggressive insults and make crass jokes about bodily functions, looks, and sexual desires, which struggled to maintain my interest beyond their shock value. These repetitive and crude outbursts are so relentless that the authentic moments seem out of place. The plot also feels similar to a 2004 film about a group of mean girls (wink wink) with the same story of an outsider who has some lessons to learn. Both movies examine the complex nature of female friendships and culminate in an important event where the characters must acknowledge their mistakes and embrace their true selves, yet this one is set in Australia. Full of low-brow low blows, it looks amazing visually but lacks the wit to become iconic.

SCORE:

Alex's Score 6/10

FATHER MOTHER SISTER BROTHER

This movie is divided into three stories that explore the odd dynamics between adult siblings and their parents across the USA, Dublin and Paris. The first segment follows Jeff (Adam Driver) and Emily (Mayim Bialik) as they visit their elderly father (Tom Waits) who lives in an isolated house on a lake. While the house appears unkempt, it is revealed that the father is intentionally creating a mess to cover up his secret wealth, giving Jeff and Emily the false impression that he’s struggling for money. In the second story, sisters Timothea (Cate Blanchett) and Lilith (Vicky Krieps) visit their rigid and proper mother (Charlotte Rampling) for their annual afternoon tea. Despite living nearby, the sisters only visit her once a year. Timothea constantly refers to her mother as “Mummy”, which I found off putting coming from the mouth of a middle aged woman, while Lilith is a compulsive liar. They are out of touch with each other and barely speak, other than to exchange pleasantries. The final story focuses on twins Skye (Indya Moore) and Billy (Luka Sabbat) who catch up after their parents die in a plane crash. Their relationship is the only one that doesn’t feel like they are strangers. None of the actors can showcase their actual talents with this dull and self-indulgent material. While Jim Jarmusch’s direction creates an atmosphere of long silences and intense discomfort, the dialogue is unnatural and stilted, failing to flow like real conversation. The script also relies on lazy exposition, which is a pet hate of mine. Characters frequently describe the specifics of a person, incident, or object that the person they’re talking to would already know, just to present the information to the audience. There are also recurring mentions of several items across all three chapters, but they don’t tie them to each other in any way. The lack of backstory or motivation for any character makes the entire viewing experience feel like a film for film’s sake. It left me wondering what the point was. A slow and mundane waste of time.

SCORE:

Alex's Score 4/10

THE DRAMA

Charlie Thompson (Robert Pattinson) and Emma Harwood (Zendaya) are engaged and just a week away from their wedding. During a boozy dinner with their close friends Rachel (Alana Haim) and Mike (Mamoudou Athie), they play a game where everyone confesses the worst thing they’ve ever done. Emma drops a bombshell and reveals a shocking secret, triggering adverse reactions from Charlie and Rachel. Charlie starts to spiral with doubt and anxiety, creating a huge wedge between the couple right when they are supposed to be starting the rest of their lives together. His actions have a ripple effect that impacts several others and leads to a destructive game of Chinese whispers. Surreal sequences are cleverly used to show Charlie’s paranoid thoughts as he tries to process Emma’s past. The leads have a genuine chemistry and are believable as two people who are in love, and then as two people struggling to stay in love. They are both superb, with Pattinson in particular skilfully using his range of emotions to add to the rising tension as their relationship unravels. The script is engrossing and really pulls you into the ethics of Emma’s confession, making you consider how we judge people for the things they did at different times in their lives. This is not a rom-com by any means – it has psychological depth and a moral undertone guaranteed to make you think. Go in spoiler free! You’ll need a post-movie debrief with friends once it ends. A drama filled with drama. Touché!

SCORE:

Alex and Saraj’s Score 9/10

PARADISE SEASON 2

This season confidently stands on its own as a post‑apocalyptic drama. The reveal that its characters are living inside a meticulously designed underground bunker in Colorado reframes the story in a way that’s unsettling and compelling. Sterling K. Brown remains excellent as Xavier Collins, with his journey beyond the bunker and into a broken world providing the central story. Flashbacks add depth, particularly through Annie’s story (Shailene Woodley), with Memphis and Graceland serving as a distinctive and fitting survival setting that grounds her friendship with Teri (Enuka Okuma). Julianne Nicholson’s Sinatra continues to bring tension to the bunkers power dynamics, even as the layered mysteries occasionally feel dense. The soundtrack is a standout, using nostalgic music from different decades, including early 90’s tracks and stripped back acoustic closers to add intrigue and emotion.

SCORE:

Amanda’s Score 8.5/10

THE RICHEST WOMAN IN THE WORLD

Marianne Farrere (Isabelle Huppert) is the richest woman in the world and head of a global cosmetics empire. She meets flamboyant photographer Pierre-Alain Fantin (Laurent Lafitte) when he takes her portrait for a magazine, and he instantly ingratiates himself into her life by turning on the charm. She finds his inappropriate sexual innuendos funny and is immediately captivated by his domineering energy, failing to see that he lives with a complete disregard for others and lacks a moral compass. As the two become increasingly inseparable, Farrere’s inner circle grows concerned by his manipulation, which culminates in her gifting him over €700,000,000. Tired of seeing him exploit Farrere’s open chequebook, her stepdaughter Frederique (Marina Foïs) eventually sets the wheels in motion to have him charged with elder abuse. Shockingly this film is loosely inspired by the true ‘Bettencourt Affair’ involving L’Oreal heiress Liliane Bettencourt and photographer Francois-Marie Banier, which came to light in 2010. Lafitte does a superb job of making your skin crawl as the manipulative Fantin, while Huppert is perfectly cast as the regal yet vulnerable heiress. Something that irked me throughout the entire movie was the unrealistic notion that a woman worth billions would frequent public places without a security detail (until the final scene), when in reality someone of her wealth would be accompanied by protection at all times. An edit of the runtime by cutting at least fifteen minutes would’ve also kept the momentum consistent and removed the few bits that feel overextended. A cautionary tale of a predator and his prey, driven by dollar signs.

SCORE:

Alex's Score 7.9/10

Leeanne’s Score 8.5/10

CABR Score 8/10

THESE SACRED VOWS

This six part series opens with mild mannered Father Vincent (Tom Vaughan-Lawlor) floating face down in a villa swimming pool the morning after a destination wedding. The plot then jumps back in time to the week leading up to the tragedy, with each episode sharing a different character’s point of view and revealing their secrets, lies, and betrayals. Set in Tenerife in the Canary Islands, this has been disparagingly called a “poor man’s version” of The White Lotus and it’s definitely not as polished as its predecessor. The casting is solid though and the script has moments of Irish wit which made me laugh out loud. The strongest episode is the first one which shows how Father Vincent navigates the passive aggressive attitudes of the young guests he’s forced to share accommodation with. When the focus shifts to some of the other, less likeable characters, the plot becomes repetitive, particularly in the middle chapters where the same events are covered multiple times. The final reveal regarding Father Vincent’s fate feels underwhelming, particularly after enduring the tedious antics of an obnoxious, unlikeable middle class. So-so.

SCORE:

Alex's Score 6/10

THE FRENCH JOB

Yonathan (Melvil Poupaud) is a nervous-natured watch expert whose life is turned upside down after a chance meeting with overbearing con artist Eric (Sofiane Zermani). Eric makes his living siphoning off stolen artwork and jewellery. When the “Spider-Man of Paris,” Jo (Steve Tientcheu), steals five artworks worth over $100 million, Eric draws Yonathan into his seedy world in an attempt to move them on. This film takes inspiration from the real life theft of irreplaceable Picasso, Matisse, Modigliani, Braque, and Léger paintings from the Musée d’Art Moderne de Paris in 2010. While the facts are that three men were involved in the actual heist and went to jail, most of the plot feels fabricated and unrealistic. Pitched as a madcap comedy, this just didn’t bring the laughs. I found the dynamic between the characters to be grating, particularly Eric’s pushy, loudmouthed energy against Yonathan’s insipid, weak nature. I also despised their blatant and selfish disrespect for the stolen works. Seeing such priceless canvases reduced to garbage was maddening, although the reality is they’ve never been recovered. A farcical reenactment of an audacious crime.

SCORE:

Alex's Score 4.5/10

Janette’s Score 3/10

Leeanne’s Score 6/10

A DASH OF LOVE

When lawyer Melanie (Julia Piaton) receives a life changing medical diagnosis she convinces her friend Benjamin (Quentin Dolmaire) to join her on an impromptu road trip to Spain. As wheelchair users navigating a world that often overlooks accessibility, and with Melanie feeling like her health clock is ticking, the pair set off on a mission to experience physical intimacy on their own terms. Melanie enlists the help of Lucas (Grégory Gadebois), a recently released ex-con and former client who owns a beaten up orange van and is happy to drive them across the border. Along the way he notices a growing attraction between the two friends, which they are doing everything in their power to avoid. This is a light and sweet film with some genuine laughs. It manages to stay within the comfortable parameters of a romantic comedy and steers clear of diving into the heavier plot elements. This absence of a deeper background story made it hard for me to fully invest in the emotional stakes of Melanie and Benjamin. The messages that the journey is just as important as the destination and that physical connection is a fundamental need for all humans, shine through. It also serves as a gentle reminder that your heart’s desires are often found where you least expect them.

SCORE:

Alex's Score 7/10

Janette’s Score 8/10

ALL THAT’S LEFT OF YOU

Commencing in 1948, this story traces the life of the Palestinian Hammad family across three generations. Partly drawing on the real life experiences of director Cherien Dabis’s own relatives, it explores their struggles and resilience after they are forced to flee their comfortable home in the coastal city of Jaffa. Dabis also plays Hanan, the wife of schoolteacher Salim (Saleh Bakri) and mother to Noor (Muhammad Abed Elrahman). As a child, Noor witnesses his father being humiliated by Israeli soldiers and loses respect for him, viewing him as a traitor for complying with their demeaning orders. While Salim tries to survive quietly, Noor adopts the rebellious views of his grandfather Sharif (Mohammad Bakri). By the time Noor is a teenager, he is emotionally disconnected from his parents and is tragically shot by soldiers during a protest. Hanan and Salim are later forced to make a difficult ethical decision that tests their faith and requires consultation with their local Imam. Years later, Hanan recounts the family’s history of resistance and shares insights into Noor’s radicalised motivations. This is a character driven film that highlights the enduring connection a person feels toward their first home, regardless of how much distance or time has come between them. It is superbly acted and mention must be made of the incredible performance by child actor Sanad Alkabareti as young Noor. With the family initially being quite wealthy, their experience doesn’t feel typical of the everyday Palestinian struggle – they had the funds to leave Jaffa in a private vehicle, avoided living in refugee camps, and eventually emigrated to Canada. Yet I get the point that there is no discernment between rich or poor in this scenario. The last quarter of the plot becomes overly sentimental and dipped into unrealistic territory before the final scene pulls it back together. A tighter edit of at least 30 minutes would’ve benefited the story to make it more succinct. A thought provoking examination of exile and its emotional intergenerational trauma.

SCORE:

Amanda’s Score 6.9/10

Janette’s Score 7.5/10

AGE OF ATTRACTION

In this eight part reality TV series, forty singles mingle at a retreat under the strict rule that they cannot disclose how old they are unless they meet their significant other. They can get cut or choose to leave if their relationship isn’t progressing along the way. While the aim is to prove that age is just a number, the whole premise of this social experiment feels fraught from the start. For some people, age can be a fundamental deal breaker and is something that would normally be addressed on a first date – or even before a first date. Keeping ages secret until emotional feelings have developed seems unfair to the participants, even though they know what they’re signing up for. The age reveals themselves are awkward especially when the gaps turn out to be decades wide, like 27 year old Vanelle Fenmou who pairs with young looking 60 year old Jorge Sanchez. Their 33 year difference makes their attraction much more complicated and Fenmou had no idea of Sanchez’s numbers. On a positive note, the chemistry between some of the couples is genuine and the show does a good job of casting people who seem open to finding “the one”. There’s some success at the end, with three couples going the distance, but time will tell if their relationships are sustainable.

SCORE:

Alex’s Score 6/10

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