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

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

THEY WILL KILL YOU

After spending ten years in prison for shooting her abusive father, Asia Reaves (Zazie Beetz) is released and takes a job as a housemaid at an exclusive apartment building in New York City. She’s on a mission to find her younger sister Maria (Myha’la) who is already working there. Not long after arriving, Asia realises she’s stepped into a den of devil worshippers (including characters played by Patricia Arquette, Heather Graham, and Tom Felton) who are hunting her down. Turns out the building is home to a Satanic cult of wealthy elites who’ve been granted immortality, and they’ve marked Asia as their next human sacrifice to maintain their eternal life. Asia begins her survival rampage with gusto and since the residents cannot be killed, she is shocked when they regenerate after being dispatched. From this point on the story goes haywire, with people being sliced, diced, chopped, and slopped many times over, only to resurrect. Some parts are so over the top I laughed, but thankfully that’s okay as this is meant to be a dark comedy. While this film starts strong, the final act becomes even more surreal and absurd and it tanks. It’s hard not to compare this to the recently released movie ‘Ready or Not – Here I Come’ as they have several similar elements, namely a resilient female lead and her sister being pursued by rich Satanists through a building, but TWKY isn’t nearly as well executed. Its strongest aspect though, is the physicality of the stunts. Beetz really goes all out, performing as many of her own stunts as possible after training in mixed martial arts for four months. It shows! One spectacular scene features Asia wielding an axe that’s on fire and using it to take out a room full of cultists, which has an epically athletic conclusion – and it’s all Beetz. You won’t forget it in a hurry! Despite the expensive special effects and quality cinematography, the plot is B-grade at best and fails to provide enough substance to match the action. I really wanted this to blow me away but instead it sadly felt like a puff of wind.

SCORE:

Amanda’s Score 5.5/10

THE MAGIC FARAWAY TREE

The Thompson family, Tim (Andrew Garfield), Polly (Claire Foy), and their three children, Beth (Delilah Piasko), Fran (Hattie Gotobed), and Joe (Billie Gadsdon), move to a rundown old barn in the remote English countryside to pursue Tim’s dream of growing tomatoes and making pasta sauce. When Fran discovers a magical tree in the enchanted woods, she makes new friends with its inhabitants, including Silky (Nicola Coughlinh), Moonface (Nonzo Anozie) and Dame Washalot (Rebecca Ferguson). She learns that the tree is a gateway to strange and wondrous lands and shares this secret with Beth and Joe. Adventures abound for the trio, culminating in a group effort to help Tim achieve his life’s goal. The Faraway Tree itself is magnificent, and as someone who adores trees, I loved the way it was so grandly presented. There are many whimsical touches in this film, including a talking refrigerator voiced by one of my favourite actresses, the legendary Judi Dench. Polly’s formidable and wealthy mother, Grandma Thompson is played by Jennifer Saunders, who brings her signature comedic flair to the role as she tries to convince the family to move back to the city. Garfield also deserves a mention for joyously delivering some of the best lines. The visual effects for the different lands are vibrant and imaginative, perfectly capturing the sense of wonder from Enid Blyton’s beloved book. Her original text is hoisted into the present day thanks to the inclusion of tech gadgets, Wi-Fi, and 5G references. While this movie is clearly aimed at a younger audience and doesn’t contain a huge amount of adult-oriented humour or innuendo, it’s still a nostalgic trip down memory lane to see this fabled fantasy story come to life. The overall feel is episodic (much like the books themselves) with more lands left to explore and I can see how this could be the first of many feature length productions from the series. A sweet family feel good.

SCORE:

Alex and Fiona’s Score 8/10

SIX DAYS IN SPRING

Sana (Eye Haïdara) is an overworked single mother who impulsively takes her twins Raph and Tom (Leonis and Teudor Pinero Muller) to stay at a luxurious St Tropez villa owned by her former in-laws, without their permission. With her secret boyfriend Jules (Jules Waringo) in tow, her plans to give her kids a sun drenched Easter soon take a backseat when the effort required to keep their visit hidden causes constant stress. Sana is uptight for most of her time away and puts restrictions on Jules and the boys, which drains the fun from their break. Exceptionally slow, with long stretches where nothing happens, this film is a test of patience. While there are small flashes of jeopardy, these moments never develop into anything more interesting. I stuck it out thinking there would be a payoff at the end, but following what seems to be an in-vogue trend amongst some French films at the moment, it abruptly stops and feels unresolved. While the villa gardens are lovely, the French Riviera setting feels mundane and fails to resemble a luxury destination of azure bays, sandy beaches, and vibrant bougainvillaea. Well acted but stagnant.

SCORE:

Alex and Janette’s Score 5/10

THE ROOKIE GUIDE

Parisian delivery driver Yann (Hakim Jemili) lies his way into a trial job with famed travel guide ‘The Globetrotter’ by pretending to be a world adventurer. He is sent to Marrakech for his first assignment and realises he’s totally out of his depth after being tasked with reviewing forty tour guides in just five days. He joins forces with straight-talking local guide Sofia (Manon Azem) and the pair accidentally stumble across an art trafficking racket led by villainous Dr Charoux (Michel Blanc.) Thanks to a silly plot this film often feels like it’s trying too hard to force a laugh. The bumbling nature of the supporting characters, like Dr Charoux’s incompetent mercenaries and a group of bickering tourists, adds a slapstick element that I found cheesy and predictable. While Marrakech provides an aspirational backdrop, everything else lacks depth. It doesn’t take itself too seriously, which can be viewed as a bad thing … or a good one! Light on substance – heavy on ridiculous fun.

SCORE:

Alex's Score 6/10

PROCLIVITAS

This was my second viewing of Miley Tunnecliffe’s debut feature film but my first time seeing it as intended on the big screen. The powerful messaging about trauma, guilt, grief, and addiction still impacted me despite knowing what was coming. I even noticed new details I missed on my initial watch, which felt like I was seeing everything with fresh eyes. This is the sort of movie that would keep offering up surprises every time it’s viewed. Watching it at scale really emphasises the masterful cinematography, cleverly built atmospheric tension, and punctuating sound. There was a round of appreciation applause at the end. Do yourself a favour and see it in the cinema!
The night was made even more special thanks to a Q&A hosted by Andrew Peirce from @thecurbau featuring WA locals, producer @kate.separovich and actress Hayley McElhinney, who plays police officer Tara Jenkins. Hearing about their respective ‘Proctivitis’ journeys added so much to the experience.
Thanks to @lunapalacecinemas for inviting me as a guest.

SCORE:

Alex's Score 8.5/10

Amanda’s Score 9/10

Jason’s Score 8.5/10

Les’s Score 8/10

Lee’s Score 7.5/10

INSIDE THE MANOSPHERE

Louis Theroux has a disarming interview style that’s become his professional trademark. He presents as a slightly bumbling, unthreatening, curious outsider, which is highly effective because it encourages his subjects to drop their guard and reveal more than they intended. For this 90 minute documentary he interviews five of the most followed male influencers on the internet who sell male dominance ideologies. Leaning into his signature bewildered persona, Theroux simply sits back and lets these men speak freely, and within seconds each one independently divulges that they are driven solely by money. Online they present a flashy lifestyle built on toxic masculinity, misogyny, and opposition to feminism to brainwash young men, taking advantage of them to line their own pockets. Louis even asks HSTIKKYTOKKY (who claims to find p*rn disgusting yet hypocritically runs On*yF*ns sites for women) “Why not try to be a good person? Just uplift people. Don’t pander to their worst impulses, actually encourage them to make the right choices.” HSTT’s response is “If I’d just done good things, I never would’ve blown up on social media in the first place … I’m not living for other people, I’m living for myself.” In plain sight he calls himself a “pimp, scammer, homophobic, racist d-head.” While there has been criticism that this doco gives these grifters a platform, it also does them no favours. One exclaims at the start that “Louis Theroux is going to do a hit piece” yet their egos still see them line up in front of the camera and willingly jump off the cliff. A strong follow up would be an in-depth look at the mothers, wives, and girlfriends in their lives to learn what they truly think about this sort of behaviour. Theroux surmises the manosphere perfectly with “The romance, the confidence, the wealth are all either illusory or out of reach, and the anger seemed a compensation for fear of being exposed.” A concerning and ikk-inducing “Darwinian view of alpha supremacy”.

SCORE:

Alex's Score 8/10

DEADLOCH SEASON TWO

Created by the masters of satire, “The Kates” (Kate McCartney and Kate McLennan), this follow up series to the smash hit ‘Deadloch’ does not disappoint. Shifting the action from Tasmania to the Northern Territory, defective detective duo Dulcie Collins (Kate Box) and Eddie Redcliffe (Madeleine Sami) head to Eddie’s hometown of Barrow Creek to investigate the death of her former police partner. When body parts begin washing up in the river, they find themselves dragged into a deadly rivalry between two local crocodile tour boat companies. There are three exceptional factors that push this show into its own category of brilliance – the writing, the casting, and the pacing. The script is filled with clever, witty dialogue that gives the entire cast so much to work with. Every actor brings to life a realistic yet exaggerated caricature of their character, some you’ll love and some you’ll hate. There’s even a Hemsworth (Luke)! Dulcie and Eddie play off each other as brilliantly as they did in the first series, but the pacing is even quicker this time around with the banter moving at a fast rate. The barrage of dark humour and language is relentless, and you really have to pay attention if you don’t want to miss anything because the actors are so clever at trading simultaneous rapid-fire barbs. It’s also supremely funny thanks to the situational comedy, as well as what’s being said. I laughed out loud a lot. At just six episodes long, there’s no filler in the plot and the story progresses quickly. The ending gets neatly tied up and while it left me wanting more of these dysfunctional but beloved icons, this season feels like a definitive finale for the Deadloch journey. A must watch for anyone who loves a sharp, quintessentially Australian mystery. It’s severe, sweary and superb!

SCORE:

Alex's Score 9.5/10

Amanda’s Score 8.5/10

WE ARE JENI

CONTENT WARNING: Child Ab*se. Adelaide woman Jeni Haynes suffered horrific abuse by her father, Richard Haynes, during her childhood. To survive, Jeni developed a severe defence mechanism by manifesting over 2,500 distinct personalities, known as alters. She describes their creation as a way to save herself – in the moments of trauma an alter would step in to take her place and endure what was happening. Many of them were fragmented, didn’t have names and moved on once their primary support role was completed for a single incident. The focus of this documentary is on Jeni’s quest for justice. It follows how she reported her father to the police and saw him successfully extradited from the United Kingdom to face trial in Australia. It was a landmark case because five of Jeni’s alters were permitted to present evidence in court. This was a first in legal history, leading to her father being convicted and sentenced to 45 years in jail. While 1,000 offences were reported and 367 charges were initially presented, these were plea-bargained down to “the worst” 25. Jeni is an incredibly brave woman who shares her story to give hope to others, encouraging survivors to report their abusers by proving that even significant legal barriers can be overcome. Her father’s sadistic depravity was horrendous, and it’s unfathomable how anyone, let alone a parent, could inflict such harm. It’s also gut-wrenching that no one listened to her when she was a child. This is predominantly a story of triumph over tragedy though, and Jeni’s journey ends on a powerful note. With her abuser now behind bars, she finally has a newfound sense of freedom and safety. She strives to live a life of joy with her sweet support dog Hollie and her most treasured possession, a Sweep puppet from the British TV show ‘Sooty and Sweep’, which she has held onto since childhood and views as a dear friend. I only wish there was more about her life as an adult, such as details of her PhD studies and subsequent career. Overall this is a testament to resilience and an insightful education on DID that will stay with me for a long time.

SCORE:

Alex's Score 7.5/10

Janette’s Score 7/10

HOPPERS

In Pixar’s latest blockbuster, Mayor Jerry Generazzo (Jon Hamm) threatens a picturesque forest glade that many animals call home by building a new highway bypass through it. Desperate to stop the project, passionate animal lover Mabel Tanaka (Piper Curda) uses rudimentary technology to “hop” her consciousness into a life-like robotic beaver. This enables her to communicate with all living creatures and she teams up with regal beaver, and mammal leader, King George (Bobby Moynihan) to save the wilderness area. As a professional animal photographer of nearly 20 years, I adore the beautiful messaging about our relationship with the natural environment and its inhabitants. Pixar’s signature style shines through in every detail, from the character designs and the colour palate, to the geometric shapes of the vehicles. I found the distinction between the humanised versions of the animals (when they are speaking English to Mabel) and their original versions (when they are making animal noises) to be very clever. I also appreciated the authentic details of the animal behaviour, such as the great white shark who rolls her eye when she feels threatened. Despite lacking any double-entendres for adults (“Fly around and find out” is the closest it gets) there’s enough humour and heart to appeal to all ages. While it doesn’t quite reach the heights of my benchmark movie for animated features, ‘The Wild Robot’, it really picks up the pace with a fantastic last half hour and the sentiment made me tear up a few times. This is well deserving a massive $263.8 million AUD in box office takings globally in its first ten days since release. Hop to (see) it!

SCORE:

Alex's Score 9/10

Lala’s Score 8/10

Jill’s Score 7.5/10

Suzan and Saraj’s Score 7/10

CYCLE OF TIME

Starting off in 1958, Helene (Elsa Zylberstein) and Michel Dupuis (Didier Bourdon) strictly follow traditional gender stereotypes where “men are men and women are women”. Michel works for a bank and is the sole breadwinner, while Helene is a quintessential wife and mother. Their world is turned upside down when they are electrocuted by a new washing machine, which propels them through time into 2025. After freaking out over the unfamiliar and intimidating technology in their house, Michel and Hélène are initially anxious to get back to the 1950s. They feel like aliens, and the modern versions of their two teenage children are perplexed by their parents’ odd behaviour. Helene realises she is now the executive manager at the bank and soon begins to revel in her newfound freedom, enjoying all the comforts and liberties that come with living in 2025. Michel finds himself assigned to the role of stay at home husband, responsible for meals and chores. Struggling with the changing dynamics and devoid of his male privileges, he hates longs to return to his conservative past. The contrast between the nostalgic 1950’s and the chaotic, fast paced world of 2025 is portrayed well through the different sets. This film uses genuine humour and irony to show the evolution of gender roles and responsibilities across six decades. It also highlights the importance of acceptance, holding onto family connections, and being present wherever you are. It’s an inventive story that sticks its landing.

SCORE:

Alex's Score 8/10

THE LITTLE SISTER

Told across five seasons, Fatima (Nadia Melliti) is the youngest daughter in a devout Muslim family living in suburban Paris. As she starts her philosophy studies at university, she finds herself torn between her religious upbringing and her awakening interest in women. When she falls for nurse Ji-Na (Park Ji-min), she experiences her first heartbreak and sets off on a journey of self discovery. This slow moving coming of age story focuses on Fatima’s pull towards the gay community while she feels like an outsider in her own life. Melliti’s subdued but powerful performance earned her the Best Actress award at Cannes in 2025. The rest of the cast is also fabulous, though Mouna Soualem’s predatory older woman character of Cassandra is off putting (imagine if the gender roles were reversed). The hyper realistic use of sounds, like the squelching of food being chewed and intimate kissing scenes where the background noise was stripped away, triggered a negative ASMR (Autonomous Sensory Meridian Response) in me. I was basically grossed out. An overtly graphic conversation when Fatima goes on her first same-sex date is bold and jarring, highlighting her initial innocence as she navigates an unfamiliar world. The final spring sequence offers subtle clues as to how Fatima’s mother truly perceives her. It emphasises the complexity of the situation for them both without providing a definitive resolution. An emotionally fraught film about balancing cultural traditions with true identity.

SCORE:

Alex and Deborah’s Score 7/10

Janette’s Score 6.5/10

READY OR NOT 2: HERE I COME

This sequel picks up immediately after the finale of the first film (from 2019), with Samara Weaving returning as Grace MacCaullay. After surviving the Le Domas family’s life and death ritual, Grace is shocked to learn that their failure to execute her has triggered a scenario where four rival dynasties must now hunt her down themselves in order to claim global power.
The introduction of so many new characters ups the stakes and gives this a slight edge over its leaner-cast predecessor. Grace’s estranged younger sister Faith (Kathryn Newton), is dragged into the game, which plays out across a luxury golf course resort. Horror royalty Sarah Michelle Gellar is power hungry Ursula Danforth and Elijah Wood is the lawyer (aptly named ‘The Lawyer’) who ensures everyone adheres to the rules of engagement. There’s an abundance of wincingly creative kills and the chaos of having multiple wealthy families competing against each other adds a fun element. Some parts are slightly far fetched, least of all the plot thread that the uber rich are devil worshippers, which could well be the most believable element. With over 1,230 litres (325 gallons) of fake blood used during filming, the gore factor is high as people splatter from the inside out. Filled with dark humour, the most memorable scene is a hilariously choreographed fistfight between Grace and Francesca El Caido (Maia Jae Bastidas) that involves pepper spray and Bonnie Tyler’s 1983 power ballad ‘Total Eclipse of the Heart’. A slick, blood-soaked romp that understands how to entertain.

SCORE:

Alex's Score 7.9/10

Jason’s Score 8.5/10

Saraj’s Score 6/10

UNDER SALT MARSH

This moody, slow burn crime drama leans heavily into its wow factor landscapes.The fictional Welsh coastal town of Morfa Halen, constantly battered by floods and relentless waves, feels a little overplayed, but it does help build urgency and tension as the investigation unfolds. Former detective turned teacher Jackie Ellis (Kelly Reilly), brings an unblinking stare that can be distracting at times, though she does convincingly carry her detective instincts into the role wearing some excellent knits. Jackie’s evolving connection with lead detective Eric Bull (Rafe Spall) adds depth and layers to long buried unsolved murders, although Bull’s backstory feels somewhat misplaced and underdeveloped. The final reveal was pretty good and I was engaged until the end, without feeling the need to fast forward. A solid watch.

SCORE:

Alex's Score 7.5/10

COLD STORAGE

Based on the 2019 novel by David Koepp, this sci-fi horror stars Joe Keery as Travis “Teacake” Meacham and Georgina Campbell as Naomi Williams. Decades ago the US military locked a green fungus sample from a crashed space probe away in an underground bunker. Cut to the present day and the facility has been repurposed as a 24 hour self-storage business, but disaster strikes when the highly infectious fungus mutates and leaks. It zombifies any living creature it touches, causing them to eventually burst – including humans. Teacake and Naomi, two night shift employees, find themselves leading the charge to contain the outbreak. They team up with curmudgeonly retired bioterror expert Robert Quinn (Liam Neeson), whose warning the about this exact catastrophic scenario since the 1980s’s has fallen on deaf ears. Lesley Manville co-stars as Quinn’s former Pentagon partner Trini Romano, and Vanessa Redgrave has a cameo as gun toting widow Ma Rooney. Their roles bring moments of light hearted humour, with Manville even getting sweary near the end. The action mostly takes place inside the storage facility, but the set is far from bland, featuring a maze of tunnels, corridors, and different rooms. We get to know Teacake and Naomi as the story builds, before everything kicks up a notch when the survival stakes are raised. Cue the jump scares! The special effects are a standout, particularly the visceral interior body scenes showing the virus coursing through an infected person’s insides and the explosions when the bodies “pop” into goo and innards, which are every bit as disgusting as they sound. Clearly the intent is to gross out the audience and it works. I loved the outside the box filming techniques, like the clever bird’s eye view sequence showing how the virus was transmitted by a cockroach. Author Koepp was also the screenwriter and he ensured the dark humour from his own source material remained. Genius! More A-grade than B-grade, this is marvellously engaging and unhinged.

SCORE:

Alex's Score 8/10

Cec and Wayne’s Score 7.5/10

Saraj and David’s Score 7/10

Anna’s Score 4/10

OUT OF LOVE

Insurance assessor Jeanne Manin’s (Camille Cottin) life is tipped on its head when her estranged sister Suzanne (Juliette Armanet) turns up at her house with her two children in tow and asks if they can stay the night. After two years of silence, their reunion is short lived – by morning Suzanne has vanished, leaving behind her apartment keys, a cryptic note, and her kids. Jeanne is suddenly thrown into the role of guardian for nine year old Gaspard (Manoã Varvat) and six year old Margaux (Nina Birman). This is a cruel irony for Jeanne, whose twelve year marriage to artist Nicole (Monia Chokri) ended because she never wanted children. As the kids struggle to cope with their mother’s disappearance, the sisters’ own tumultuous childhood comes to light. The acting in this film is phenomenal, particularly the performances of the children, which feel heartbreakingly real, and of Cottin as Jeanne, who navigates an impossible situation. The depth of the characters fuels this film and the story unveils steadily. With an ending that doesn’t tie everything up with a neat bow, it highlights the emotional fallout of abandonment and the weight of unwanted responsibility.

SCORE:

Alex's Score 7.9/10

CASE 137

Stephanie Bertrand (the fabulous Lea Drucker) is an experienced inspector for the IGPN, the French police internal affairs unit. Set during the 2018 Yellow Vest protests in Paris, Stephanie investigates the serious injury of a young demonstrator, Guillaume Girard (Come Peronnet), who was struck in the head at close range by a police rubber bullet. In what initially seems like a needle-in-a-haystack task given the chaos of the riots, Stephanie meticulously begins to piece together the truth through interviews, mapping technology, eyewitness testimony, CCTV and phone videos. When she finally finds her smoking gun witness, she hits a wall of obstruction within her own organisation, is ostracised by her peers, and is considered a traitor by her combative former husband. With strong character development and superb acting, this film has a realistic feel, save for some of the links between Stephanie’s personal and professional life, which feel a bit too coincidental at times. The pacing may test the patience of those who prefer explosive thrillers rather than meticulous dramas. An intriguing view on the frustrations of policing the police.

SCORE:

Alex's Score 7/10

Jeanette’s Score 8/10

Kyleigh’s Score 6.5/10

A NUN IN THE CITY

Sister Lucie (Marilou Berry) is a devout nun who has spent twenty years hidden away behind the walls of her isolated convent. Her world is one of quiet servitude and chores ruled by formidable Mother Henriette (Isabelle Nanty), until an annual group medical appointment in the city changes everything. When Lucie gets separated from the other nuns, she sees a police poster featuring her teenage sweetheart Sebastien (Marc Ruchmann), who is wanted for robbery and murder. Convinced of his innocence, she impulsively sets off to track him down and finds herself on a journey of self discovery where her spiritual convictions are tested. The humorous moments in this film play off Lucie’s innocence as she catches up on two decades of technology and world events, though sometimes it tries a little too hard and nearly crosses over into slapstick territory. There’s a jovial, uplifting tone throughout and nothing is taken too seriously. I didn’t love the ending, finding it off-piste for Lucie’s character, but then perhaps I just don’t believe enough in miracles.

SCORE:

Alex's Score 6.5/10

REMINDERS OF HIM

This is the third CoHo (Colleen Hoover) adapted film that I’ve watched and it’s very similar in flow and vibe to the other two (‘It ends with us ends’ and ‘Regretting you’) as they all revolve around the themes of losing a loved one and navigating family trauma. Kenna Rowan (Maika Monroe) is sentenced to seven years in prison after leaving the scene of a car rollover that killed her boyfriend Scotty Landry (Rudy Pankow). After she gives birth while incarcerated, Scotty’s grieving parents Grace and Patrick, A.K.A. Lorelei from the ‘Gilmore Girls’ (Lauren Graham) and Commander Lawrence from ‘Handmaids Tale’ (Bradley Whitford), are granted custody of her daughter Diem. When Kenna is finally released from jail five years later she returns to her home town and discovers that Scotty’s best friend Ledger Ward (Tyriq Withers) lives across the street from the Diem and plays a big role in her life. Being a romantic drama, Kenna predictably ends up in a relationship with Ledger, and things go pear shaped with Grace and Patrick as she as she tries to gain access to the daughter she’s never met. Lady Diana, a teenager living with her mum in Kenna’s apartment building, is a scene stealing character played by Monika Myers who has Down Syndrome, Myers is a highlight thanks to her fabulous comedic timing and vibrant energy. This needed more of her! The pacing of this film is adequate at best and the conflicts are resolved far too quickly. I wasn’t bored per se, but my strongest thought while watching this was that it must be a dull book – but with over 935,000 five star reviews on Goodreads maybe the script just didn’t do it justice? The scenic shots of Alberta, Canada, which stands in as the setting for Wyoming, are stunning though. A back-channel Hallmark movie you’d watch if suffering from insomnia.

SCORE:

Alex's Score 5.5/10

Jason and David’s Score 6/10

Saraj’s Score 5/10

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