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

THE LAST WHALE SINGER

Vincent (Vincent Tong) is a young humpback whale who idolises his father Humphrey (Chimwemwe Miller), a legendary whale singer whose sweet melodies protect the undersea world. When his parents die in a tragic accident, Vincent is wracked with guilt. He sees an opportunity to step up after an ancient sea monster called the Leviathan escapes his iceberg prison and intends to endanger all marine life. Accompanied by his fusspot remora nanny Walter (Bruce Dinsmore) and a hearing impaired orca named Darya (Jenna Wheeler-Hughes), he sets out to save his beloved home. This film is so much more than a standard hero’s journey. It explores themes of courage, self worth, and the realisation that finding your own unique voice is a powerful gift. All of the creatures are incredibly cute and the animation is gorgeous, with a shimmering rainbow palette and vibrant backgrounds. The ocean is beautifully presented in a panoramic format, which creates the feeling of wide open spaces under the waves. Subtle environmental themes run through the movie but are never preachy, making this a fantastic conversation starter for children. While its ideal audience is kids, adults will also be captivated. Uplifting, touching, and mesmerising.

SCORE:

Alex's Score 8/10

MONSTER: THE LIZZIE BORDEN STORY

Ryan Murphy, who has to be the busiest producer in television, returns with the fourth instalment in his true crime ‘Monster’ franchise … only he forgot about the “true” part. His newest offering focusses on accused double axe murderer Lizzie Borden (Ella Betty) in 1892. She’s a quiet, wide eyed young woman living under duress with her emotionally absent father Andrew (Charlie Hunnam) and vicious stepmother Abby (Rebecca Hall). They’re both violent towards her and treat her with disdain. Lizzie finds a friend, confidant, and eventually lover, in maid Bridget Sullivan (Vicky Crieps). Sullivan expands Lizzie’s world and is the only person who shows her genuine kindness. When the abuse becomes unbearable, Lizzie plots her parent’s murder. After killing them both she’s subsequently charged by police, only to be found not guilty in court. Murphy makes Borden’s story fit his narrative, sacrificing historical accuracy for explicit content and shock value. There’s an unnecessary and ridiculous thread featuring serial killer Aileen Wuornos (Sarah Paulson) who’s presented as a sycophantically obsessed Lizzie Borden fan. There’s no evidence that Wuornos even knew who Lizzie was and all these scenes do is reaffirm that the show has strayed into fantasy territory. After a laborious build up, the eight episodes drag and the story could’ve easily been told in half the time. Crieps speaks with an inconsistent accent that annoyingly drops in and out, and Paulson caricatures Wuornos. As is synonymous with Murphys work, the soundtrack is brilliant and the costuming and sets have no expense spared. A bloody, graphic fabrication of female rage.

SCORE:

Alex's Score 5.9/10

Amanda’s Score 6.5/10

RUNNER

Specialist courier Hank Malone (Alan Ritchson) gets tasked with transporting a donated liver to the children’s hospital in order to save a young girl called Ellie (Scarlett Crabtree). What he doesn’t bargain for is chatty medical courier Ben Bishop (Owen Wilson) insisting on tagging along too. When ruthless cartel boss Damian Zaldívar (Rodrigo Santoro) decides he wants the organ for his dying mother, he pursues Malone and Bishop along the Gold Coast, trying to obtain it at any cost. This film is filled with high speed chaos, mostly during scenes of spectacular car crashes and impressive vehicle flips. As two people forced to fight for survival together, Ritchson and Wilson have a decent buddy energy on screen, but overall the acting is fairly ordinary, with some players leaning too hard into their character tropes. While the coastal scenery is picturesque, the plot is simple and far fetched. Remove any expectations to be challenged mentally to enjoy this for what it is. Action 101.

SCORE:

Alex’s Score 5.9/10

Jason’s Score 7.5/10

HEART OF THE BEAST

Retired special forces officer James Belmont (Brad Pitt) takes his service dog Odin (Uber) deep into the Alaskan wilderness (played by New Zealand). They both suffer PTSD and nightmares from their shared time in combat and now seek solace away from others. As James flies his small plane through a remote mountain pass, he suffers a medical episode which causes him to crash. Stranded in the elements, the pair must rely on each other to survive. It’s a clever premise having two beings experience the same horrors inflicted by humans, only to replace them with a different enemy in Mother Nature and her wild predators. The tension builds steadily and becomes more nerve wracking as the plot progresses. In a deliberate choice to reassure viewers that Odin doesn’t die, the opening scene shows him standing safely on a road as a truck pulls up, before flashing back seven days in time and telling the story of how he came to be there. Pitt and Uber give emotional performances that capture the connection between a soldier and his canine partner. Uber just pips Pitt at the post for the best actor accolade – say that three times fast! Having trained and rehearsed together extensively pre production, their chemistry runs deep and you can tell that the co-stars have a genuine rapport. Sixty two year old Pitt pushes himself physically for this entire film and has the stamina and strength of someone half his age. He plunges into freezing cold waters, carries heavy loads, and performs his own demanding stunts. His character is equally as tough, enduring several wince inducing, graphic injuries. The animals created by CGI have battle scarred faces and mean demeanours which don’t ring true for the appearances and stereotypical behaviours of real creatures. This movie a homage to the loyalty and bravery of dogs and shines a light on military working dogs and their lives after service. It’ll leave your heart full of love for man’s (and woman’s) best friend. How good are dogs! Oh and take your tissues – I cried 3 times.

SCORE:

Alex, Amanda, Kelly, Deb M, Penny, and Deb B’s Score 9/10

Steve and Tracey’s Score 8/10

Charli’s Score 7.8/10

Dave’s Score 7/10

RESIDENT EVIL

When hapless medical courier Bryan (Austin Abrams) accepts one final late night delivery job to Raccoon City, he expects an easy run. En route he accidentally hits a woman who jumps in front of his car. Initially distraught, he soon realises she’s a zombie who’s out for blood. He manages to escape to the city, only to find it overrun with zombies that meld together into a cartwheeling ball of conjoined body parts. Determined to deliver the package in his care, he fights his way to an Umbrella Corporation facility to complete the drop. The momentum is slow to begin with, but spirals half an hour in as Bryan’s fight for survival intensifies. There are several impressive splatter scenes when hordes of the undead plunge to their deaths, and the pinwheeling lumps of mutating arms, legs, and torsos are effectively grotesque. In a nod to the games, there are clever sequences filmed from a first-person point of view, where the camera looks down a shotgun barrel towards the scope. While there are plenty of jump scares, this film leans more into eliciting laughs than evoking terror. With Zach Cregger directing, it is hard not to compare it to the vibe of ‘Weapons’, only this feels more chaotic. Abrams brings a frenetic energy to the bumbling, hot mess Bryan. I was enjoying the ride of this production until its closing minutes. Rather than delivering a satisfying resolution, the story ends abruptly to set up an obvious sequel, making Bryan’s journey feel incomplete. Viewers may feel ripped off by this after 95 minutes of barracking for the underdog. Comedic gore.

SCORE:

Alex and Amanda’s Score 6.5/10

Alex and Rebecca’s Score 8/10

OASIS: DON’T LOOK BACK IN ANGER

Oasis burst onto the music scene in the 1990’s and became one of the biggest bands in the world. Known for their working class roots, brothers Liam and Noel Gallagher are also famous for their tumultuous relationship. After yet another explosive backstage argument in 2009, the band ended. The brothers didn’t speak for 15 years until they reformed and hosted 41 sold out stadium shows, performing in front of 2.2 million people. This 2+ hour documentary is mostly concert footage from their reunion tour and is all about the music. The best scenes feature short clips of ecstatic fans, overcome with emotion to be hearing songs they love, played live. As someone not overly familiar with Oasis beyond their hits and the notoriously brash attitude of Liam, I really wanted to learn more about what makes the duo tick, why they fell out, and their motivations for getting the band back together other than monetary gain – but they don’t go deep. In fact, their conversations to camera don’t go anywhere. You won’t learn a single new thing about either of them and nothing is revealed about their lives off stage. Liam might’ve mellowed slightly, but he still has a massive ego and perhaps there’s not that much more to know of him. Noel, being the songwriter of the two, obviously has some depth, but this isn’t revealed or explored. Ample singing with an absence of personal substance.

SCORE:

Alex and Kelly’s Score 5.5/10

COYOTE VS ACME

In the desert outside of Albuquerque, New Mexico, Wile E. Coyote decides he’s finally had enough of the faulty ACME products that repeatedly injure him during his attempts to capture the Road Runner. He hires despondent injury lawyer Kevin Avery (Will Forte) to sue the ACME Corporation. Kevin bites off more than he can chew by taking on the case and the mismatched duo end up in court, facing off against ACME’s imposing, fancy suited attorney Buddy Crane (John Cena) and its loudmouth CEO Foghorn Leghorn (Eric Bauza, who voices 12 other characters including favourites like Bugs Bunny, Daffy Duck, Tweety, and Porky Pig). The entire cast, human and cartoon, are superb and they don’t miss a beat, with my favourite being Martha Kelly, who’s brilliant as Kevin’s deadpan-demeanoured receptionist Dottie. This film is an absolute riot, filled with clever comedy, a strong message about the shady dealings of mega corporations, and an underdog story that has you barracking for the “lowlife cave dwelling desert dog”. The script is filled with witty banter and sharp barbs that bring genuine laughs. Body language, facial expressions, and sound effects are used to create magic moments of situational comedy. I appreciate that this is a production made for adults that kids will also enjoy, instead of the usual other way around. By seamlessly merging nostalgic 2D animation with live action environments, two distinct worlds are blended into one while keeping the spirit of Looney Tunes intact. What a travesty it would’ve been if this movie hadn’t seen the light of day, and full credit to the fans and cast who intensely pushed back against the studio decision to bin it as part of a tax write off. Props to distributor Ketchup Entertainment for acquiring the worldwide distribution rights and releasing it for us to now enjoy. They deserve to make back every cent of their investment and then some. This is the gold standard for creative animation. Let’s hope that’s not all folks.

SCORE:

Alex's Score 10/10

FORGOTTEN ISLAND

Set in the Philippines, Jo (H.E.R.) and Raissa (Liza Soberano) have been best friends since childhood. Jo is cheeky and easy going, while Raissa is intelligent and studious. When Raissa gets accepted into an American university, Jo is heartbroken at the prospect of saying goodbye to her favourite person. On Raissa’s last night in town, they head down to the local beach where Jo accidentally opens a portal to a mythical island called Nakali – a place her grandmother Lola Fatima (Dolly de Leon) used to talk about when she shared stories of folklore. The girls wash up on the island and realise twelve hours have passed that they can’t recall. Guided by Raww (Dave Franco), a half human, half dog creature, they begin a quest to regain their memories, meeting an array of interesting creatures along the way. This DreamWorks feature showcases jaw dropping animation that will frequently have you asking “How did they do that?!” It features inventive 3D worlds and 2D crossovers in an array of styles, including manga and anime. The dynamic colour palette adds to the film’s funky vibe and the lighting of each scene is handled masterfully. It’s the pinnacle of visual arts. Story wise, the 109 minute run time focuses on family, friendship, and never forgetting what, and who, matters most. Clever banter and cheeky humour are mixed with 1990’s pop culture references, delivering an overall experience that appeals to older kids, teens, and adults. The banging soundtrack is filled with upbeat, high energy songs that make you want to move. Some are familiar tunes, while others have been written specifically for the movie. Top tier on every level.

SCORE:

Alex's Score 9/10

Saraj’s Score 7/10

SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM

Shaun the sheep and his flock of fleeced friends return in this claymation adventure from Aardman Animations. When the clumsy farmer (John Sparkes) accidentally ruins the flock’s prize pumpkin patch, Shaun (Justin Fletcher) turns mad scientist to fix it. He creates a special growth potion but when the farmer mistakes it for hair serum, he accidentally transforms into a fully furred, yeti-looking creature. After scaring locals and all of the Mossy Bottom farm animals, the farmer is branded a monster and is locked away on a ship. Shaun, sheepdog Bitzer, and the flock launch a mission to rescue him, alongside the local vet (Nina Sosanya). This film is a lesson in dialogue free storytelling. Its vibrant visuals, expressive characters, situational comedy, simple story and superb sound effects do the heavy lifting to keep audiences entertained. With a halloween themed plot, I’d call it gentle horror suitable for kids aged 6 and up. The 81 minute run time is perfect and there are fun nods to movie classics like ‘Frankenstein’ and ‘Psycho’ that will appeal to adults. A delightful tale of zany animal antics.

SCORE:

Alex and Duncan’s Score 8.5/10

Andrew and Sally’s Score 9/10

PRACTICAL MAGIC 2

Nearly three decades after the original cult classic was released, witch sisters Sally (Sandra Bullock) and Gillian Owens (Nicole Kidman) return in this underwhelming sequel. They’re still haunted by a generational curse that causes the premature death of any man an Owens woman loves. Panic sets in when Gideon (Xolo Maridueña), the boyfriend of Sally’s daughter Kylie (Joey King), is hit by a car while riding his bike. Convinced the curse is striking again, a panicked Kylie travels to England to find a way to break the cycle, prompting Sally and Gillian to chase after her. Bullock plays the gruff, risk averse sibling opposite a ditsy Kidman, but their scripted banter feels rehearsed and lacks the spontaneity of natural ad-libbing. There are brief moments of fun between them but they’re too inconsistent. The main male characters, including Gideon, university professor Ian Wright (Lee Pace), and local resident Thomas Lockland (Solly McLeod), come across as insipid and are poorly acted. Sally’s other daughter Antonia (Maisie Williams) gets the rawest deal plot wise. She’s a trainee doctor who seems to work all the time, with no outside interests or romantic sparks introduced. On the magic front, this production fails to get off first base, with the tricks being light on and lacking a wow factor. Given the $75 million USD budget and advancements in visual effects since 1998, there‘s no excuse not to blow the roof off – this is a missed opportunity to create something memorable. The 130 minute runtime feels long because nothing much happens. My one standout moment was right near the end when Kidman drops an unexpected f-b*mb in an otherwise sanitised PG-13 rated film. Big names but little enchantment.

SCORE:

Alex, Dave, and Charli’s Score 6/10

Amanda and Tracey’s Score 7/10

Debbie’s Score 6.5/10

BY ANY MEANS

Black FBI agent Wayne Strider (Yahya Abdul-Mateen II) begins investigating the firebombing and murder of his close friend, civil rights activist Vernon Dahmer (Giancarlo Esposito). Set in 1966 in Mississippi, Dahmer is killed for encouraging people of colour to register to vote. Facing prejudice and indifference with in his own agency, Strider is paired with unhinged Brooklyn hitman Gregory Scarpa (Mark Wahlberg). He’s an off-the-record heavy, brought in by the FBI to punch first and ask questions later. The two men try to crack the case together and to elicit information from locals, Scarpa launches a violent campaign against several local Klansmen. His bloody, bone shattering interrogation scenes are hard to watch at times and he delights in dishing out some summary justice. Loosely based on true events, this intense and disturbing story presents a dark chapter of Americas history. Blatant racism plagues the era and Strider’s badge offers him no protection. Wahlberg, wearing extensive facial prosthetics and a wig, is unflinching as the trigger happy mobster. Abdul-Mateen II plays Strider with the growing confidence of a man finally finding his voice. A gripping look at the blurred lines of justice.

SCORE:

Alex's Score 7.5/10

THE FALL 2: DEADPOINT

Jax (Harriet Slater) is still heavily grieving after her reckless, thrill seeking sister Shiloh (Virginia Gardner) plunged from a tower in the original film. When Luce (Arsema Thomas) buys Shiloh’s old truck, she convinces Jax to tackle a dangerous, rickety plank walk built into the side of a Thai mountain. The pair set off to confront their fears in honour of Shiloh’s unoriginal and virally trending “Do what makes you feel alive” mantra. Jax has seemingly learnt nothing from her sister’s death and is easily led. Once they reach Thailand the story becomes pumped full of jeopardy, piling several dramatic, cliched plot threads on top of each other. There’s a bit of everything smashed in, short of Shiloh coming back to life. Expect frequent near death plunges, average effects, and stilted acting. While there’s sentimentality about forgiveness in the final scene, overall it’s a lesson that safety protocols exist for a reason and you should heed the warnings at off limits places. Mindless action.

SCORE:

Alex's Score 4.5/10

HOPE

Bumbling police chief Bum-seok (Hwang Jung-min) is called to investigate a mutilated bull just outside of Hope Harbour. When he returns to town, he finds a war zone with demolished buildings and dozens of citizens who’ve been attacked by a huge alien. Joined by his deputy Sung-ae (Hoyeon), he tries to locate the extraterrestrial while a group of local hunters, led by his second cousin Sung-ki (Zo In-sung), searches for it in a nearby forest. Jung-min and Hoyeon are in a constant frenetic state and their high energy roles must’ve left them totally and utterly exhausted by wrap day. They really give it their all. The first hour of this film is absolutely phenomenal thanks to the incredible sets, creative special effects, precise stunt driving, thumping music, detailed props, and engaging plot. But the following 100 minutes spiral into a chaotic mess. As soon as the clunky CGI creature is revealed, things take a turn. It looks like a character from a 1990s video game that’s struggling to render movement, which is such a shame given everything preceding its appearance is a 10/10. More aliens arrive, and in a blatant rip-off, one looks like a Xenomorph but sounds like a Yautja, while another has the mouth of Barbara Maitland from ‘Beetlejuice’ when she transforms into the undead. Add in an indestructible Sung-ki who survives a ridiculous amount of physical abuse and a runtime that overstays its welcome. The ending sets up a blatant sequel and several elements just don’t make sense – such a shame given it started out so perfectly. I wish there’d been more restraint (andediting) in the second act. Off its rocker!

SCORE:

Alex and Janette’s Score 6.5/10

Mon’s Score 7/10

IT ENDS

Four friends, Tyler (Mitchell Cole), James (Phinehas Yoon), Day (Akira Jackson), and Fisher (Noah Toth), drive onto the highway and find themselves stuck on a straight, never ending road that cuts through thick woods. Their vehicle never runs out of fuel and if they stop for more than ninety seconds, swarms of desperate people who are also trapped try to hijack their car. As they drive for hundreds of thousands of miles, they realise they no longer need to eat, drink, or sleep. Every day becomes an endless routine of driving, trying to think of ways to pass the time, and contemplating the futility of their situation. All four characters have distinct personalities that evolve within the constraints of the (mostly) single setting. They also have different breaking points. Clever filming styles include a retro 1970’s sequence and cool time lapses. This is an engaging and surreal ‘Backrooms’ of the road and its repetitive premise builds the claustrophobic tension. Interestingly the colour grading and standard or acting is reminiscent of ‘Obsession’. With metaphors are open to interpretation, it has a thought provoking, and conversation provoking, ending. I’m keen to watch it again.

SCORE:

Alex's Score 8/10

SWEETHEART

When his babysitter leaves to get married, Nico (Marco Fiore) is sent to stay with his elderly Great Aunt Gela (Aurora Quattrocchi) for the summer. She lives in Sicily with her one-eyed, elderly pug Frank. Her strict rules, religious beliefs, and lack of wi-fi are a shock to the system for the young boy, whose life revolves around his phone. He initially struggles to adapt to Gela’s traditional lifestyle in her quiet apartment complex. As the two slowly begin to find common ground, Nico makes friends with a group of local kids, including feisty Rosa (Martina Ziami), and grows to appreciate the endearing Nonna neighbours who support each other through thick and thin. Presenting a simple exploration of first love, community, and generational connection, this film takes its name from the affectionate term used by the grandmothers. The performances are wonderful across the board, especially Fiore and Quattrocchi. Special mention must be made of the cast of nonnas, who are mostly Sicilian elders new to acting. A gentle coming of age story.

SCORE:

Alex's Score 8/10

Saraj’s Score 7/10

ROSEBUSH PRUNING

Middle son Ed (Callum Turner) narrates this film and opens with a recollection about the death of his mother (Pamela Anderson), who was allegedly killed by a pack of wolves. He lives in a sprawling estate outside Barcelona with his blind, ritual driven father (Tracy Letts) and three adult siblings, Jack (Jamie Bell), Robert (Lukas Gage), and Anna (Riley Keough). When everyone’s favourite person, Jack, announces plans to move in with his girlfriend Martha (Elle Fanning), the codependent family dynamic crumbles into a cesspool of betrayal, airing dirty laundry, and incestuous acts. This film relies on their shocking and distasteful behaviour, sacrificing a cohesive story for provocation. It essentially chronicles the implosion of obscenely wealthy, dysfunctional people who aren’t the slightest bit likeable and beats ‘Saltburn’ on this front. While the plot is uncomfortable and absurd, the cast give it their all with committed performances. Sadly the taboo subject matter overshadows everything. Unhinged and disturbing.

SCORE:

Alex's Score 5/10

MAYDAY

US Navy pilot Lieutenant Troy “Assassin” Kelly (Ryan Reynolds) is shot down over Soviet territory during a secret reconnaissance mission in 1987. He’s rescued by Nikolai Ustinov (Kenneth Branagh), a retired KGB operative who lives in an isolated cabin and conveniently happens to be obsessed with all things American. Russian authorities, led by security officer Alexander Volkov (Marcin Dorocinski), begin hunting the unlikely duo and they take off on a chaotic cross country adventure in an attempt to reach the border. As far as Reynolds goes, you can take the man out of the Deadpool suit, but you can’t take Deadpool out of the man. He plays Kelly with a familiar charm and smart-mouthed banter, minus Deadpool’s signature crassness. Branagh, in a very dodgy looking beard, brings eccentric energy and holds his own in the action scenes. While the plot is cheesy and frequently far fetched, the technical aspects are superb. The cinematography delivers spectacular aerial footage, fight scenes filmed low to the ground, and a unique side-mounted car camera rig to capture the moving background – the latter was my favourite scene. Supported by meticulously crafted sets and authentic costumes, the look of this film is its strongest selling point. Silly fun presented brilliantly.

SCORE:

Alex's Score 7/10

Amanda’s Score 6.5/10

TINA ARENA: UNRAVEL ME

Sicilian-Australian Filippina Arena’s ability to sing was discovered during a wedding when she was nine. While working with a vocal coach, she auditioned for the popular kids’ variety show ‘Young Talent Time’. Host Johnny Young was blown away by her vocals and made her a permanent cast member. He suggested she go by the stage name of Tina to sound more commercial than her nickname, Pina. After several years on the show, she left to forge her own path, eventually heading to Los Angeles, where she married her then-manager Ralph Carr in 1995. She released hit singles “I Need Your Body” and “Chains” before she began feeling increasingly controlled by those around her. She moved to Paris looking for a fresh start and the French public welcomed her with open arms. Arena speaks candidly in this 96 minute documentary, reflecting on the highs and lows of a career spanning five decades. She comes across as a hardworking, resilient woman who fought for her success. Her extraordinary vocal range and powerful voice are highlights. You know her music – now you’ll know her too.

SCORE:

Alex's Score 8/10

BIG BABY

Horror writer Adam Lewis (Brandon Scott) spirals when two podcast hosts give his latest screenplay a bad review. As depression sets in, he attempts to write a new script, only to be haunted by nightmares of a man wearing an oversized baby mask, who he names Big Baby (Adam Marcinowski). The hulking man-toddler tells Adam he was drowned in a swimming pool as a boy and wants revenge against the people who pushed him in. Adam decides to make Big Baby the focus of his next film and shares this news with his girlfriend Kate (Krsy Fox, who also serves as a producer, editor and sound mixer). Adam becomes obsessed with Big Baby and his mental state deteriorates even more. Kate moves out and Adam starts writing storylines where Big Baby gruesomely slaughters his childhood enemies. This flick is surprisingly effective at combining the pressure of being a self employed artist with a total breakdown. While some of the practical effects are cheesy, the kills are violent, and the hideous get-up of the title character is unsettling. Executive produced by singing icon Cher and her son Chaz Bono, the plot constantly blurs the line between reality and fantasy. B-grade, diaper driven mayhem.

SCORE:

Alex's Score 6/10

UNTOLD RAYGUN: BREAKING BADLY

Rachael Gunn, AKA Raygun, became an overnight sensation for all the wrong reasons after her breakdancing performance at the Paris 2024 Olympics. She failed to score a single point across three rounds with her dismal routine (which included the sprinkler, a bouncing kangaroo imitation, and spinning around on the floor) and sparked thousands of viral memes and global ridicule. This 72 minute documentary features Rachael and her husband (and coach) Samuel Free sharing her journey in their own words. They recount the Oceania qualifying tournament, where she was deemed the best dancer in a very small field of competition, and progress to the fallout that followed her Olympic appearance. Unfortunately participating in this production does her few favours. For the first hour, it feels like a comedy mockumentary and she is given limitless rope. Gunn and Free fail to acknowledge her lack of technical skill and treat the situation like a joke that only they seem to get. Instead of admitting her shortcomings, Gunn comes across as arrogant and insists she gave it her all. There is only one brief moment where she has remorse and states “I bought shame and embarrassment to the country.” When billionaire Richard Branson offers her a lifeline by taking her on one of his cruises and getting her to “dance”, the passengers appear to be laughing at her rather than with her – which she is completely oblivious to. While it must be horrible to have your shortcomings exposed for the whole world to see, and no one should be abused online, a little humility goes a long way. Nothing good comes from delusions of grandeur.

SCORE:

Alex and Amanda’s Score 8.5/10

THE DOG STARS

*CONTAINS A SPOILER* Ridley Scott’s latest offering is set in post-apocalyptic 2035 following a flu pandemic that wiped out most of the population. Former mechanic Hig (Jacob Elordi) lives at a derelict airfield with his beloved dog Jasper and cynical ex-Marine Bangley (Josh Brolin). Grieving the loss of his wife Melissa (Sai Bennett) and their unborn child, Hig routinely flies his beaten-up Cessna on dangerous supply runs to a nearby city. When he’s forced to land in a field, he befriends Cima (Margaret Qualley) and her curmudgeonly father Pops (Guy Pearce). He emotionally connects with Cima, who is a widow, but struggles to fully open his heart to her. This is a survival movie where resources are scarce and everyone is constantly under threat, yet it has moments of calmness amongst the chaos. The cinematography is spectacular, with breathtaking aerials captured above rugged landscapes – while humanity has nearly been destroyed, the great outdoors is thriving. Apart from a surreal visit to a community run by the mysterious Darlene (Allison Janney, having lots of fun), the story is engaging and Elordi does a solid job portraying melancholic Hig. There are many blanks to fill in regarding the virus and backstory for every character, but this film focusses on what is, rather than what has been. In the interests of full disclosure (and because dog people need to know!), Jasper dies and usually this would kill a film for me, but I feel that his loss adds to Hig’s attachment avoidance moving forward. Brutal and gentle at the same time.

SCORE:

Alex and Jason’s Score 8/10

Janette’s Score 7.5/10

STOP! THAT! TRAIN!

Former ‘Stank Rail’ stewardesses Tess (Ginger Minj) and DeeDee (Jujubee) sneak aboard high speed bullet train the Glamazonian Express. When it hurtles straight towards a catastrophic “Stormaganza”, they try to keep the passengers calm. President Judy Gagwell (RuPaul Charles who looks every bit the star) and command centre dispatcher Donna Dusk (Rachel Bloom) take charge and together they attempt to avert the disaster. This film follows the joke-a-minute slapstick style of spoofs like ‘Flying High!’ and ‘The Naked Gun’. Despite its glossy sets, phenomenal drag queens (including Marcia Marcia Marcia, Latrice Royale, Brock Hayhoe and Symone), and immaculate costuming, the comedy falls flat, relying on unoriginal, crude one liners. Not even celebrity cameos from Sarah Michelle Gellar, Lisa Rinna, Nicole Richie, Jesse Tyler Ferguson, Missi Pyle, and Raven-Symoné can rescue the lacklustre script. It doesn’t take itself seriously and is a bit of fun but still ends up a train wreck.

SCORE:

Alex's Score 5.5/10

Kerryn’s Score 9.5

Janette’s Score 8/10

Duncan’s Score 7.5/10

Kelly’s Score 7/10

SPA WEEKEND

Three best friends, Jane (Leslie Mann), Sophie (Anna Faris), and Coco (Michelle Buteau), head off on an expensive spa weekend to celebrate Jane’s birthday. Desperate for some downtime, their hopes for a relaxing getaway are dashed when eccentric pal Mel (Isla Fisher) decides to gatecrash. She’s an unhinged, loose unit without a filter who wrecks everything she touches. Jane, Sophie, and Coco get dragged into her chaos as she disrupts the entire luxury resort. Mel has a stereotypical ocker Australian accent, which is fitting given Fisher is an Aussie and filming took place on the Gold Coast in Queensland. This is a predictable comedy with jokes that feel forced and overly rehearsed. It reminds me of ‘The Hangover’, and has the same writers, but with middle aged women who are dealing with divorce, new relationships and burnout. None of the characters possess any likable traits, making it difficult to care when their retreat falls apart. Amongst a lot of cringing, I only laughed once, when a group of goats ran amok during a yoga session – such a shame since I fit the demographic for the target audience. While the shallow script means the four leads had very little to work with, they were also given the freedom to ad-lib, and overall they failed to demonstrate their comedic range. The best bits are the post credit bloopers. The rest is mind numbing.

SCORE:

Alex's Score 4.5/10

Jason’s Score 6.5/10

DALLIANCE

Billy (Hugo Weaving) randomly meets caterer Dani (Heather Mitchell) on a ferry while he’s trying to escape his angry brother Gary (David Wenham). Dani helps him hide then drives him home, where she’s introduced to his wife Rose (Georgie Parker). She later asks Rose if she can “borrow” Billy as her plus-one date for a fancy dinner her ex will be at. Rose agrees, but Billy tragically passes away at the event after having a heart attack. A group of his former school friends, now all in their 60’s, reunite at his funeral. The emotional highs and lows of their personal lives are revealed and their different relationship dynamics rise to the surface. Did someone say midlife crisis? Meanwhile Rose begins to question the events that occurred leading up to his death and wonders if Dani is telling the truth. This six part series builds the expectation of an explosive twist, but one never comes. It fails to deliver a satisfying payoff and apart from Billy’s death, nothing much happens. The talented cast, which also includes Catherine McClements and Wayne Blair, is let down by the weak writing. Lacks punch.

SCORE:

Alex and Amanda’s Score 5/10

PAW PATROL: THE DINO MOVIE

Ten year old Ryder (Henry Rolan) and his pack of heroic rescue pups Chase (Rain Janjua), Marshall (Carter Young), Skye (Mckenna Grace), Rubble (Lucien Duncan-Reid), Rocky (William Desrosiers), and Zuma (Nylan Parthipan) discover a hidden island populated by dinosaurs. There they meet Rex (Hayden Chamberlain), a happy go lucky dog in a wheelchair who rides around on a Tyrannosaurus Rex and lives in a treehouse. When villainous Mayor Humdinger (Ron Pardo) is released from jail alongside his Kitten Catastrophe Crew, he decides to mine the island for its precious diamonds by blowing it up. His greedy actions threaten to destroy the prehistoric ecosystem and the PAW Patrol spring into action to stop him in his tracks and save their new Dino friends. This is an uplifting kids film filled with simple, sweet messaging about inclusivity, never giving up and always trying your best. It’s beautifully animated, with the anthropomorphism of the dogs drawn in a vibrant round-faced style. Their sleek, glossy vehicles reflect each pooch’s personal branding and their tech is innovative and fun. With a plot that’s easy to follow, the optimism and team spirit of the dogs shines though. Pure positivity.

SCORE:

Alex's Score 8/10

Kyleigh and Emilee’s Score 9/10

THE WHISPER MAN

Following the death of his wife, author Tom Kennedy (Adam Scott) moves cities with his young son Jake (Woody Norman). Their fresh start quickly turns into a nightmare when Jake is abducted by someone copycatting an imprisoned serial killer called Frank Carter, AKA The Whisper Man (Michael Keaton). Tom’s estranged father Peter (Robert De Niro) is a retired detective who put Carter away decades earlier. He’s approached by detective Amanda Beck (Michelle Monaghan) to help hunt down the kidnapper and in doing so, reconnects with Tom. Despite the accomplished cast and big production value of this sleek looking film, the story pushes believability beyond the limit. It’s filled with ridiculous coincidences, absurd plot holes, and miraculous recoveries from injuries that would definitely cause death – not to mention the police and prison procedural misconduct. While it’s fun to see Keaton playing a creepy role for a change, nothing else about this is memorable. All hype, much disappointment.

SCORE:

Alex’s Score 4.9/10

Amanda’s Score 4/10

DEATH OF THE PASTOR’S WIFE

Mica Miller joined the evangelical Solid Rock Church in South Carolina when she was 13 years old. The congregation’s older pastor JP Miller groomed her and the two began an affair before leaving their respective partners and getting married when Mica was 22. For the next five years, Miller subjected Mica to relentless psychological, s*xual, and physical abuse while she tried to be the perfect Pastors wife. He began having an affair and behaved in ways that were in direct contradiction to his preachings. Mica eventually left him and filed for divorce, only to later take her life in a North Carolina national park. Her siblings believe that his relentless torment drove her to su*cide, and they are pushing for “Mica’s Law” to criminalise coercive control and domestic abuse. While the FBI has charged Miller for stalking and sending harassing digital communications, he’s never been held accountable for his role in her death. This documentary reconstructs the fateful relationship between Mica and JP’s using audio recordings, video footage, and interviews with friends, family members, and parishioners. An anger inducing, frustrating look at a religious zealot using the church as cover.

SCORE:

Alex and Amanda’s score 8/10

FREEFALL: A RECKONING FOR BOEING

Aircraft manufacturer Boeing was once trusted for building the safest, highest quality airplanes in the world. This changed with the appointment of CEO Jim McNerney Jr. Keen to cut costs by 50%, he outsourced manufacturing tasks, resulting in major flaws in the 787 Dreamliner and 737 MAX models – two of the latter have since crashed, killing everyone on board. In this eye opening documentary, whistleblowers reveal how management deliberately overlooked quality control problems, repurposed scrap metal, frequently used defective parts, and ignored failing oxygen masks. Hidden camera footage captured at the South Carolina plant records employees admitting they would never travel on the very planes they are building. Boeing claims to have implemented software upgrades, revised pilot training, and reformed manufacturing processes to rectify the issues, but even if one per cent of the allegations against them are true, this is the stuff of nightmares. For anyone who flies, the mounting evidence and testimonies are terrifying and expose an unacceptable “profits before people” culture. When power and greed are more important than human lives, people die. Be outraged and tell everyone.

SCORE:

Alex's Score 8/10

INSIDIOUS: INTO THE FURTHER

Dental hygienist and single mother Gemma (Amelia Eve) lives with her nine year old daughter Maya (Island Austin) in her childhood home – the location of her mother’s traumatic death twenty years earlier. When Maya’s pillow fort opens a gateway to the realm of the dead, called “The Further”, Gemma discovers she can cross between both worlds. As an added supernatural bonus, she can take objects and entities with her. Evil cult leader Cyrus Lam (Sam Spruell), who is trapped in The Further, tries to force Gemma bring him and his disciples into the present, targeting Maya when Gemma resists. The first twenty minutes of this film are quite engaging, but as soon as the plot shifts to demonic possession and ridiculous realm hopping, it becomes hard to follow. It sorts itself out just in time for the final showdown to kick off between Gemma and Cyrus, a battle that ends with Gemma needing to call Budget Direct. Eve does a convincing job as the lead, but the hangry undead are more creepy than terrifying. They have a “Beetlejuice” vibe. The scariest parts of this movie are when it cleverly taps into dental phobia territory. Gemma’s workplace scenes feature horrific close ups of manky teeth picking, drilling, and grotesque inner mouth shots, which will make anyone who dreads the dentist squirm in their seat. Eye rolls are greater than jump scares.

SCORE:

Alex's Score 5/10

Kate’s Score 7/10

MUTINY

Jason Statham is back on our screens again. This time he plays bodyguard Cole Reed, who gets framed for murder after his billionaire boss Tibu Campallo (Ramon Tikaram) is assassinated in Bangkok. Seeking revenge, Reed stows away on a cargo ship owned by Campallo’s company KMG and uncovers a human trafficking ring. He is forced to battle its crooked crew members to save the captives. As to be expected of a Jason Statham flick, this film delivers plenty of action, bolstered by pounding, overly dramatic music, basic dialogue, and a plot revolving around a lone wolf hero. They blew the special effects budget on two graphic fight scenes – a knife to the face and a speargun shot to the head – while the rest of the skirmishes are pretty tame. There’s a fun moment where blood splashes directly onto the camera lens and in the next shot it’s been wiped off, so the jury’s out on whether it was deliberate or not. In order to make Statham look like a better actor than he is, the supporting cast are pretty average. There really is one mould for this guy, but he’s still making movies and making money. Generic and unoriginal but on brand.

SCORE:

Alex's Score 4.5/10

Cath’s Score 8/10

Jason’s Score 6.5/10

DE GAULLE: RESISTANCE

In 1940, General Charles de Gaulle (Simon Abkarian) refused to accept France’s temporary peace agreement with Germany. He sought exile in London and launched the Free France movement, which was initially dismissed by many as futile. Eventually supported by British Prime Minister Winston Churchill (Simon Russell Beale), de Gaulle used French colonised territories across Africa to build an army and push back against the German occupation. This intriguing story gives a factual account of World War II politics and military strategy. The scenes during the Battle of Bir Hakeim in the Libyan desert emphasise the futility of war alongside the importance of fighting for the bigger picture. As part one of two, this instalment covers the years 1940 to 1942. Rich set design, impeccable costuming, and vintage colour grading create a classic aesthetic that suits the era. Running at 160 minutes, Abkarian gives a commanding performance, personifying the steely resolve and never say die attitude of de Gaulle. A masterful historical drama.

SCORE:

Alex, Janette and Fiona’s Score 9/10

Narelle’s Score 9.5/10

Bob’s Score 8.5/10

Debbie, Tracy, Lydia and Angela’s Score 8/10

Nola’s Score 7/10

Kent’s Score 6/10

THE B*MBING OF PAN AM 103

In December 1988, a b*mb detonated mid air on Pan Am Flight 103, causing the aircraft to crash into the town of Lockerbie, Scotland. All 259 passengers and crew were killed, along with 11 local residents on the ground. This six part series follows the multi country investigation led by Scottish police and US law enforcement agencies. It highlights the meticulous collection of evidence at the crime scene alongside the jurisdictional hurdles that complicated the case. Moving into the courtroom, the tension mounts when two Libyan intelligence operatives are eventually arrested – the prosecutor’s closing argument is particularly powerful. Adding to the credibility of this dramatisation, real news footage, archival interviews, and street vox pops are included. Thanks to a strong script and a solid cast, the human trauma is never forgotten and great care is taken to honour the victims, displaying their names in the closing credits. The lessons learnt from this abhorrent attack transformed airport security procedures worldwide and led to the creation of Scotland’s first witness protection program. A powerful, solemn and moving retelling.

SCORE:

Alex and Amanda’s Score 8/0

ON THE LINE

This documentary series provides an eye opening look into the very best of the culinary industry. Now in its third season, it has racked up 84 episodes, all under 30 minutes in duration. Each one follows a single day in the life of a different chef who runs a Michelin-starred venue, school cafeteria, pizzeria, burger joint, BBQ house, or sandwich bar. Presented fly-on-the-wall style, with the chefs speaking directly into the camera sans interviewer, the episodes are fast paced and highlight the endless preparation, stock control, staff supervision, meetings, and social media management, alongside menu planning and actual cooking. Regardless of whether the business is a casual diner or a fancy restaurant, their dedication to food quality and an excellent customer experience gives a greater appreciation of the efforts involved. Bite sized and mouth watering!

SCORE:

Alex and Amanda’s Score 8.5/10

I WANT YOUR S*X

This film hits the ground running with artist Erika Tracey (Olivia Wilde) found floating face down in a swimming pool and her shocked assistant Elliot (Cooper Hoffman) being interrogated by two detectives (Johnny Knoxville and Margaret Cho). The story then rewinds nine and a half weeks to show how Elliot landed what he believed was a dream job working with Erika in her gallery. Fourteen years older than Elliot, she is a tough narcissist who aims to provoke and shock with her boundary pushing, x-rated art. She quickly takes a shine to naive, doe eyed Elliot, enticing him into an inappropriate employer-employee BDSM affair. He becomes fixated on catering to her every whim, causing his relationships with girlfriend Minerva (Charli XCX) and best friend Apple (Chase Sui Wonders) to implode. The leads bring playful energy to their cheeky roles in this fast paced, edgy production. Erika’s avant-garde outfits, which are akin to wearable art, complement the vibrant, colourful set design. The plot is over the top and engaging, until it falters on the home stretch with two absurd future fast forwards. For a dark comedy, I wished for a few stronger laughs. Silly fun with a stylish an aesthetic.

SCORE:

Alex, Saraj, Jason, Chani and Duncan’s Score 6/10

Debbie, Jodie, Sally, Lydia and Anna’s Score 9/10

Deborah’s Score 8.5/10

Tracey’s Score 8/10

Kelly, Steve and Mel’s Score 7/10

Isabelle’s Score 3/10

TONY

Based on part of Anthony Bourdain’s memoir “Kitchen Confidential”, this biographical drama opens with a quote from the man himself: “I was, to be frank, a spoiled, miserable, narcissistic, self-destructive, and thoughtless young lout, badly in need of a good a*s kicking.” Never were truer words spoken. By his own admission, he was also a compulsive liar who lacked confidence and was aggressive towards women who rebuffed him. In the 1970’s, nineteen year old Bourdain (Dominic Sessa) impulsively moved to Provincetown, Massachusetts, chasing after his high school crush Nancy Putkoski (Emilia Jones). Without a plan or the funds to support himself, he fell into a job washing dishes at a seafood restaurant owned by Chef Ciro (Antonio Banderas), his only positive acquaintance at the time. After lying about his previous cooking experience, he progressed to a food preparation position in the hectic, filthy kitchen. Bourdain buddied up with oyster shucker Sal (Leo Woodall), an unscrupulous bad boy who introduced him to drugs and partying. While Bourdain was not an instigator, he had zero moral compass, quickly going along with the nefarious status quo set by Sal and bringing chaos into the lives of everyone he knew. He eventually experienced a redeeming moment that led him to culinary school before he went on to become a celebrated chef, which all unfolds at the very end of the film. Sessa is convincing as the unlikable young Bourdain, so much so that he gave me the ikk. Woodall extends himself beyond his usual nice guy roles, stepping into the shoes of a violent thug who acts without accountability. There aren’t any aspirational food prep sequences in this film. Instead it explores who Bourdain was before he found fame and traces his journey from Tony to Anthony. Covering just one summer, his death by suicide eight years ago is omitted from the end captions that update what he did next. A raw story well told.

SCORE:

Alex, Stefan, Deb, Paul, Jill’s Score 8/10

Mon and Treliza’s Score 10/10

Lydia’s Score 9/10

Suzanne’s Score 8.5/10

Jason and Natalie’s Score 7.5/10

Sally and Nola’s Score 7/10

Zoe’s Score 6.5/10

Janette, Debbie and Brian’s Score 6/10

THE RIVALS OF AMZIAH KING

 Returning to the screen after a six year hiatus, Matthew McConaughey leads as Amziah King, a musician and honey producer. He reconnects with his former foster child Kateri (Angelina LookingGlass), who is Native American, and begins teaching her the beekeeping trade. The story focuses on beehive rustling and plays out over two distinct halves – the first is infused with laugh out loud moments, while the second is more serious in tone. Be prepared for captivating bee scenes and a few unexpected twists. Both the casting and acting are brilliant and there’s no weak link. Some of the dialogue is tricky to catch due to the dense Oklahoman accent and in a deliberate acknowledgement of this, Amziah’s right hand man Chimmy (Scott Shepherd) mumbles so heavily that even the other characters struggle to understand him. The action is complemented by rousing folk music, with six of the songs performed live on set to ensure their spontaneity and authenticity. A man of many talents, McConaughey sings and plays the mandolin … and he does not miss a beat. The inclusion of the song “Green Lights” (by Tony K) is a sweet Easter egg reference to his globally bestselling book of the same name. Buzz worthy!

SCORE:

Alex, Amanda, Saraj, Jason and Angela’s Score 9/10

Cheryl’s Score 8.5/10

Marcia, Duncan, Wayne, Cec, Lydia and Janette’s Score 8/10

Steve’s Score 7.5/10

Dave, Anna, Sharon, Harry, Mark, Kath, Tony, Eve and Sally’s Score 7/10

Katherine and Leeanne’s Score 6/10

Alison and Terri’s Score 4/10

Kelly’s Score 2/10

DARE TO CARE

Photography has been a passion of Sherry Ringer’s for more than 50 years, ever since her father bought her a Box Brownie camera when she was 10. Since then she’s travelled the world, capturing all creatures great and small, from the populous to the vulnerable. In her first feature length production she shares the results of her life’s work through images and videos of feathered, furred, fanged and finned animals found in 21 different countries. Each animal’s vulnerability status is listed, bringing a strong educational element to her film. Carefully curated into three chapters: air, land, and sea, it’s clear that the ocean is where Sherry’s heart lies. The footage of humpback whales swimming freely off the coast of Hawaii is absolutely mesmerising. All of the video clips and photographs are beautiful, showcasing how Sherry views her subjects. Her driving motivation is to promote conservation and she powerfully emphasises that we need to preserve what we have left before it’s too late. Accompanied by an effective musical score, her images will leave you feeling a deep connection to the natural world, and a new found respect all who call it home. A labour of love crafted into lasting legacy.

SCORE:

Alex's Score 9/10

THIRD

Married couple Thomas (played by writer and director Alexander Parkinson) and Sandra (Coley Campany) have hit the doldrums. They’re sleeping in separate rooms and merely going through the motions of daily life together. When a handsome naked man named Ernesto (Norio Nishimura) mysteriously falls from the sky into their backyard swimming pool, their monotony fades. Ernesto initially struggles to remember anything other than his own name, but soon his early memories return. He ingratiates himself into the household by cooking meals and introducing Thomas and Sandra to c*caine. Sandra becomes enamoured with him and the two begin a passionate affair that eventually ensnares Thomas. The trio orders their illicit substances and household goods through “Smile”, an Amazon Alexa-style assistant that facilitates the delivery of everything directly to their door. Before long Thomas uncovers Ernesto’s true intentions and their ménage à trois bubble bursts. Filmed almost entirely in Thomas and Sandra’s home with only a handful of characters, the story moves at a quick pace across its eighty three minute run time. This debut feature from Parkinson delivers a thought provoking look at artificial intelligence and smart devices, showing how gadgets can be used to nefariously monitor our every move and influence our decision making. An intriguing technological gut punch.

SCORE:

Alex's Score 8/10

EMPATHY / EMPATHIE

Former police psychiatrist Dr Suzanne Bien-Aimé (played by series creator Florence Longpré) returns to work after taking two years off following a personal tragedy and subsequent emotional breakdown. She takes up a role at Mont-Royal Psychiatric Institute in Montreal and begins treating patients, accompanied by her security officer Mortimer Vaillant (Thomas Ngijol). This French-spoken ten part series explores the daily routines of the residents, portraying their mental health issues with care, sensitivity, and insight. It also follows Dr Bien-Aimé’s growth as she processes her trauma and slowly becomes open to experiencing joy again. Supported by a brilliant cast and strong script, the themes of hope and human connection are handled with warmth and relatability. The compelling final minutes of the finale perfectly set up the second season, which has already been commissioned. An endearing exploration of relationships with family, friends, colleagues, and oneself. Highly recommended!

SCORE:

Alex and Amanda’s Score 9/10

GONE

Music teacher Sarah Polly (Halle Bailey), wife of Michael Polly (David Morrissey), the headmaster of an elite private boys school, is found murdered in the woods near their on-campus home. Detective Sergeant Annie Cassidy (Eve Myles) is assigned to the case as a family liaison officer, while entangled in a dysfunctional relationship with her ex DI Craig Stanhope (Peter McDonald). Michael’s detached, terse demeanour does him no favours and he is initially the main suspect, until skeletons in Sarah’s closet are uncovered. His daughter Alana (Emma Appleton) is desperate for a connection with him, but he remains emotionally unavailable. The story keeps you guessing about who committed the crime before everything is suddenly, and rather too conveniently, revealed in the final episode. While I can’t fault the acting, and Morrissey is always convincing when he’s playing a character with a dark nature, some of the police procedural elements are highly questionable and would jeopardise a case if they were conducted in real life – a surprising flaw given the series creator consulted with a former Detective Superintendent to cover the procedural elements of the series. Not quite up to par compared to other British crime dramas.

SCORE:

Alex's Score 6.9/10

Amanda’s Score 7/0

& SONS

Acclaimed author Andrew Dyer (Bill Nighy) lives in an eclectic manor with his housekeeper Gerde (Anna Geislerová) and youngest son Andy (Noah Jupe). Now an elderly recluse in the grip of alcoholism, Andrew has not left his home for over two decades. After the death of a former friend, he summons his two eldest, estranged sons,, filmmaker Jamie (George MacKay) and screenwriter Richard (Johnny Flynn), to meet with him in an attempt to purge a secret he’s held for twenty years. They have little patience for Andrew’s addiction issues and declining mental state. His clearing of conscience has a damaging impact on Richard, Jamie, and his former wife Isabel (Imelda Staunton). While the cast boasts some accomplished British names, former child actor Jupe anchors the film through his portrayal of Andy. Essentially a story about an unlikable narcissist, the plot is slow and confusing with several gaps, and as a result it failed to maintain my interest. There’s a lack of backstory and character development for Richard and Jamie, making their anger towards Andrew feel disproportionate as a result. While Andrew’s bombshell secret is shocking, it requires a suspension of logic to believe someone would destroy their own family the way he did. Droll and sluggish.

SCORE:

Alex and Mel’s Score 5/10

Cheryl’s Score 9/10

Lydia’s Score 8/10

Kelly’s Score 6.7/10

Janice’s Score 6/10

Chelsey’s Score 4.5/10

Mon’s Score 4/10

Nola’s Score 3/10

OUTBACK TERROR: THE FALCONIO MURDER

In 2001 British backpacker Peter Falconio was murdered by Bradley Murdoch on a remote stretch of the Stuart Highway in the Northern Territory. His girlfriend Joanne Lees incredibly avoided abduction by hiding for four hours in the scrub before flagging down a truck driver and raising the alarm. In this two part documentary, geoforensic specialist Dr Mark Harrison MBE and former FBI profiler Kathy Canning-Mello analyse the behaviour of Murdoch before, during, and after the crime, while examining environmental factors to determine where he might’ve hidden Falconio’s body. The two experts occasionally adopt an overly excitable, sensationalist tone that feels out of touch with the tragedy, though they do offer valuable information about potential search locations. Lees has her story relayed through archival interviews and court transcripts, as she doesn’t participate directly. Unfortunately Falconio’s body still hasn’t been located and Murdoch died in 2025 without revealing the location – this leaves the case without a resolution. I felt a sense of futility by the end of this series as nothing has changed as a result of it.

SCORE:

Alex's Score 7.5/10

THE END OF OAK STREET

Greg (Ewan McGregor) and his wife Denise (Anne Hathaway) live on Oak Street with their teenagers Audrey (Maisy Stella) and Brian (Christian Convery) and their blue heeler dog Starbuck. After a cosmic event, which they initially assume is a severe lightning storm, the family wakes up to discover their suburb has been taken over by exotic plants and hungry roaming dinosaurs. Their once safe, quiet community is now a prehistoric hunting ground, forcing them to fight for survival as they struggle to comprehend what’s happening. Once the action kicks in, the story unfolds rapidly, with ample suspense and jump scares to keep you engaged. All four leads give strong performances and authentically convey their growing terror and desperation, with Hathaway being the stand out. Her character believably goes from unhappy housewife to fierce, gun toting protector. Set in 1982, this film has a retro, nostalgic feel to it thanks to the music, colour palette, and props used. To heighten the anxiety, intriguing split diopter “in your face” camera angles are used to focus inches away from the face of one character while others appear smaller in the background. The dinosaurs themselves are realistic in design and movement, with animatronics used for the smaller creatures – a technique many filmmakers are incorporating more often to give actors tangible, physical threats to react to. The run time of 99 minutes was perfect. I loved everything about this movie and would watch it again. An excellent creature feature.

SCORE:

Alex and Saraj’s Score 9/10

Simon’s Score 7.5/10

Amanda, Zoe and Dave’s Score 7/10

ONE NIGHT ONLY

Set in New York City, a countrywide law known as “The Mandate” bans s*x before marriage for 364 days of the year. On the remaining day the ban is lifted for a 12 hour window – all the unbetrothed go crazy and condoms become the most valuable commodity. Pizza store owner Owen (Callum Turner) gets dumped by his girlfriend when she decides to pursue another romantic option for the night. Heartbroken he heads out on the town hoping to drown his sorrows with a fling. He crosses paths with jingle singer Allie (Monica Barbaro) who’s single and searching for a genuine connection with a nice guy rather than a hookup. The two have a series of sliding door moments across Manhattan together before realising that what they are looking for is right in front of them. This solid rom com has several sweet moments, good chemistry between the leads, and a playful tone despite its predictable plot. It requires belief to be suspended regarding the unpopular mandate but doesn’t get bogged down by the conservative politics. Lighthearted and fun, plus the bonus of Molly Ringwald cameoing as Owen’s mother Linda.

SCORE:

Alex's Score 7.9/10

THE ASSISTANT

Told across one day, Jane (Julia Garner) is five weeks into her job as an assistant for a film industry executive in New York. Her tasks are mostly menial and repetitive, and her colleagues are indifferent towards her. When she tires of the toxic work environment and her boss’s sexual exploitation of young women, she makes a complaint to the head of HR, Wilcock (Matthew Macfadyen). He dismisses her concerns and she faces her own moral dilemma relating to her boss’s predatory behaviour. Garner captures her character in an understated, pared-back manner. Her growing anxiety is heightened by the absence of any music, filled instead with off-screen voices, muffled phone calls, and office background noise. The camera follows Jane closely, often from directly above or right in front of her face. Lingering shots of her walking down hallways, standing at the photocopier, and working at her desk emphasise the monotony of her routine. You do not see or hear her boss clearly – he’s faceless, which ironically makes his presence feel even more dominating. The bleak office sets, decked out in dull greys and flat blue tones, lack warmth and are uninspiring. Do not expect a big crescendo of justice at the end. Instead the final scene cleverness reflects the futility often experienced by women trapped in a power imbalance with an abusive employer. On the back of the #MeToo movement, this film is not fiction. Intentional and poignant.

SCORE:

Alex's Score 8/10

THE IDAHO MURDERS: COLLEGE NIGHTMARE

In November 2022, the brutal quadruple homicide of university students Kaylee Goncalves, Madison Mogen, Xana Kernodle, and Ethan Chapin sent shockwaves through Moscow, Idaho. The four flatmates were popular young adults who had bright futures ahead of them. Through interviews with friends and family members, police bodycam footage, and crime scene records, this well crafted documentary series meticulously pieces together the final hours of the victims lives and the subsequent investigation. It details how officers eliminated several early suspects, before piecing together evidence that led them to criminology graduate Bryan Kohberger. The three episodes culminate with Kohberger’s plea agreement to avoid the death penalty. Instead he trades a guilty plea to four counts of first degree murder for four consecutive life sentences without parole. The absence of a clear motive still painfully impacts the loved ones of Kaylee, Xana, Madison, and Ethan. A senseless crime masterfully portrayed.

SCORE:

Alex's Score 8.5/10

THE MAN WILL BURN

This four part documentary series explores the history and evolution of Burning Man at Black Rock City, Nevada. It details how the festival was cancelled in 2020 and 2021 due to the pandemic – the first time in its forty year history. In its place, dedicated group of participants decided to stage a “Free Burn” gathering, returning the event to its corporate free, grassroots beginnings. The official management team took notice of this and since 2023 they’ve shifted their focus back to the core artistic experience for the 80,000 attendees who attend each year. Event founders, founders, artists and attendees speak about the stresses of extreme weather, land use permit issues, navigating safety logistics, power struggles among the management team, and the tension caused by billionaires who believe that their financial support automatically gives them a share of the control. An eye opening look at navigating the madness of this iconic social experiment and what goes into ensuring the man will burn.

SCORE:

Alex's Score 8.5/10

THE KILLINGS AT PARISH STATION

Four scientists are gruesomely murdered at Parrish Station, an isolated research facility. The sole survivor Dr Kate Reynolds (Alex Malone) is rushed to hospital in a catatonic state and starts behaving weirdly when she eventually wakes up. Lead detective Millie Farah (Kat Hoyos and Doris Younane) realises that these deaths are a copycat of four unsolved murders that occurred at the station thirty seven years earlier. She recruits the original, now former, detective of that case Georgia Cooke (Mia Wasikowska and Heather Mitchell), signing her out of the psychiatric facility where she has lived since her career ended prematurely. Cooke is forced to confront her past traumas as she helps to investigate the new case. This series sounds intriguing on paper, but the plot soon becomes convoluted with the constant flashbacks between 1987 and the present day, and it gets absurd when occult elements are introduced. It’s also easy to predict who the perpetrator is. I lost interest early and had to force myself to watch until the end. I’m all for suspending reality but when a story does not make any sense, it becomes impossible to stay invested. While the acting is okay, certain character choices do not always land – like the constant swearing from the elder Cooke. The visually striking environmental scenes are impressive, giving a sense of sparseness and futility to the remote location. More far fetched than mysterious.

SCORE:

Alex's Score 5/10

DEAR LIFE

Lillian Vandenberg (Brooke Satchwell) is a grieving woman whose fiancé was killed in a violent incident at a hospital. Following his death, the recipients of his donated organs begin reaching out to her. This inspires her to track them down, which takes her on a journey of vulnerability. While this series boasts a premise with a lot of heart, the acting lets it down. Satchwell is great in the lead role, as is Eleanor Matsuura as her best friend Mary, but many of the remaining cast deliver average performances. With only a few characters doing the heavy lifting, any sense of drama is stalled, and some of the reunions lack a believable connection. This is such a shame because the series has a positive, encouraging view of organ donation that needs to be shared. Hit and miss, despite being able to see what it was trying to achieve.

SCORE:

Alex's Score 5.5/10

THE ODYSSEY

My second viewing of this masterpiece confirms how glad I am that I saw it in IMAX at eventinnaloo the first time. Although IMAX isn’t available everywhere, waiting for a ticket is completely worth it to do the cinematography and sound justice. Seeing it again on a non-IMAX screen just isn’t the same. It’s still a 10/10 for the film though.

SCORE:

Alex's Score 10/10

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