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

100 NIGHTS OF HERO

After a young girl called Kiddo (Safia Oakley-Green) creates a human world, sort of like a science project, her tyrannical father Birdman (Richard E. Grant) controls its population through fear. He bans women from telling stories and forbids them from reading books, branding them as witches and pushing them off cliffs if they disobey. His religious disciples, the “Beak Brothers” are a group of brainwashed men who wear bird masks and act as his enforcers. Jerome (Amir El-Masry) and his new wife Cherry (Maika Monroe) infuriate Birdman by failing to produce a child. When Jerome’s friend Manfred (Nicholas Galitzine) arrives at his castle, Jerome invites him to stay while he’s away for 100 nights. In a test of Cherry’s loyalty, Manfred bets Jerome that he can seduce her in his absence. There’s one major barrier – Cherry and her loyal maid Hero (Emma Corrin) are secretly in love, which is also taboo under Birdman’s rules. For a lead character, Cherry doesn’t have many lines, which is just as well because Monroe’s portrayal of the damsel is stiff and uneasy – perhaps intently so. If I could sum this film up in one word it would be erratic. It doesn’t know if it’s a cheeky period romance or a strange fantasy fairytale. At times it even attempts to be a comedy, only to fall short with a lack of any humorous momentum. Rich in feminist undertones, the reference material is a graphic novel which no doubt translates better on paper than this movie does on the big screen. Odd!

SCORE:

Alex's Score 5.5/10

COLOURS OF TIME

A group of distant relatives join forces to decide whether to develop an old family house they’ve inherited in rural Normandy. Abandoned and left to ruin for decades, plans are now in place to flatten it and erect a soulless shopping centre. They nominate cousins Guy (Vincent Macaigne), Celine (Julia Piaton), Abdel (Zinedine Soualem) and Seb (Abraham Wapler) to assess the building and document its contents. When they discover a unique painting alongside a trove of personal letters and photos, the four are keen to learn more about the lives of their ancestors, particularly the history of twenty one year old Adele Meunier (Suzanne Lindon). This is a captivating story about family, origins and connection. Two different plot threads take place simultaneously, cleverly showing Paris locations in the present day, then transitioning them back in time to 1895, and vice versa. Set design and costuming help distinguish between the ages. The incorporation of real people like author Victor Hugo, artist Claude Monet, and photographer Felix Nadar creates a biographical feel even though the premise is fiction. Infused with humour, the standout scene is an Ayahuasca induced hallucination sequence that hilariously sees both worlds collide. I enjoyed the clever nods to the origins of famous artworks and the point that human desire remains the same regardless generational differences. Creatively charming.

SCORE:

Alex's Score 9/10

TENOR: MY NAME IS PATI

From his humble beginnings in Samoa, to singing opera on the world’s most revered stages, this uplifting documentary chronicles the journey of tenor Pene Pati. It highlights his strong family ties, commitment to his craft, and the origins of singing trio Sol3 Mio, formed with his younger brother Amitai and their cousin Moses Mackay. It’s clear from Pene’s story that natural talent, combined with support and opportunity, can lead to greatness, but his rise hasn’t been without struggle. When Pene told his mother, Juliet, he was dropping his university science degree to take up music, she was sceptical about his new career path, asking him if music would put food on the table for his family and if it was even a real job – two relatable questions many creatives have been confronted with from concerned loved ones. Pene didn’t come from a wealthy background and was often criticised for selflessly putting others before himself. A warm, generous man, he’s been described as “sunshine” and performs with such joy and personality. Onstage his eyes literally sparkle
and voice is powerful and effortless at the same time – after one scene where he held a note for 25 seconds, cinema attendees clapped. You cannot help but love Pene, his rich culture, and everything he stands for. Inspirational and epic, this production deserved the enthusiastic round of applause it received when it ended. As someone who had zero interest in opera before I watched it, I couldn’t download the Pene Pati and Sol3 Mio albums quick enough. Epic!

SCORE:

Alex's Score 9/10

Duncan’s Score 8/10

JACKASS: BEST AND LAST

Johnny Knoxville, Steve-O, and their motley crew of mates who need to say “no” more are back in their final film after 25 years of on-camera (mis)adventures. This is essentially an unseen reel of highlights mixed with new content, as these now middle aged men push their bodies to the limits with a fresh batch of crazy stunts. Sometimes I laughed with them, sometimes I laughed at them, and sometimes I was just horrified. The shock value is maintained for the 92 minute duration and how any of these dudes are still alive is a mystery. As is to be expected, there’s nudity, brutality, stupidity, and practical jokes. Several skits featuring bodily fluids are unhygienic and downright revolting, which is perfectly on brand. My favourite scene is from the archives, where Knoxville activates a foghorn right when golfers are about to tee off. The golfers get peeved and nearly give him his just desserts. It’s pretty harmless by Jackass standards and maybe that’s why it appealed. In the big finale, several of the crew joyfully ride a giant shopping cart through a series of epic explosions. It’s spectacular and a fitting end to their madness. Stay for the credits and don’t try any of this at home.

SCORE:

Alex and Jason’s Score 6/10

THE HUNT – LA CAZA

This black and white Spanish film was made in 1966, a decades before the country progressed in animal welfare … and it shows. Thank goodness for Spain’s recently enacted national animal rights legislation which now prohibits the use of animals in artistic activities (including filming) that cause them pain, suffering, or distress. This movie is essentially about a group of misogynistic men who are revolting (one even has paed*philic tendencies) actually killing rabbits and ferrets on camera. The only saving grace at the end is that three of the four men die. This is a poor choice for a film festival closer. I’m not even giving it the grace of a score – all copies need to be burnt out of existence. Blatant cruelty!

SCORE:

CHRIS AND MARTINA:THE FINAL SET

Tennis champions Chris Evert and Martina Navratilova had a fierce on-court rivalry and were responsible for elevating the profile of women’s tennis and women’s sport as a whole. From 1973 to 1988, they faced off against each other 80 times, with Navratilova leading the wins 43 to 37. Sixty of their matches were finals. Extremely different in the way they played the game, Evert was a consistent base liner, while Navratilova preferred to be near the net as an aggressive serve volleyer. The two started playing doubles together before Navratilova got to know Evert’s game inside out and began beating her in singles matches. This prompted Evert to call time on their professional partnership, which damaged their friendship and took years to repair. Navratilova loved playing against her friends, claiming when playing a friend she was happy whether she won or lost, whereas ‘Ice Maiden’ Evert was out to win at all costs. This emotional, intimate, and raw documentary highlights the depth of their friendship today and how they navigated their parallel cancer journeys. Diagnosed around the same time, they faced the gruelling battle together, leaning on each other along the way. Highlights are the scenes of these two greats watching their old tennis matches at Evert’s house. Gone is the competitiveness of the past as they now re-live their games with nostalgic joy and mutual admiration. Loved how Navratilova’s sweet little dachshund Lulu has several cameos, going everywhere with her. Containing three years of unrestricted access to both athletes’ medical archives and home videos, this is an inspiring and uplifting watch with no holds barred. I was a huge tennis fan back in the day and regret that I never saw Navratilova play live – I went to Wimbledon in 1995 and walked past her warming up on a back court for a doubles match but that was as close as I got. Wishing these inspirational women long lives and good health moving forward.

SCORE:

Alex and Amanda’s Score 9.5/10

ROMERIA

Eighteen year old orphan Marina (Llucia Garcia) travels back to her birthplace of Vigo in Spain to uncover her family history. While staying with her estranged uncles and cousins, she tries to uncover why an official document needed for her university application claims her biological father has no children. This film is based on the family letters and photographs of director Carla Simon’s own parents, who passed away in the 1980’s – which unfortunately just comes off as self indulgent. The direction is all over the place, with the story starting as an origin mystery then shifting halfway through into an odd, role playing fantasy. There’s even a scene that would be more at home in a music video. Not even the beauty of the location can save this from itself. It’s an erratic slog that’s a total bore. Three points for the cats.

SCORE:

Alex's Score 3/10

Michael’s Score 6/10

Janette’s Score 5/10

SACCHARINE

Hana (Midori Francis) is a medical student who becomes obsessed with losing weight. She hears about a miracle capsule called “grey” which rapidly sheds the kilos, but the $5000 minimum cost is beyond her means. She decides to create her own version of the drug and in doing so unwittingly invites a grotesque, hungry ghost into her home. This is a well produced, original Australian film, which refreshingly prioritises the use of special effects make up and prosthetics over CGI. The visceral body horror scenes are cleverly paired with squelchy, wet sounds, creating an unsettling, multi sensory experience. Frequent use of tight close ups whenever Hana binge eats heightens the repulsion – don’t have a big meal before you watch this. Even the opening footage of food being consumed, but played in reverse, is hard to stomach. There are a few small imperfections in the plot but i was still totally engrossed, wanting to look away but unable to. Nauseatingly confronting.

SCORE:

Alex's Score 8/10

Amanda’s Score 7/10

KILLER WHALE

Maddie (Virginia Gardner) is working in a fast food restaurant when she witnesses the murder of her boyfriend. A year later she’s desperate to move on and heads to Thailand with her best friend Trish (Melanie Jarnson). One night they decide to break into a local marine park agter hours and Maddi terrifyingly watches a captive killer whale named Ceto drown a cleaner. The aquarium staff decide to secretly set the aggressive orca free to avoid scrutiny. The next day. Maddie, Trish, and Trish’s holiday fling Josh (Mitchell Hope) go jet skiing to an isolated reef. Not long after they arrive, Ceto blitz-attacks Josh, leaving Maddie and Trish stranded on a tiny rock with no way to escape. I’ll cut to the chase – this film doesn’t contain anything that hasn’t been done before. Think basic shark attack movie with a different protagonist. It was made with a low budget and it shows, with poorly executed CGI and dodgy special effects. Ceto looks like a ridiculous kid’s plastic toy that’s just been increased in size. You can tell that filming took place on a soundstage, with untidy green screen cuts and fake night time shots. The script is cheesy and while the actors don’t have much to work with, they don’t do anything with what they do have either. The movie poster is the best thing about it, the rest can sink to the ocean floor. D grade.

SCORE:

Alex's Score 2/10

THE INVITE

Disconnected married couple Joe (Seth Rogen) and Angela (Olivia Wilde) live downstairs in an apartment below Pina (Penélope Cruz) and Hawk (Edward Norton), who’ve been dating for a year. Depressed and unhappy Joe is annoyed when Angela invites them over for an impromptu dinner. Their marriage is in its dying throes and they’ve lost all respect and care for each other, only staying together for the sake of their 12 year old daughter. During the evening Pina and Hawk proposition the other two for foursome, which has unexpected consequences. With Wilde also directing, this film is about so much more than a seemingly indecent proposal. It serves as an honest glimpse into two different relationships and explores the contrast between healthy and dysfunctional dynamics. The dialogue does not let up from the get-go, and the writing is very clever, with lots of humour and sharp, back-and-forth banter. All four characters are the only actors in the entire film and they carry the momentum well. Cruz as Pina was a standout for me due to the wisdom her character imparts, but everyone is fantastic. Uncomfortable, squirmy, and laugh out loud funny, put this on your list to watch … but if you’re in a relationship that’s run its course, it may have lasting ramifications.

SCORE:

Alex's Score 9.5/10

Kelly’s Score 8.5/10

THE BLUE TRAIL

Tereza (Denise Weinberg) is an elderly woman who lives in Brazil. She becomes frustrated when the government starts acting on their strict policy to force everyone over seventy five to move into a retirement complex, unappealingly called “The Colony”. Desperate to avoid this and to retain her independence, she tries to buy an airfare to escape but her combative daughter Joana (Clarissa Pinheiro) is listed as her power of attorney and refuses to give her permission to travel. Tereza heads into the Amazon and convinces boat operator Ludemir (Adanilo) to take her out on the river as an undocumented passenger. She eventually crosses paths with pseudo-nun Roberta (Miriam Socarrás) and the two women set off to spend their days floating around on Roberta’s big boat. Interestingly the setting is the present day, even though the concepts feel quite futuristic, particularly the bureaucratic treatment of older citizens. This film has won several prestigious awards and I had high hopes, but it lost me with a weird side quest involving hallucinogenic blue slime from a rare snail. There are also scenes of crocodiles being processed in a meat works and of Siamese fighter fish fighting which are really off putting. Making statements about aging, dignity and freedom, this is a mediocre seniors’ road trip, but on water.

SCORE:

Alex's Score 5.5/10

Serena’s Score 6/10

Janette’s Score 5/10

DEAR YOU

Young married couple Zheng Musheng (Wang Yantong) and Ye Shurou (Wu Shaoqing) live in China with their three children. In 1955 Musheng makes the difficult decision to move to Thailand to find work and on arrival he faces immense hardship. Over the course of the next sixty years he writes letters back home and sends money using a traditional letter writing service called a qiaopi. In the present day, his greedy grandson Xiaowei (Zheng Runqi) heads to Thailand to track him down, believing he’s a billionaire and wanting money. His trip reveals that Musheng actually passed away in 1960 and his kind friend Xie Nanzhi (Li Sitong and Usha Seamkhum) wrote the letters to his family in his name, after his death. The story is based on the existence of actual qiaopi centres and although the characters are fictional, some scenes are so realistic they feel like a documentary, particularly those in the emotional conclusion. Most of the cast are non-professional actors and they bring a wonderful authenticity. This movie is an absolute surprise – it’s sad and heartbreaking but also joyous in its portrayal of friendship and family loyalty. It also honours the sacrifices of the past in a beautiful way and is filled with nostalgia and long held traditions. It grossed the equivalent of $416 million dollars (AUD) in China on a $2 million dollar (AUD) budget and it’s easy to see its appeal. Meaningful and poignant.

SCORE:

Alex's Score 8.5/10

Janettes Score 8/10

THE TALENT

Elsa (Ester Expósito) is a gifted cello player who is about to audition for a coveted position in the prestigious Vienna Orchestra. She goes to her best friend Idoia’s (Mirela Balic) glitzy, no expense spared, birthday party and when her mother Pilar (Sonia Almarcha) drops her off she hands Elsa a letter to pass on to her wealthy godfather, and Idoia’s dad, Ignacio (Pedro Casablanc). The letter contains a desperate plea asking to borrow a large sum of money to bail out her failed family business. Ignacio refuses the request. Unwilling to accept his answer, Pilar insists that Elsa pressure him in person for the loan, claiming he won’t say no to her. What Ignacio demands in exchange for the cash is a disgusting and inappropriate abuse of power and it floors Elsa. Her night at the party spirals out of control as she begins to question her morals. There’s only one redeeming character in this entire film and that’s the long suffering, all-seeing cleaner – everyone else is very unlikable. Story wise, the plot is structured well and the acting is good across the board. The emphasis on predatory behaviour and manipulative actions makes this gripping but uncomfortable.

SCORE:

Alex's Score 7/10

Michael’s Score 8/10

Ang’s Score 6/10

HOMO SAPIENS?

This film is made up of of sixteen of stand-alone skits that focus on the good, the bad, and the ugly side of humanity, and the irony of our choices. Spanish actor Guillermo Francella plays a different leading role in each one and is incredibly versatile, using a range of prosthetics and wigs to transform his appearance. Some segments are brief, lasting just a few minutes, while others run much longer. A few of the clips have obvious points to make, but a handful don’t land well and inconsistencies between the stories will leave you scratching (or shaking!) your head. The randomness of the content makes it feel like this is someone’s personal passion project that got lucky with funding to be made for the big screen. Absurd!

SCORE:

Alex and Michael’s Score 6/10

SUPERGIRL

Aussie actress Millie Alcock stars as Kara Zor-El, A.K.A. Supergirl and cousin of Superman (David Corenswet), who goes on a dangerous quest across the galaxy to find an antidote when her beloved space dog Krypto is poisoned. A young girl called Ruthye (Eve Ridley) asks Kara to help her seek revenge against Barbond’s Brigands member Krem (Matthias Schoenaerts), who murdered her entire family in cold blood. Kara agrees and takes Ruthye under her wing – she also has an axe to grind with Krem as he’s the one who hurt Krypto. Jason Momoa co-stars as an immortal bounty hunter with a God complex called Lobo, a chaotic, hulking, loose unit who paints his face with KISS-type makeup and rides a flying motorcycle. He has zero care for the opinions of others and his character brings the physical comedy. Elements of the set design and parts of the plot are reminiscent of ‘Mad Max: Fury Road’ and, to a lesser extent ‘Dune’. The special effects for Krypto, who is 100% CGI, are excellent and he looks, moves and behaves just like a real dog. He’s also the absolute best thing about this movie. On the flip side, you can tell that some of Supergirl’s flying sequences were filmed using a green screen but there’s so much going on it’s easy to overlook. The straightforward plot makes sense and features multiple action packed battle scenes which drive the momentum. It’s clear there will be a family reunion with Supergirl and Superman collaborating in the future. A big yes to more female-led superhero content and movies about bonds with dogs.

SCORE:

Alex and Kate’s Score 8/10

Amanda’s Score 9/10

THE TIGERS

Antonio (Antonio de la Torre), whose nickname is Tiger, and his younger sister Estrella (Bárbara Lennie) are deep-sea divers in Spain who carry out repairs on oil platforms, seabed piping, and ships. Tiger is a bit of a legend in the commercial diving world, but he’s in debt to his estranged wife who is denying him access to his daughters until he pays her what he owes. Estrella is partially hearing impaired from a diving incident that happened when they were kids. As adults, the two siblings share a close bond, living and working together. When Tiger sees an opportunity to make some quick money he takes it, dragging them both into danger. The tension in this film comes from the diving scenes, which are very claustrophobic, with murky visibility and realistic underwater audio. The atmosphere is frequently nerve wracking and your stomach will be in your throat. The story goes off in directions I didn’t expect, while giving a glimpse into a risky career most people know little about. Props to the leads for learning how to dive and performing the underwater sequences themselves. My one gripe is that by the end, it felt longer than its actual run time. A maritime thriller with a few surprises.

SCORE:

Alex and Jen’s Score 7/10

Janette’s Score 8/10

VOICEMAILS FOR ISABELLE

Aspiring chef Jill (Zoey Deutch) and her sister Isabelle (Ciara Bravo) are as close as can be. Isabelle has cystic fibrosis and tragically passes away early in the story – not a spoiler as this sad event is the crux for the rest of the movie. Devastated by her death, Jill begins sending voicemail messages to Isabelle’s mobile phone as a way to cope, sharing updates on her life and career. When a real estate agent named Wes (Nick Robinson) is given Isabelle’s old number, he receives Jill’s messages and gradually falls in love with her. Orchestrated by Wes, the two eventually meet and begin dating. As is formulaic with rom-coms, things go incredibly well, then completely pear shaped after a misunderstanding, before finally getting better again. This film checks the romance box and fulfils the comedy requirement with some genuinely funny moments, particularly in the first fifteen minutes when the girls are young teenagers. There are sweet messages about healing and second chances, and the joyful dance scene ending will leave you with a smile on your face.

SCORE:

Alex's Score 7/10

Amanda’s Score 7.7/10

MINIONS & MONSTERS

The Minions are back, this time in the 1920’s, where they stumble onto a Hollywood film set and become superstars. When their new found success goes awry, best friends James and Henry decide to make a movie of their own. As the title suggests, there are actual monsters involved and the movie-within a-movie that they create is also called ‘Minions & Monsters’. The classic Minionese gibberish, developed by co-director Pierre Coffin, is fast paced and quite witty. Amongst the mix of Spanish, the odd English phrase, and a heap of made up words, you’ll randomly hear “miso soup”, “vamos”, and “chihuahua” – but you’re guaranteed to always understand the Minions intent thanks to tone, facial expressions, and mannerisms. No subtitles here! The trademark slapstick elements are fun and elicited laughs from the audience at our screening. My favourite scene was the final one, which does a clever job of tying their entire chaotic adventure together. Lighthearted and charming, with a clever nod to ye olde Hollywoodland.

SCORE:

Alex and Amanda’s Score 8/10

THE ICE TOWER

Sixteen year old orphan Jeanne (Clara Pacini) runs away to the city. Desperate for somewhere safe to sleep, she breaks into what looks like an abandoned warehouse, only to discover it’s a working film studio. She begins spying on a charismatic, moody actress called Cristina (Marion Cotillard) who’s playing the Ice Queen in a movie adaptation of ‘The Snow Queen’, Jeanne’s favourite fairytale. When her hideout is discovered, Jeanne gives a fake name and gets offered work as an extra. She soon catches the eye of the temperamental lead and the two embark on a strange relationship, defined by a heavy power imbalance. Jeanne becomes enamoured with her older co-star, while Cristina grows predatory towards her. This film plays out as part fantasy, part flashback, and a little bit of reality, but it’s hard to tell which parts are which. Dialogue is sparse and you have to read between the lines to try and figure out what’s going on. The cinematography is heavy and shadowy, almost gothic by design. A large number of scenes feature people staring off into the distance, watching others in secret, and endlessly walking along dim corridors or up stairs. The nearly two hours of run tim plays out very slowly. Ambiguous and cryptic.

SCORE:

Alex's Score 5.5/10

THE GOOD BOY

Tommy (Anson Boon) is a smart mouthed thug whose life consists of partying, using hard drugs, assaulting strangers, urinating in public, and showing zero empathy for others … until he is randomly abducted off the street by Christopher (Stephen Graham). He wakes up and finds himself chained by the neck in the basement of an isolated country property, where Chris lives with his depressed wife Kathryn (Andrea Riseborough) and their perky teenage son Jonathan (Kit Rakusen). While forcing Tommy to acknowledge his past toxic behaviour, Chris mercilessly beats him with a baton. Some may view this scene as a dose of summary justice, where Tommy is getting what he deserves, but the horror of his situation soon sets in. The tension builds as Tommy gradually receives extra privileges and more access to other areas of the house. His relationship with his captors starts to change and you’ll question if he’s just playing along to bide his time or if he’s developed Stockholm syndrome. This film’s greatest strengths are its gripping story and flawless acting. You’ll be uneasy for the duration thanks to Graham and Boon perfectly conveying the dysfunctional intensity of their characters – Christopher with his buttoned-up self righteousness and Tommy spiralling with unrepentant anger. An unsettling psychological thriller with a blurry moral code. 

SCORE:

Alex's Score 9.5/10

Kelly’s Score 10/10

Jason’s Score 8/10

Steve’s Score 7.5/10

WIDOW’S BAY

Set on the quirky, picturesque island of Widow’s Bay, mayor Tom Loftis (Matthew Rhys) is in complete denial about the eerie folklore, old wives’ tales, and supernatural history that cast a shadow over his beloved home. Even when he begins to experience creepy and unexplained events, he desperately tries to act as though everything’s normal, determined to push aside any mention of a curse and intent on promoting the island as a holiday destination that rivals Martha’s Vineyard. I have to heap praise on this show’s impeccable balance of horror and comedy, never forcing or overdoing either one. There are genuine jump scares and surprising mysteries, amplified by hilarious and witty writing. The casting is pure perfection, bringing together accomplished actors who fully embody their characters right down to their minute mannerisms. Rhys is brilliant as the devoted Loftis, alongside his astute employee Rosemary (Dale Dickey), nap loving secretary Ruth Livingston (K Callan), grounded staff member Dale (Jeff Hiller), and capable local Wyck Crawford (Stephen Root) … but it’s his eccentric assistant Patricia Moyer (Kate O’Flynn) who is the standout thanks to her loveable awkwardness and quiet inner strength. She absolutely owns episodes four (some of the best TV ever made) and eight and already has people calling for a spin off series. It’s propelled O’Flynn to cult-like status as the breakout star. Drawing on her background as a writer for ‘Parks and Recreation’, creator Katie Dippold has struck gold with this relentlessly entertaining and original production. Everything just works! Much to the delight of fans, myself included, it’s been renewed for a second season. An absolute smash that deserves the hype!

SCORE:

Alex's Score 10/10

Amanda’s Score 9/10

TOY STORY 5

Woody (Tom Hanks), Buzz Lightyear (Tim Allen), Jessie (Joan Cusack), and her trusty horse Bullseye are back in the fifth instalment of this popular franchise. This time Jessie takes the reins, literally, as the lead character. Trouble arrives when her child owner Bonnie (Scarlett Spears) stops playing with her in favour of using a frog-shaped electronic screen called Lilypad (Greta Lee) that’s loaded with games and group chat features. Feeling neglected and abandoned, Jessie takes action to make sure the old toys aren’t forgotten and is intent on eradicating the new tech device. In a fun subplot, a group of fifty next generation Buzz Lightyear toys are washed up on a beach after their container falls off a ship. They go on a chaotic side quest in an attempt to reach their Star Command headquarters and their scenes are my favourite parts of the entire film. Synonymous with the Pixar brand, the animation is flawless and it truly comes to life in IMAX 3D. This movie retains all of the wit, heart, and nostalgic adventure that we’ve come to expect and will be enjoyed by all ages. Giddyup!

SCORE:

Alex, Amanda and Janette’s Score 8/10

David’s Score 7.5/10

THE DEATH OF ROBIN HOOD

Hugh Jackman stars in this updated story of Robin Hood. He plays the main man alongside Bill Skarsgard, who is unrecognisable as his marauding bestie Little John, and Jodie Comer as Sister Brigid, a widow who gives refuge to wounded individuals on a remote island. This is unlike any version of the Robin Hood fable to date. Gone is the folktale vibe and instead we are brutally thrust into a dark and violent take on the end of his life. Hood and Little John are murderous villains with no redeeming qualities. They don’t discriminate when they kill, slaughtering men, women, and children, and there’s no evidence of them stealing from the rich and giving to the poor. There’s also no sweet Maid Marian here – Hood makes it very clear that any reference to her was merely an embellished fantasy. Jackman’s physical transformation into his character is meticulous. As someone who hates bad wigs and dodgy beards, his hair and make up are very realistic. He appears weathered and battle weary and a few times he reminded me of the Greek god Zeus, which I don’t think was the intention. Overall the cast are convincing and bring authenticity to their roles, aided by the impeccable costuming. The cinematography is one of this films strongest features, with epic aerial shots and sweeping vistas dominating the run time. I do wonder though, who thought we needed a Robin Hood conclusion that chooses to make the entire legend so graphic, bleak and depressing? And why erase any reference to the heroic Robin Hood we all know? You’ll come out of this feeling heavier than when you went in and may find Hood’s grand exit to be a bit of an anticlimax.

SCORE:

Alex's Score 7/10

Megan’s Score 7.5/10

COLONY

South Koreans do zombie horror productions really well and this one is no exception. Launching into the main action within minutes, this film is set inside a large shopping complex. The story opens with a biotechnology company announcing the development of a product that allows users to link their minds. Researcher Seo Young-cheol (Koo Kyo-hwan) goes rogue, injecting himself and the company CEO with a version of the product he altered – it now turns people into zombies and gives him the ability to control them via his thoughts. The more zombies there are, the more people Young-cheol has under in his command. A small group of survivors, led by biotech professor Kwon Se-jeong (Jun Ji-hyun) and her ex-husband, Han Gyu-sung (Go Soo), are trapped in the building and soon realise their only hope is to capture Young-cheol. This is easier said than done when he has an army of the undead at his disposal. Giving the zombies pack intelligence and the ability to evolve collectively is a clever spin on the usual trope. I couldn’t help but compare this to the TV series ‘Pluribus’, but with the addition of zombies and a central control person. While this movie isn’t particularly gory, it is filled with unsettling scenes of contorting bodies moving in unnatural ways. A mention needs to be made of the sticky white vomit from the infected, which ends up everywhere. So gross! A tense, disturbing, and fast paced survival thriller.

SCORE:

Alex's Score 9/10

Serena’s Score 8/10

ANOTHER LEAGUE

In 1970, sports promoter Javier Muga (Daniel Ibanez) formed Spain’s first ever women’s soccer team. At the time, the Spanish soccer federation was extremely unsupportive and misogyny was rife. Based on a true story, the players endured sexism, mockery, and abuse just to participate in the game they loved. The authorities even distributed propaganda alleging that soccer would negatively impact the ability of young women to have children. Sadly resistance also came from the players own disapproving, conservative family members who didn’t see it as a ladylike sport and were worried about what other people would think. The casting is brilliant with superb acting from the likes of Nati (Sofía de Iznajar), Belen (Bruna Lucadamo), María (Nora Otxoteko), Ana (Leire Aguiar) and Angeles (Lorea Carballo). While real footage of Spain’s 2023 World Cup victory is included to highlight the sport’s progress, ironically their win was overshadowed by the predatory actions of the then-president of the Spanish soccer federation, who forced a player to kiss him … which really makes me wonder if anything has changed at all. A homage to those who risked it all for equality on the field.

SCORE:

Alex's Score 9/10

Michael and Janette’s Score 8/10

DISCLOSURE DAY

Legendary director Steven Spielberg returns with a new drama based on one of his favourite subjects: the sentience of extra terrestrials. Dr Daniel Kellner (Josh O’Connor) works in cybersecurity for a company called Wardex. He steals electronic government secrets relating to UFOs and the existence of aliens, dating back decades. While on the run he teams up with Margaret Fairchild (Emily Blunt), a television weather presenter who develops unexplained mind reading abilities after a red cardinal flies into her apartment. The pair are viciously pursued by Noah Scanlon (Colin Firth) and his team of armed agents who want the classified data back at any cost. Blunt is particularly outstanding, giving a performance that matches the intensity of her role in ‘A Quiet Place’ one and two. The story has many layers and you have to pay attention to understand what’s going on, but it does ensure that the nearly two and a half hour run time keeps its momentum. Spielberg’s long time musical collaborator John Williams takes care of the score, giving it a familiar sound to several of their other joint productions. There’s a big reveal near the end of the film which I didn’t find surprising at all. On the contrary, I feel like this part of the movie leant into fact more than fiction. The CGI animals looked a bit clunky throughout, as if the technology used to design them was dated. Perhaps this was intentional, to create a nostalgic nod to Spielberg’s back catalogue? While I appreciated the timely messages about empathy and humanity, I wanted this to be something new … and despite its mostly positive attributes, it felt a little bit same old / done before.

SCORE:

Alex’s Score 7.9/10

Tanja, Amanda, Jason and Sarah’s Score 8.5/10

Cath and De-Ann’s Score 8/10

Fiona’s Score 7.5/10

Vicki’s Score 7/10

Kyleigh’s Score 6.5/10

Maree’s Score 6/10

GLENROTHAN

Scottish brothers Sandy Nairn (Brian Cox) and Donal (Alan Cumming) have been estranged for more than forty years. Long held resentments exist between them ever since they got into a scuffle after their mother’s funeral. Donal moved to Chicago and started a blues club while his brother remained behind to run the family whisky distillery business ‘Glen Nairn’. For a drama, the reasons for the angst are very thin and seem disproportionate to the decades old rift which occurred. Everyone also acts like working in the distillery is the worst job in the world when really it doesn’t seem that bad. Having just watched Alan Cumming in ‘Tip Toe’, this is a very different character and he doesn’t really get to show much range – Donal spends a lot of time feeling sorry for himself, which gets repetitive. One exciting highlight is the fact that Jess, the master distiller, is played by Shirley Henderson who fabulously voices all three of the Anzellans in the recent blockbuster ‘The Mandalorian and Grogu’. While the story is dull and laborious, Scotland looks pretty and there are a few vibing jigs. A good reminder to deal with your issues and seek therapy for poor family dynamics.

SCORE:

Alex, Shona, Debbie, Nola, George, Cheryl’s Score 6/10

Deanne’s Score 9/10

Katherine C, Katherine E, and Lily’s Score 8/10

Jason’s Score 7.5/10

Serena and Zenda’s Score 7/10

Penny’s Score 5.5/10

Deb’s Score 5/10

OVER YOUR DEAD BODY

Married couple Dan (Jason Segel) and Lisa (Samara Weaving) head to their remote family holiday home on a lake. They have clearly fallen out of love and both start trying to kill each other in an attempt to claim insurance money. The first half hour of this movie is extremely slow and I initially thought Lisa was Dan’s daughter – that’s how little it grabbed my attention. But then Juliette Lewis arrives on the scene as Allegra, an unhinged corrections officer who has busted her criminal lover Pete (Timothy Olyphant) and his goon friend Todd (Keith Jardine) out of jail. They are hiding out in the holiday house when Dan and Lisa arrive and intend to murder the bickering couple. From this point on the story goes full tilt and hits peak chaos. It’s extremely gory and violent and the amount of punishment everyone takes, combined with the fact that no one seems to be able to die, is extremely unrealistic but highly entertaining … in a super macabre way. Juliette Lewis always plays insane so well and her crazy character has some of the best lines in the script. This is not a perfect film by any means but it increases in energy as it goes on. A bloody, action packed piece of escapism.

SCORE:

Alex's Score 6.9/10

MATERNAL INSTINCT

When police pulled over Taylor Parker in rural Texas, she claimed she’d just given birth to a baby who was sitting in her lap with the umbilical cord still attached. No one predicted what this initial traffic stop was about to be uncover. Taylor was faking her entire pregnancy, having had a medically necessary hysterectomy a few years earlier, a secret she hid from her boyfriend Wade Griffin. The web of lies she spun to keep up the facade of being pregnant were shocking and culminated in an act so heinous it’s unfathomable. This true crime documentary methodically untangles her deception, yet the focus is kept firmly on the victims. The people interviewed on camera speak from the heart and it must’ve been extremely difficult to for them to relive these tragic events. A deeply moving and horrifying story that leaves a permanent impression. Brace yourself.

SCORE:

Alex's Score 8/10

Amanda’s Score 8.7/10

BEAST

Washed up fighter Patton James (Daniel MacPherson) seeks vengeance against Xavier Grau (Bren Foster), who killed his estranged brother in a street fight. Patton asks veteran trainer Sammy (Russell Crowe) for help, but Sammy tells him to take a hike. Patton predictably wins over the curmudgeonly Sammy, starts preparing for a fight with Xavier, and eventually beats him in the cage, cauliflower ears and all. I don’t think I’ve ever seen a more formulaic film. It follows a tried and tested, but overdone, fight movie formula. In between the predictable plot the acting is dreadful, topped off with some woeful American accents (the main offender being Luke Hemsworth). The fight scenes are the only parts of interest, being bloody, messy, and graphic, with visceral, squelchy sound. As for the rest, I’ve seen it all before, only have seen it done much better. It’s a bust not a beast.

SCORE:

Alex's Score 3/10

LEVITICUS

Teenager Naim (Joe Bird) lives in a drab regional town with his devoutly religious mother Arlene (Mia Wasikowska). When Naim falls for schoolmate Ryan (Stacy Clausen), their fanatical church forces the boys to undergo a gay conversion ritual performed by a sketchy faith healer. This exposes Naim and Ryan to a violent demon, who attacks when they’re alone and manifests itself in their respective images as a way to deter them from being together. Strong festival and review hype surrounded this film ahead of its release and I really wanted to be blown away by it, but it just doesn’t hit the heights for me. The type of supernatural film I like has a logical or scientific explanation, and supernatural elements that can’t be rationalised don’t appeal – as is the case here. The pacing is slow in parts, yet the plot feels rushed, lacking backstory and deeper character development. It dives straight into chaos at the expense of a stable foundation. This definitely ticks the horror box, with gruesome special effects and several jump scares that will catch everyone in the cinema unaware. Sinister but underwhelming, with a flat ending.

SCORE:

Alex, Dave and Steve’s Score 6.5/10

Kelly’s Score 8.5/10

Duncan’s Score 8/10

Anna and Luke’s Score 7/10

Tony’s Score 6/10

Amanda’s Score 5.5/10

Karen’s Score 4/10

THE MUSICIANS

Astrid Thompson (Valerie Donzelli) is determined to honour her late father’s dream of bringing together four Stradivarius instruments, worth millions of dollars each, for a one off concert. She hires four famous musicians and invites them to her family’s country estate to practice for the event, which will be televised to a global audience in seven days time. The story follows their squbble filled rehearsals and clashes of egos – with the deadline fast approaching, none of them seem capable of coming together as a harmonious quartet. Talented actors Mathieu Spinosi (as violinist George), Marie Vialle (as cellist Lise), Daniel Garlitsky (as violinist Peter), and Emma Ravier (as violinist Apolline) are actual accomplished musicians who authentically play their respective instruments live on camera. While the plot follows a formula where personal differences are put aside for the greater good right at the eleventh hour, it’s filled with enough charm and humorous moments to maintain engagement. Regrettably the final musical performance didn’t grab me as much as I’d hoped – some of the rehearsal scenes had more pizzazz. An intriguing look at creative passion and the pursuit of greatness.

SCORE:

Alex's Score 7.9/10

TIP TOE

Leo (Alan Cumming) is the flamboyant owner of a gay bar on Manchester’s Canal Street. He becomes involved in a tangled, increasingly volatile relationship with his next door neighbour of 14 years, Clive (David Morrissey), an electrician who lives in an adjoining duplex with his family. Clive is hyper masculine and rigid in some of his core beliefs. He’s under immense stress due to his failing marriage, the realisation that his teenage son is gay, and the discovery that his oldest son is creating p*rn*graphy online. He forces his way into Leo’s life (and apartment) by offering to help when Leo gets locked out one afternoon. This hard hitting, five episode mini series has a lot to say and it shouts its message loud and clear – there’s no preaching, just facts. The script includes very current references to living politicians, and the confronting, raw conversations about the ways LGBTQIA+ people are perceived are dangerously accurate. The entire cast is phenomenal, with Cumming giving a career best performance. It feels as though he’s leaning into sixty plus years of genuine, lived queer experience rather than acting for a single second on screen. The very first scene gives away the tragic ending, yet when that unfathomable act arrives it’s still horrifying and shocking – I held my breath the entire time. Watch this and walk in someone else’s shoes … or maybe even your own. An emotional reality check.

SCORE:

Alex's Score 10/10

Amanda’s Score 9.5/10

CRIMINAL RECORD: SEASON 2

Tackling extremism, misinformation and police ethics, this season aims high but often overreaches. It’s driven by strong performances from Cush Jumbo (June) and Peter Capaldi (Daniel), although their trust and mistrust in each others characters feels dizzying. The pacing breaks are frustrating and detract from the scenes that are more exciting. The policing itself comes across as loose and unconvincing, with both leads regularly going rogue. The wrap up of the storyline’s for white suprem*cist Cosmo Thompson (Dustin Demri-Burns) and police informant Billy Fieldings (Luther Ford) just don’t fit. This isn’t really a show about solving crime – it’s built around a lack of accountability, poor teamwork and weak investigation. That said, the ending was very well done and I didn’t see it coming.

SCORE:

Alex's Score 6.7/10

THE RUN

Filmed in South Australia, this post apocalyptic thriller is set in a dystopian future where an unnamed virus has decimated the population. Those who remain are politically divided, living in a broken down society where radicalised citizens are armed and dangerous. In the midst of an infertility crisis, Aliah (Charlotte Maggi) gives birth to a baby girl, the first child born in years, and runs away with her. She crosses paths with Mac (Callan Mulvey) who has been tasked with capturing Aliah, but when he sees her daughter he has a change of heart. The two team up and try to avoid a group of volatile men with nefarious intentions. Maggi and Mulvey give superb performances, always on edge and constantly sitting in raw desperation. The cinematography consists of harsh light, a bleak colour palette, and barren landscapes, which all effectively emphasise the inhospitable nature of the environment. While some plot elements remain a mystery and need further explanation, the story hits close to home and makes you think about the sort of future we are all barrelling towards. Atmospheric and relentlessly tense.

SCORE:

Alex's Score 7.9/10

ALICE AND STEVE

Alice (Nicola Walker) and Steve (Jemaine Clement) are best mates in their mid 50’s who’ve been inseparable for decades. Their lifelong friendship unravels when Steve, a celebrity hairstylist, begins seeing Alice’s twenty six year old daughter Izzy (Yali Topol Margalith) who hems known ain engage was born. Alice has a huge meltdown and refuses to accept their relationship. She gets to work sabotaging Steve’s life, career, and reputation in a bid to force him to dump Izzy. Meanwhile Alice’s husband Daniel (Joel Fry) is dealing with his own marital crisis, while her teenage son Dom (Tyrese Eaton-Dyce) gets serious with his school crush Rome (Eilidh Fisher). The portrayal of Alice and Steve’s bond in the first episode is fun and lovely, but my interest soon fell away as the episodes continued – nothing much happened. Most of the main characters lack chemistry, including Steve and Izzy, who don’t have any romantic spark between them. While it’s a treat seeing Walker excel in a comedic role, some of her colleagues feel miscast. The cliffhanger ending leaves you to write your own conclusion and makes it feel like there may be a second season, but there’s not enough substance in this show to warrant one. A fizzer.

SCORE:

Alex's Score 5.9/10

Amanda’s Score 6/10

THE WITNESS

When twenty three year old Rachel Nickell was murdered on Wimbledon Common in broad daylight and stabbed 49 times in 1992, her two year old son Alex (Jahsaiah Williams and Max Fincham), was the only witness. This three episode limited series mostly follows the psychological impact that the crime had on Alex and his father Andre (Jordan Bolger) in the years that followed. Filled with well known British actors, including Kerry Godliman, Neil Maskell, Kevin Eldon, Mark Stanley, and Claire Rushbrook, the story is based on real life events. Minimal areas of the police investigation are covered, which felt a bit lacking and left me wanting more procedural content. Bolger also overacts on occasion, and his character of Andre irritatingly puts his son’s name at the front of nearly every sentence when he speaks to him. Netflix has simultaneously released a documentary on the case called ‘The Murder of Rachel Nickell’ which is on my watch list – it’ll be interesting to see what Alex and Andre’s dynamic is like in that compared to this dramatisation. An absorbing plot about a terrible deed.

SCORE:

Alex and Amanda’s Score 7.5/10

TUNER

Niki White (Leo Woodall) works alongside Harry Horowitz (Dustin Hoffman) in Harry’s piano tuning business. When Harry gets sick and ends up burdened with medical debt, Niki falls in with a group of criminals and starts working for them as a safecracker in order to help pay the hospital bills. Niki has a condition called hyperacusis that makes him highly sensitive to loud noises and to manage it he has to constantly wear earbuds and headphones. He also possesses perfect pitch which allows him to crack safes by only using his supersonic hearing. The leading characters are fabulous together on screen and their natural banter brings the laughs. Harry is likeable and has the gift of the gab, while Niki is fundamentally a good guy who’s doing the best he can for the people he loves. There are no unnecessary scenes in the entire movie and the script is fresh and well written, giving the actors great material to work with. Interesting and quirky filming techniques are combined with immersive, multi directional sound to emphasise how Niki experiences the world around him. Only took one point off for an overly convenient plot coincidence that develops near the end. Even so, it’s still superb. Engaging and fun, this packs genuine heart.

SCORE:

Alex's Score 9/10

Kelly’s Score 9.5/10

MICHAEL JACKSON – THE VERDICT

Clearly leveraging its release off the back of the recent ‘Michael’ movie, this documentary covers Michael Jackson’s 2003 investigation, police raids, and arrest for child s*x offences and conspiracy to commit crimes. His trial resulted in not guilty verdicts on all counts in 2005. Compiled across three episodes, there’s so much packed in that the watch time flies by. An array of people relating to the trial are interviewed, including friends and family members, journalists who covered the case, and members of the prosecution and defence teams. This series claims to provide a balanced viewpoint of the facts and does a genuinely good job of maintaining its impartial status. It presents evidence for his innocence and guilt, leaving it up to the viewer to determine who is telling the truth. It’s debatable whether watching this will change anyone’s mind if they already feel strongly one way or the other, but it definitely raises questions about whether our adulated obsession with those perceived as icons clouds our better judgement, or if being mega famous just makes a person an easy target. Having spent fourteen years working in the police force and two of those years as a crime analyst in the child ab*se unit, I know firsthand that predators can be the people you expect and the people you least expect – they can be anyone, anywhere. In this case, only a few know the absolute truth.

SCORE:

Alex's Score 8.5/10

SCARY MOVIE

The Wayans brothers are back with the sixth instalment of their iconic franchise and, as to be expected from their past catalogue, you should not watch this if you have sensibilities about, well, anything. The creators promise “Every line will be crossed” and that’s absolutely true – nothing is off limits. Various demographics and minority group are targeted and the political incorrectness is 10/10. A lot has changed in the world since the last ‘Scary Movie’ was released in 2013, but the brothers don’t hold back on using the same mould that led to over $1.2 billion dollars in earnings from their past five films. The plot parodies the IP of over a dozen horror and pop culture movies, opening with a very funny sequence that takes place outside a ‘Final Destination’ theme park, before moving into a fast paced mash up of everything from ‘The Substance’ to ‘M3GAN’. There are cool cameos from the likes of Teyana Taylor, Carmen Electra, and Shaquille O’Neal, plus legacy cast members Anna Faris and Regina Hall return. With a joke dropping every minute at breakneck speed, you need to pay attention to catch them all. I’m not a fan of crude, low brow humour that sounds like it was written by a teenage boy, so some parts are cringe, but I also laughed out loud several times at genuinely funny lines and set ups. There’s a Demi Moore gag and a mention of ‘Ballerina’ which are brilliant. The whole production is slick, thanks to its $30 million dollar budget. Fiercely unapologetic satire.

SCORE:

Alex and Alex’s Score 7.5/10

Jason’s Score 7/10

Rebecca’s Score 5/10

FINDING EMILY

Owen (Spike Fearn) meets the girl of his dreams while working at a club as a sound engineer. When he tries to contact her the next day, his text message bounces back due to a missing digit in her phone number. Armed with only her first name, Emily, Owen goes on an obsessive campaign to track her down and accidentally sends a mass email blast to every “Emily” registered at the local university campus, reaching over 300 (mostly angry!) people. An American student, also called Emily (Angourie Rice), decides to help him with his search, but she has a hidden agenda – she wants to use Owen as a case study for her psychology thesis on people who self sabotage in the pursuit of love. Filmed in Manchester and featuring many actual local businesses, anyone familiar with the city will feel a sense of nostalgia. The soundtrack is a beat-heavy mix of indie anthems that bolster the scenes and quicken the pacing. On the down side, there’s a lack of chemistry between the two leads and their romantic spark feels flat. The plot is also predictable, while being easy to follow and delivering the sort of comfortable happy ending you want from a standard rom com. Breezy and sweet.

SCORE:

Alex's Score 6.9/10

Saraj’s Score 8/10

Kelly’s Score 7.5/10

HOKUM

Sullen author Ohm Bauman (Adam Scott) visits an old Irish hotel where his late parents spent their honeymoon decades before. After scattering their ashes in a forest near the hotel grounds, he learns that the honeymoon suite has been locked up for years. Hotel manager Mal (Peter Coonan) tells him it’s off limits to guests because an ancient witch is trapped inside, but offers no information on her identity or origins. A genuine whodunit commences when a bartender named Fiona (Florence Ordesh) goes missing. Driven to investigate, Ohm finds himself trapped inside the spooky honeymoon suite, fighting for his life against a supernatural entity. Set against a suspenseful, dread filled atmosphere, Scott excels as a broken man burdened by secrets from his past. Parts of the plot are lacking, particularly when it comes to explaining the haunting, but Fiona’s disappearance gets a satisfactory resolution. Scenes of the bulgy-eyed fictional children’s TV character “Jack the Donkey” are genuinely creepy. A fairy tale for adults fed by trauma and guilt.

SCORE:

Alex's Score 7.5/10

LEGENDS

This six part crime drama follows customs boss Don Clarke (Steve Coogan) who is tasked by the British Home Office with creating a covert narcotics unit in the early 1990’s. He recruits four customs officers to infiltrate two rival drug syndicates in an effort to eliminate the flow of heroin pouring into England. The script is closely based on an intriguing true story, adapted from the 2022 memoir by former agent Guy Stanton (played superbly by Tom Burke), when the British government relied on ordinary customs employees to go undercover and bypassed the use of police services due to limited funding. The British do crime thrillers really well and this series is no exception. Taking place on the streets of Liverpool and London before moving into Pakistan, the psychological weight of the team’s split second, often life and death decisions gives a tense glimpse into a highly classified anti-drug operation. Intelligent storytelling.

SCORE:

Alex and Amanda’s Score 8/10

MASTERS OF THE UNIVERSE

This live action film is an absolute surprise package that completely blew me away. It skilfully brings the classic 1980’s reference material into the modern age while adding doses of nostalgic camp and adult humour throughout. The casting across the board is brilliant, especially Nicholas Galitzine who bestows a down to earth charm on Prince Adam and his alter ego He-Man. Even Jared Leto, a divisive actor if ever there was one, is brilliant as the villain Skeletor, with his voice digitally enhanced to add a menacing acoustic resonance and his appearance emphasised thanks to a detailed prosthetic muscle suit. The costuming and set design are phenomenal, filled with colour and whimsical details. Fans of the original cartoon series will love it and those who aren’t familiar with the animated original will find plenty to enjoy. There’s even a homage to the star of the original 1987 film Dolph Lundgren that will delight those in the know. Stick around for the final credits right before the cinema lights come up as there are three bonus scenes strongly suggesting a sequel. That said, the story itself is closed off really nicely, ensuring you don’t feel ripped off by an incomplete plot. Quality filmmaking that ticks all the right boxes for blockbuster potential.

SCORE:

Alex's Score 9.5/10

Rebecca and Alex’s Score 9/10

Saraj’s Score 7/10

BIRTHRIGHT

Cory (Travis Jeffery) and his heavily pregnant wife Jasmine (Maria Angelico) find themselves in a quandary after being evicted from their rental accommodation. With their next housing option falling through and unable to afford their own place in an expensive property market, they arrive unannounced at the large country home of Cory’s parents, Lyn (Linda Cropper) and Richard (Michael Hurst). When they ask to stay for three weeks, Richard and Lyn are aghast at the suggestion. They are not particularly warm people, holding onto the belief that they have assisted Cory enough throughout his life and that he should’ve made better use of the opportunities presented to him along the way. With a small cast of only five characters appearing on screen (including a visiting midwife played by Catherine Moore), the entire story takes place in the confines of Lyn and Richard’s house and garden. The script is tight and says as much about the troubling state of real estate in Australia as it does about toxic family relationships. Director Zoe Pepper cleverly structures the tension so that some viewers will side with Cory and Jasmine, believing children have a right to receive mandatory help from their parents in a crisis, while others will support Richard and Lyn, arguing that they worked hard all their lives for what they have and no one else is entitled to their spoils. The four leads are phenomenal as they spiral their characters into full blown madness. This film was shot in five weeks in the hills of Perth, Western Australia, and has a dark, shadowy tone which feels like it’s foreboding the things to come. A bitingly dark thriller about home ownership and family dynamics. Loved it!

SCORE:

Alex's Score 9/10

Jason and Saraj’s Score 8/10

LADIES FIRST

Sacha Baron Cohen is Damien Sachs, a chauvinistic advertising executive who treats women like conquests. He works at the Atlas Agency and lives in a world where everything is designed to suit, promote, and benefit men. Rosamund Pike plays Alex Fox, his intelligent and highly qualified colleague who is constantly subjected to sexism from her male counterparts. When Damien slips and bangs his head, he wakes up in a parallel universe where gender roles are reversed. To his horror, Alex is now his boss and men are objectified, underpaid servants. While body swap stories are nothing new, this fresh take changes the environments instead of the physical forms. It aims to highlight the disparity between men and women in the workplace, and life in general, but the surface level writing assumes that a matriarchal society would mirror toxic masculinity. A few scenes are genuinely funny, though I wonder who the target audience is supposed to be. There’s nothing new in this for women and it’s doubtful that a misogynistic man would suddenly watch this and have a lightbulb shift in his thinking. A superficial, satirical, and sometimes silly, social commentary. Loved the soundtrack!

SCORE:

Alex's Score 6.9/10

THE BOROUGHS

This eight episode series is set in an exclusive, gated retirement village in the New Mexico desert called ‘The Boroughs’. The story follows grieving widower Sam Cooper (Alfred Molina), who moves into The Boroughs when a previous tenant is killed. He realises that something otherworldly is going on and begins an investigation with the help of his curious new neighbours – a star studded lineup aged 60+ which includes Alfre Woodard, Clarke Peters, Bill Pullman and Geena Davis. 
I loved the meticulous, minimalist set design which contributed to the isolated feel of the community, and enjoyed seeing a senior cast acting like the Famous Five. Including a fun homage to ‘Thelma and Louise’ was genius.
The plot went a little too wonky for my liking towards the end and spun off into fanciful territory. Some of the special effects (hello Mother!) were underwhelming, and one or two less episodes would’ve eliminated the slower moments. The sweet message about the importance of time was a nice reminder not to take anything for granted.

SCORE:

Alex and Amanda’s Score 7/10

HALF MAN

Ruben Pallister (Richard Gadd) and Niall Kennedy (Jamie Bell) are stepbrothers who have an insidious, co-dependent relationship. Ruben’s extremely dark and violent, devoid of empathy and unable to emotionally regulate his aggressive tendencies. His first resort is to always attack and he does several stints in prison for horrific crimes, never taking responsibility for his actions. He has a menacing hold over Niall, who fears him and lives under his shadow, but also always wants him to be around. They are a damaged combination and the time they spend together frequently crosses ethical and moral boundaries in shocking ways. Across the decades, Niall tries to hide his homosexuality from everyone, especially the homophobic Ruben, despite their mothers Lori (Neve McIntosh) and Maura (Marianne McIvor) falling in love and move in together. Their savage, unhinged connection could only end one way. Written, produced, and starring Gadd, he has claimed this series is a work of fiction based on generalised examples of toxic masculinity, but if this is reflective of how any men behave, it is stomach churningly concerning. The female roles in this series are relegated to being bit players and the two lead characters lack any redeeming features. They are vastly different in personality but sickening in the ways they behave, and you’ll feel endlessly frustrated at Ruben’s overbearing nature alongside Niall’s insipid weakness. Gadd and Bell (and Stuart Campbell and Mitchell Robertson as their younger selves) bring these damaged humans to life with absolute realism. Graphic and messed up, this is a tough and heavy watch. Afterwards you’ll have an ick that’s hard to shake.

SCORE:

Alex's Score 5.9/10

Amanda’s Score 5/10

THE NORTH

Two former best friends Chris (Bart Harder) and Lluis (Carles Pulido) reunite after a decade to walk a 600km Scottish trail they completed in their youth. The strain of their 30 day adventure soon forces them to confront their issues, but the emotional message of this film gets buried under the tediousness of everything else around it. Covering two hours and ten minutes, this monotonous endurance test fits the definition of slow cinema, and the absence of a musical score (except for the final scene) makes it drag on even more. Frequent static shots of oceans, foliage, and landscapes that linger for too long had me bored. There’s a great deal of value in a sharp edit and creating a succinct end product. The cinematography is the stand out feature, with the unforgiving mountains and wild, windy moors constantly throwing out physical challenges. By the time the credits finally rolled, I felt like I’d mentally, and arduously, walked all 600 kilometres with Chris and Lluis – a journey I didn’t want to go on. Exhaustingly dull minimalist storytelling.

SCORE:

Alex's Score 4/10

Duncan’s Score 3/10

THE TESTAMENTS

Picking up the story five years after the events of ‘The Handmaids Tale’ this series revolves around Daisy (Lucy Halliday), a teenager from Canada who infiltrates the oppressive regime of Gilead in the USA. Once there, she attends the same girls school as June Osborne’s daughter, who is now known as Agnes Mackenzie (Chase Infiniti). The curriculum is designed by Aunt Lydia (Ann Dowd) to prepare the students for their roles as young brides, where they are married off to old male commanders. Nothing has fundamentally changed within Gilead’s power structure over the years and it’s still as restrictive as ever, making for tense viewing. The costume and set design are visually stunning, relying on strong, deliberate colour palettes. Every character is dressed in an identifiable uniform of sorts, which serves as a constant reminder of their status and removes any individuality. Most of the cast are teenagers, as opposed to the adult character focus of ‘The Handmaid’s Tale’. With ten engrossing episodes, the finale will leave viewers eagerly anticipating a second season. Famed source material author Margaret Atwood even makes an appearance. A worthy predecessor.

SCORE:

Alex and Amanda’s Score 9/10

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