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

THE BLOCK: SEASON 22

The latest season of Australia’s biggest renovation show is back on Channel 9, this time taking place in picturesque Mount Eliza on Victoria’s Mornington Peninsula. Ten contestants from different states across Australia are working in pairs to renovate five brand new, two storey houses with amazing views across Port Phillip Bay towards Melbourne. Though the homes currently exist as bare skeletal frameworks, they’re impressive in scale and will be luxuriously grand when completed. The contestants had just finished excitedly meeting each other when host Scotty Cam surprised them with a spare room fit-out challenge to determine the property allocations. Several participants have strong backgrounds in trade and design, but they’re desperate to keep this information a secret from the rest of the group. Alongside Cam, Shelley Craft is back as an on site advisor, foreman Dan Reilly returns, and the judging panel is rounded out by Shaynna Blaze, Darren Palmer, and Marty Fox. This season feels like a return to the grassroots of the competition, diving straight into the renovation process and moving along at a fast pace. Expect time pressures, inevitable mistakes, fierce competition and plenty of drama as the builds progress. I thoroughly enjoyed the two episodes which have aired to date and even picked up some renovation tips. Put your “tools down” and settle in to watch this high stakes series.

SCORE:

Alex's Score 8/10

INFINITE ICON: A VISUAL MEMOIR

Paris Hilton became a household name back in 2003 when she co-starred in the hit reality television series ‘The Simple Life’ alongside her best friend Nicole Richie. It only came out years later that she was acting ditsy, even adopting a fake baby voice for the camera. In this two hour documentary she looks back over the decades, sharing personal moments interspersed with footage from her sold out Hollywood Palladium concert. Her past includes terrible physical and s*xual abuse as a 16 year old when she was sent to a behaviour modification school in Utah for eleven months, and becoming fodder for the tabloid press, who labeled her as promiscuous after an ex-boyfriend released a s*x tape without her consent. Seeing Paris as her authentic self reveals someone very different to her public persona. She comes across as articulate, business minded, and driven. While her heavily manufactured style of pop isn’t my vibe, Paris declares it’s one of her greatest joys. The dual focus of promoting her music and sharing past traumas makes the flow of her story slightly disjointed. Her journey is strong enough to carry this doco without all of the self promotion. It ends on a high though, emphasising that she’s found true happiness with her husband Carter and is finally “sliving” her best life. Loves it!

SCORE:

Alex's Score 7/10

CAPE FEAR

This series is adapted from the 1962 film ‘Cape Fear’ starring Gregory Peck and Robert Mitchum, as well as Martin Scorsese’s 1991 remake with Nick Nolte and Robert De Niro. Married attorneys Anna (Amy Adams) and Tom Bowden (Patrick Wilson) live in Savannah, Georgia with their teenagers Natalie (Lily Collias) and Zack (Joe Anders). Seventeen years earlier, Anna and Tom were involved in a high profile case where Max Cady (Javier Bardem) was found guilty of killing his wife and unborn child. When Cady is exonerated and released from prison, he vows to seek revenge. The entire family finds themselves in danger as Cady stalks, harasses, and victimises them. One episode in, the plot becomes irritating, with too much going on and the characters making ridiculous decisions. Cady gets away with a campaign of violence that would’ve landed him right back behind bars and he also feels unrealistically indestructible. Bardem’s performance is unsettling but his acting is overcooked. The best part of the series is Juliette Lewis making a nostalgic appearance as Cady’s unhinged, damaged half sister, Crystal Cady. Lewis earned an Oscar nomination in 1992 as Danielle Bowden in Scorsese’s movie and always excels at playing unhinged, troubled women. I wish she had a much larger role other than a few brief scenes. She is definitely under-utilised. Elements of the dramatic score from the original film have been included in the new format to reinforce the connection between the two, but it doesn’t fit the modern feel of the series and sounds out of place. While the moody, shadowy cinematography adds to the constant sense of dread, you need to suspend belief to make it through all ten episodes. Not even the decent cast can save this overstuffed story from being crushed by its own weight.

SCORE:

Alex's Score 3/10

Amanda’s Score 4/10

BELIEVE ME

This four part series is based on the shocking true story of serial r*pist John Worboys, a notorious black cab driver in London. Dating back to the early 2000’s, his modus operandi was to stalk women leaving nightclubs and offer them cheap or free fares home. Once they were in his cab, he’d spin a story about winning big at the casino and cajole them into having a celebratory sip of champagne, which was drugged. Once his victims fell unconscious, he’d subject them to horrific s*xual abuse. Even though his crimes were reported to the police many times, none of the women were believed for several years. It’s chilling to know that the dialogue used in the police interrogation scenes was taken directly from actual, historical interview transcripts. Worboys’ offending eventually caught up with him, and over a hundred victims came forward. The first two episodes are infuriating due to the lack of concern on the part of the investigating officers. Their victim blaming is off the charts. The third episode focuses on Worboys’ arrest, while the finale revolves around his court case, life sentence, and the landmark human rights appeals the victims pursued to hold the Metropolitan Police accountable for their failures. While the pacing slows during the courtroom scenes, they provide important legal closure and prove that justice was finally served. We can only hope this monster never sees the light of day again. An unflinching look into a broken system and the brave women who fought for their voices to be heard.

SCORE:

Alex and Amanda’s Score 8/10

A TOXIC LOVE STORY

When US Marshal Ian Diaz met Angela Connell he thought he’d found his soul mate. Within eight months they were engaged, had moved in together, and were excited to be expecting twins. Their love bubble burst when Angela started receiving vile, threatening emails from an anonymous account called “Lilith is Truth”. Ian and Angela were convinced the harassment was coming from Ian’s ex-fiancee Michelle Hadley. They reported the threats to the police and took out a restraining order against Michelle, which was repeatedly breached as the barrage of messages kept coming. Things escalated when the perpetrator went online and hired a man for a “r*pe fantasy”, using Angela’s home address for the attack and writing fake emails to make it look like she was requesting the assault herself. Michelle was arrested and held in jail awaiting trial, but as investigators began digging deeper, digital evidence led to a shocking twist – she was innocent. When I watch true crime documentaries like this, I’m always perplexed by the lengths toxic people will go to in order to harass and stalk a target with intent to ruin their life. What is wrong with people?!?Thankfully in this case, police figured out the truth and justice was served. Prepare to be kept second guessing!

SCORE:

Alex's Score 7.9/10

TELL EVERYONE

Set in the late 19th century in Southern Finland, free-spirited Amanda (Marketta Tikkanen) is a poor, low status woman who’s led an unconventional life. She became homeless in Paris as a teen when her mother abandoned her, forcing her to fend for herself on the streets. Amanda is confined to an asylum on a remote island with a letter that describes her as having premenstrual dysmorphia – she is regarded as having a type of monthly madness. During an examination by a doctor, he doesn’t even enquire about the pain she suffers. She struggles with her loss of freedom and rebels against the strict, prison like routine. The story follows eight years of Amanda’s life, including her development of close friendships with the other confined women, played by Alma Poysti, Krista Kosonen, Aamu Milnoff, and Noora Dadu. On occasion, the women taste what they regard as a semblance of normal life by being lent out to work with people in the local community. There’s a poignant scene where they express an “almost” normal life, and Amanda falls in love with a local fisherman (Jakob Ohrman). This movie is filmed in beautiful surrounds and nature provides a well needed salve for all. The superb acting from start to finish is highly emotional, and while I found it all extremely sad, the importance of kindness and friendship were beautifully illustrated. Needs a trigger warning for themes of s*xual abuse and su*cide.

SCORE:

Liz’s Score 8/10

Thanks to Liz for reviewing on behalf of The Popcorn Panel

SPIDER-MAN: BRAND NEW DAY

Four and a half years after erasing the memories of his loved ones in ‘Spider-Man: No Way Home’, Peter Parker, AKA Spider-Man (Tom Holland) lives in isolation. As he goes through the motions of fighting crime, his only companion is the voice of his AI assistant, E.V. (Naomi Watts). Holland excels as the heavy hearted, depressed superhero who’s pining for his true love MJ (Zendaya) and living a lonely ‘Groundhog Day’ existence. His eventual reconnection with MJ and his best friend Ned (Jacob Batalon) puts them both in the same danger he was previously trying to protect them from. Sadie Sink’s role has been shrouded in secrecy and I won’t spoil the surprise – though I will share that her character is the weak link for me and I enjoyed the story more before her big reveal. In keeping with tradition, there are cameos from other members of the Marvel Cinematic Universe (MCU) but this time they crowd the plot. This movie is an obvious stepping stone for what’s to come, rather than a standalone film and it left me wondering how Spider-Man will fit into the broader MCU story moving forward. I loved the first person point-of-view web swinging sequences, where innovative filming techniques emphasise Parker’s momentum as he moves through New York City. Such an immersive rush and so creative, I even had a touch of vertigo! The franchise set-up drags, but the rest is a visual spectacle.

SCORE:

Alex's Score 7/10

Shanaaz and Razia’s Score 8/10

Simon’s Score 7.5/10

Dave’s Score 6/10

Saraj’s Score 5/10

THE BIRTHDAY TRIP

Three couples head to luxury country retreat Lothian Gate to celebrate the joint 30th birthdays of Clare (Nicola Frew), Angie (Josephine Starte), and Isabel (Annelise Hall). The women have all been friends since high school but their partners haven’t met before and have little in common. Angie’s husband Lars (Luke Jacobz) is gregarious but immature, Isabel’s partner Mark (Ben Gerrard) is pompous, and Clare’s boyfriend Jim (David Quirk) intellectualises everything. As their weekend progresses, trouble simmers between the couples and cracks appear. Ironically the estate’s caretaker Felix (Robert Preston) lives on-site in a dilapidated house with his wife Sapphire (Sapphire Blossom) and two small children. Sapphire is constantly enraged by the lack of repairs undertaken by management, and their squalid home reflects the huge divide between staff and guests. This satirical drama revolves around friendships, the perversions that take place behind closed doors, and class privilege. The plot builds as if a major event will occur between the couples, but one never eventuates. This is anticlimactic for everyone except Felix, who has a crazy “falling down” episode when he finally reaches breaking point. Filled with uncomfortable conversations and visual subtext, the jittery handheld filming makes you feel like you’re a fly on the wall. A voyeuristic look at relationships.

SCORE:

Alex's Score 6/10

TEENAGE S*X AND DEATH AT CAMP MIASMA

Kris (Hannah Einbinder) is a rising star filmmaker who wants to write a new screenplay for the slasher franchise ‘Camp Miasma’. While the horror series initially started strongly and was a hit with audiences, a string of weak sequels led to poor sales and lost earnings. Thirty five years have passed since the release of the first movie, which starred actress Billy Presley (Gillian Anderson) as the “final girl”. She’s now a recluse who lives in a cabin at the very location where the original was shot. The two women meet up to discuss the reboot and things get intense between them, before spiralling into a bizarre role-play fantasy. This entire production feels like a movie within a movie within a movie. It’s not a story you can rationalise – you need to just go with what happens on screen and accept it at face value. Anderson is mesmerising with her Dolly Parton-esque southern accent and Einbinder is no slouch either as s*xually repressed Kris. The colour palette and cinematography are dream-like, with a retro, neon aesthetic. A highlight was the musical score which adds to the surrealist vibe. I don’t know what I just watched but for the most part, I liked it.

SCORE:

Alex's Score 7.5/10

Kelly and Jet’s Score 9/10

Cheryl’s Score 8.5/10

Amanda, Janette, Debbie, Eve, Shelley, Serena, and Kate’s Score 8/10

Steve, Alex, Mel, Kerryn, Lydia, Natalie, and Stefan’s Score 7/10

Dave’s Score 6.5/10

Angel’s Score 6.2/10

Mark’s Score 4/10

Tracy’s Score 2/10

HOME (‘HEIM’)

Anni (Hanne Skille Reitan) works in children’s television, and her career comes to a dramatic end after an on-air breakdown where she swears profusely and vomits on the show’s mascot. Fired immediately, she heads to her small Nordic hometown to lie low, moving in with her mother. Reconnecting with her old high school friends, she’s forced to confront unresolved issues within her family and the dysfunctional aspects of her romantic relationships. Anni is an unlikeable, flawed character, but this allows her to experience meaningful growth where she realises what truly matters. She gradually becomes more palatable. The plot is fairly predictable with a big redemption arc and a pleasant theme of second chances. An easy watch with subtitled profanity.

SCORE:

Alex's Score 6.5/10

Janette’s Score 6/10

TREASURE & DIRT

Detectives Ivan Lucic (Michael Dorman) and Nell Buchanan (Liv Hewson) are called to the fictional town of Nulla after the brutal murder of an opal miner. Both have past demons that reveal themselves as their investigation progresses. Dorman excels as the eccentric lead detective who’s still processing the death of his young son, while Hewson (known for ‘Yellowjackets’) is brilliant as level headed loner Nell who returns to her toxic home town. The supporting cast also shines, including ten year old Perth newcomer Evie Greay as Bess McGee. The overall story leans heavily into stereotypical outback characters. There’s a megalomaniacal mayor (Mark Mitchinson), his narcissistic wife (Ling Cooper Tang), an overly friendly mining baron (Eamon Farren), and a prophesying cult leader (Thomas M. Wright) who lives with his disciples in a cave. At six respectable episodes long, there are clever plot twists to keep you guessing but they never bog down the flow. With a similar quirkiness to ‘Twin Peaks’, but with a distinct Aussie vibe, the stylised filming portrays the desert landscape as imposing and all encompassing, plus the unique surrounds of Coober Pedy in South Australia are an appropriate stand in for Nulla. Special mention for the final scene song. A bold and atmospheric series, which is up there amongst the best home grown crime dramas I’ve seen.

SCORE:

Alex and Amanda’s Score 9/10

MAXIMUM PLEASURE GURANTEED

Paula Sanders (Tatiana Maslany) is a neurotic divorcee with a young daughter. Seeking excitement online, she pays for regular x-rated live streams with a cam-boy named Trevor (Brandon Flynn). She gets more than she bargained for when he fakes his own assault during a video session to extort money from her. Paula starts investigating Trevor’s background and gets tangled up in an overly complex web of criminal activity. When she becomes the prime suspect in a murder case, her life completely unravels and she risks losing everything. Skip the first ten minutes of the pilot and the rest of episode one is engaging and sets the bar high. What follows soon becomes frustrating to watch, as Paula makes a series of decisions that defy logic, doing herself no favours, and unnecessary twists are introduced. The tension stalls and the plot loses focus, especially thanks to the inclusion of a child custody thread which constantly interrupts the flow. I despised the open ended, blatant-grab-for-a-second-season ending. It’s a total let down and viewers deserve a better resolution after sitting through 8 hours of this chaotic mess. Minimum satisfaction received.

SCORE:

Alex's Score 3.5/10

Amanda’s Score 2/10

ANN DROID

Set in 2029, hapless Michael (Paul Ready) decides to order a second hand ‘AnnDroid Z58/100 Basic Eldercare’ robot named Linda (Diane Morgan) to keep his mother Sue (Sue Johnston) company when he moves back in with his ex. It’s been 18 months since the death of her husband and Sue is struggling to move on without him. Initially reluctant to interact with the socially inept but endearing robot, Sue slowly comes to rely on Linda’s assistance and through their evolving friendship she finds a new joie de vivre. There are so many things to love about this heartfelt comedy, starting with Diane Morgan as Linda. Her years of embodying deadpan fictional reporter Philomena Cunk have equipped her with the skills needed to maintain an expressionless face, and paired with a monotonous tone and stiff movements, she expertly brings Linda to life. Always going the extra mile with her physical comedy, Morgan developed an eye ulcer from never blinking when in character, and Linda’s rigid posture caused her back to ache during filming. Johnston and the rest of the cast are also brilliant and deserve a mention. Co-written by Morgan (with Aussie Sarah Kendall who plays delivery driver Cass) the poignant messages about ageing, loneliness, maintaining independence, and the future of technology will hit you in the feels. The scene that got me was when Sue explains to Linda that as a robot she will never die, and Linda responds quietly with “Yes, but I will never get to taste ice cream.” It’s a gentle reminder that while each of our lives has an end date, there’s a richness in the most simple human experiences. Delightful and easy to binge, I have everything crossed for a second season.

SCORE:

Alex, Amanda and Kelly’s Score 9/10

Steve’s Score 7/10

HOLY DAYS

Set on the North Island of New Zealand in 1974, elderly nuns Sister Agnes (Judy Davis), Sister Luke (Miriam Margolyes), and Sister Mary Clare (Jacki Weaver) live in an old convent and spend their days serving their community. A young Māori boy named Brian (Elijah Tamati), whose mother has recently passed, often visits the nuns and helps them out by doing odd jobs. When a property developer threatens to put the nuns into care and demolish the convent, they decide to head off on a road trip to find a former member of their order, Patricia (Tanea Heke), who’s now a lawyer. They take Brian along for the ride after he discovers that the former nun is his great aunt. What follows is a lighthearted and inoffensive cross-island adventure. While the plot is totally predictable, this feel good movie is packed with genuine laughs. The three leads have a wonderful dynamic and their banter brings the joy, plus the picturesque New Zealand filming locations provide an authentic Kiwi feel. It’s not groundbreaking but it’s fun.

SCORE:

Alex's Score 7.5/10

Sallys Score 10/10

Chris’s Score 9.5/10

Sharon’s Score 9/10

Deborah’s Score 8.5/10

Saraj’s Score 8/10

Janette’s Score 4/10

KNIFE: THE ATTEMPTED MURDER OF SALMAN RUSHDIE

More than thirty years ago, author Salman Rushdie released his book ‘The Satanic Verses’. It was controversially banned in 20 countries and resulted in the Ayatollah of Iran calling for his assassination, issuing a fatwa against him. For the next decade, Rushdie moved more than 56 times, living in safe houses with 24/7 security and protection. After settling in New York City in early 2000, the fatwa was lifted and he started appearing in public again. In August 2022, as Rushdie sat down on stage to be interviewed at the Chautauqua Institution in Chautauqua, New York, he was stabbed multiple times in the face, neck and stomach by a 24 year old man. He survived the attack and underwent emergency surgery, followed by weeks in hospital and months of rehabilitation. His enduring love for his wife Rachel Eliza Griffiths helped him heal physically and mentally. Narrated by Rushdie, this documentary is based on his memoir ‘Knife: Meditations After an Attempted Murder’. With his permission, Rachel filmed his immediate injuries and lengthy recovery. Rushdie wanted this footage to document what one person is capable of doing to another in the name of ideology. This confronting doco opens with a reenactment of the stabbing and concludes with actual graphic video footage of the horrifying incident from two different camera angles. You won’t be prepared for the latter and seeing it unfold makes this a tough watch. I shed a tear. Impactful, shocking and unforgettable.

SCORE:

Alex's Score 9/10

SUPERNATURE

Ed Sayers fell in love with the nostalgic aesthetic of vintage Super 8 film a few years ago while photographing seals on a Scottish beach. That inspired him to start a global project showcasing the fragile beauty of our planet. He encouraged film makers and nature lovers around the world to use their own Super 8 cameras to contribute footage of wildlife, nature, and landscapes, with their curated efforts resulting in this documentary. Several of the video clips show the devastating impact that war, climate change, and pollution have on our planet. One of the most powerful scenes takes place in the Great Pacific Garbage Patch, a huge rubbish dump in the middle of the ocean, where researchers remove tonnes of plastic from the water and dump it onto the deck of a ship for sorting. To balance out the heavier themes, there are many moments of joy, like a rescue turtle being released into the sea after spending seven years in captivity and a colony of puffins happily wobbling around on the ground. Another sweet moment shows a ranger taking a nap beside the rhino he is in charge of protecting. The entire film is framed by a thick rectangle with rounded corners, mirroring the look of the Super 8 medium. The simplicity of this production proves that meaningful content is far more important than technical perfection. Loved it!

SCORE:

Alex's Score 8/10

HEN

When a little black hen hatches in a Greek factory farm, she beats the odds by escaping into the big wide world. An edge of your seat adventure results which sees her hitching rides on moving vehicles, dodging traffic across busy streets, wandering through unfamiliar towns, and surviving dangerous encounters with wildlife and domestic animals – thankfully coming out unscathed every time. She eventually settles in a run down seaside taverna. There’s minimal dialogue between the few human actors and the story is mostly driven by the unnamed hen’s daily struggles, with a segue about a people smuggling racket in the last third. The cinematography cleverly uses close ups and low angle shots to maintain the tension and keep you anxious for the bird’s safety. Some of the action and animal handling looks quite rough on screen and it gave me an uncomfortable feeling about what might’ve been happening behind the scenes. A Google search thankfully revealed that all of the animals were treated humanely and safely on set. Several trained leghorn chickens played the main role and each one had a different strong suit like running fast, pecking, or staying still. Their professional wranglers were just out of the frame during filming. Despite its lighter moments this is not a feel-good movie and it will leave you with plenty to think about. Oh and the hen lives.

SCORE:

Alex, Sally, Janette, and Karen’s Score 7.5/10

Caroline and Layla’s Score 9/10

Mon’s Score 8/10

Jason’s Score 5/10

MOCKBUSTER

Australian Anthony Frith contacts American film company ‘The Asylum’ and asks if he can direct one of their feature films. To his surprise, they agree, giving him six days to shoot a low-budget dinosaur movie called ‘The Land That Time Forgot’ in his home city of Adelaide. Initially thrilled, the reality soon sinks in for Frith when he realises that The Asylum team has unrealistic expectations and pay below award rates. Everything starts to feel exploitative. His stress levels go through the roof as he tries to meet their impossible deadline while dealing with the on-set chaos that comes with a rushed and disorganised brief. Despite being a real documentary, this entire feature plays out like a mockumentary. The scenes have a scripted vibe and the end result comes across as one big advertisement for Frith’s B-grade movie and The Asylum’s back catalogue. It’s also an eye opening look into how the low-budget, copycat studio rips off the intellectual property of others and intentionally trashes it. Bottom tier show biz.

SCORE:

Alex's Score 4/10

Leon’s Score 2/10

LITTLE BROTHER

Real estate agent Rudd Landy (John Cena) is desperate to step out of the shadow of his older brother Josh (Christopher Meloni), a successful property mogul and massive narcissist. Uptight Rudd is distracted by more pressing issues when an eccentric man named Marcus Pinchel (Eric André) escapes from a psychiatric facility and turns up at his house, claiming to be his little brother. Although Rudd doesn’t know who Marcus is, his wife Deirdre (Michelle Monaghan) insists on letting him stay. Marcus ingratiates himself into the household before his true connection to Rudd is revealed. The plot then becomes predictable and overall it’s reliant on crude, lowbrow humour aiming to shock. Contrary to this, there’s a relatable chemistry between the two leads and sincere messages throughout about family dynamics, chosen kin, and childhood insecurities that linger into adulthood. A below average bromance.

SCORE:

Alex's Score 4/10

ANIMAL FARM

Based on the book ‘Animal Farm’ written by George Orwell in 1945, this animated film revolves around a group of neglected farm animals who overthrow their farmer to create a utopia where everyone is equal. Thrilled with their new freedom, pigs Napoleon (Seth Rogen) and Snowball (Laverne Cox) leverage their superior intelligence to take charge. The power soon goes to Napoleon’s head and he sends Snowball away so he can run the farm by himself. As he takes more control, select animals start carrying the brunt of the physical load, like a horse called Boxer (Woody Harrelson) who exhausts himself doing the heavy lifting for the group. Another pig named Squealer (Kieran Culkin) keeps changing the rules to manipulate the animals into believing that life is getting better. Before too long, the pigs resort to propaganda and fear to maintain their status and begin walking on two legs, wearing clothes, and partying – they’ve become as authoritarian as the human they replaced. A revolt led by Lucky (Gaten Matarazzo), the only pig with a conscience, is the animals’ only chance to escape servitude. This movie retains Orwell’s ominous warning that power corrupts leaders, but targeting it to children doesn’t work with the heavy subject matter. The political intent will go over the heads of young viewers and the production is too lowbrow for adults – such a shame because if ever there was a need for this timely reminder, it’s now. On a positive note the animation is adorable, particularly for the baby creatures. A wasted opportunity crafted for the wrong audience.

SCORE:

Alex's Score 5.5/10

HEARTSTOPPER FOREVER

This feature length finale concludes the three seasons of “Heartstopper” and apparently follows some elements of the graphic novella it was based on. I was hoping to see growth in the loved up characters of Charlie Spring (Joe Locke) and Nick Nelson (Kit Connor) as they prepare to transition from high school to college and beyond. Instead it feels like a rehash of the first three seasons, with similar plot threads and the same jeopardies being repeated, which is frustrating. There’s just nothing new. The best part of the entire film is the ten minute epilogue showing each of the main characters out in the world, living their best lives as young adults. I loved the television series, but the plot of this movie makes it an unnecessary production and I was bored … which I hate to say because I don’t like to speak badly about anything that revolves around representation, but at least end with something memorable and not rehashed. Completely unsatisfying.

SCORE:

Alex's Score 4.5/10

Amanda’s Score 4/10

THE LADY

In this fly-on-the-wall mockumentary, BAFTA nominated director Sam (Laurie Kynaston) arrives at Ravenhyde Hall, home to Lady Isabella (Sian Clifford) and her long suffering maid Becky (Juliet Cowan). His intention is to make a film about Isabella’s life, which has apparently been commissioned by Netflix. It soon becomes apparent that there is no Netflix deal and Isabella has tricked Sam into filming her because she wants her talents to be documented. Desperate to be seen, she practises a range of artistic endeavours and becomes obsessed with trying to win a local children’s talent contest that she hosts at the estate, even though she’s not a child. Sam also becomes a core focus, despite his initial protests not to be recorded. The first half of this film is genuinely laugh out loud funny, but the vibe changes in the second half as the story becomes more serious. Instead of Isabella making the jokes and being the brunt of them, she navigates a past trauma and evokes empathy. Unexpectedly, Isabella and Sam realise they need each other for different reasons – one to find themselves and the other to find their voice. While this movie felt random at times and there were moments where I wondered what I was watching, the characters remained endearing. I enjoyed the way they all broke the fourth wall and frequently looked at the camera. Compared to her very straight laced role in ‘Fleabag’, Clifford excels as the eccentric and emotionally tortured Isabella. Kynaston also does a wonderful job of spiralling Sam into total frustration. Wacky, bonkers, and an absolute trip, this will grow on you the more you think about its deeper meaning.

SCORE:

Alex's Score 7/10

Sally’s Score 7.5/10

SHIPWRECKED: NIGHTMARE AT SEA

In 2012 the luxury cruise ship Costa Concordia ran aground off the coast of Tuscany, Italy. At the time more than 4,000 passengers and 1,023 crew members were on board. The ship hit rocks near Giglio Island after Captain Francesco Schettino recklessly went off course to do a sail-by salute close to shore. As the ship began to list alarmed passengers ran onto the decks and Schettino refused to alert the authorities to the seriousness of the situation, minimising it to an electrical failure. The ship rapidly took on water and capsized, with a 53 metre tear in the hull. Thirty two people died in the tragedy. This documentary shares the accounts of surviving passengers and crew members who will be forever changed by the events of that day – like John and Meghan Scimone, who were trapped on board with their 14 month old daughter and had to make quick decisions under very stressful circumstances in order to stay alive. Passengers’ phone footage, combined with computer generated graphics pieces together this terrifying ordeal. Schettino was eventually charged with manslaughter and abandoning ship, and was sentenced to 16 years in prison. The lessons learnt from his poor actions led to an industry overhaul of passenger safety standards, emergency communications, and stricter bridge management. Like ‘Trainwreck: The Poop Cruise’, this documentary will put you off ever going on a cruise. Harrowing!

SCORE:

Alex and Amanda’s Score 8/10

THE ODYSSEY

Much was said, judged, and speculated about Christopher Nolan’s The Odyssey before its release, but my advice is to ignore the noise and check it out for yourself. It’s one of the most epic films I’ve ever seen. If you’re going to make a movie that runs for nearly three hours, this is exactly what you produce to ensure your audience remains engaged and gets value for their time investment. In this modernly adapted version of Homer’s ancient Greek poem, King Odysseus (Matt Damon) makes a long, perilous journey back home to Ithaca following the fall of Troy. Along the way he encounters several mythical creatures and faces life threatening dangers on land and at sea. After being gone for twenty years, his faithful wife Penelope (Anne Hathaway) and son Telemachus (Tom Holland) are left to appease hoards of grimy suitors, including villain Antinous (Robert Pattinson), while wondering if Odysseus is still alive. It’s as much a story about a man and his dog as it is about true and enduring love. Every performance is brilliant, and the stacked cast also includes Charlize Theron, Travis Scott, Elliot Page, Lupita Nyong’o and and John Leguizamo, with Damon doing the heavy lifting in his lead role. The sets and cinematography are mesmerising and every scene is meticulous in its design, colour palate and execution – it’s the sort of work that aspiring DP’s should study frame by frame. Nothing is short cut including the practical effects. Thanks to the immersive and intense musical score, the floor of our cinema shook on multiple occasions. You’ll hear AND feel when the deep bass rumbles. The costuming is superb and the incredible outfit of King Agamemnon (Benny Safdie), with his commanding black armour and intimidating full face helmet adorned with a plume of horsehair, is enough to win an award alone. As the first feature to ever be shot entirely on IMAX 70mm film cameras, see this in IMAX as Nolan intended. There aren’t enough superlatives to describe this! A masterpiece of the grandest scale and a contender for film of the year.

SCORE:

Alex's Score 10/10

Amanda’s Score 9/10

THE WIZARD OF THE KREMLIN

When a journalist (played by Jeffrey Wright) visits his remote country estate, ousted political advisor Vadim Baranov, AKA “The Wizard” (Paul Dano), shares his life story. Starting out as a theatre director, then a television producer, he eventually becomes one of Vladimir Putin’s (Jude Law) closest advisors. The plot covers Baranov’s relationships with various oligarchs and how he ends up working for the Tsar of Russia. Although this is a fictional story there are many realistic crossovers relating to the inner workings of Putin’s regime, like his elimination of political opponents. Blurring the lines even more is the inclusion of actual historical footage of daily life and high profile events in the USSR, perhaps to try to convince the audience that this is based on biographical fact. I found the fluctuating accents to be irritating, starting with Law’s British one which does not fit his character. Dano’s accent also sounds out of place and he speaks in a low, breathy tone. Plus there’s zero authenticity in any of the Russian accents, which all feel forced. The pacing stalls in the middle and doesn’t regain momentum thanks to too many long conversations that drag on. By the end, I was wondering why this was made at all. Money would’ve been better spent on an actual biopic about the authoritarian ruler. In the words of The Popcorn Panel Movie Club member Jill, “Not every book has to be a movie.”

SCORE:

Nicola’s Score 6/10

Alex, Cec, Katherine, Suzan, Jason and Jill’s Score 5/10

Serena’s Score 5.5/10

Jodi, Cheryl, Hilda, Janette, and Fiona’s Score 4/10

Janine and Kelly’s Score 3/10

Duncan’s Score 2.5/10

Lydia, Tony, Zenda, and Mon’s Score 2/10

Amber and Virginie’s Score 1/10

A LIFE ILLUMINATED

Oceanographer Dr Edith “Edie” Widder has explored the depths of the ocean for over forty years. Often the only woman amongst a crew of men, she is a pioneer in her field. Certified to operate single-person untethered submersibles, she’s travelled to the bottom of the sea hundreds of times, and in 2012 she became the first person to film the elusive giant squid in its natural habitat. 
The majority of her research focuses on bioluminescent creatures, and more recently the flashback phenomenon, and she is committed to developing and using unobtrusive observation methods. Widder expresses genuine joy each time she discovers new marine life behaviours, highlighting the passion she has for her scientific work. I enjoyed the introduction this documentary gave me to the incredible array of alien-like “animals” (as Widder calls them) that I would never otherwise get to see. The cinematography is mesmerising, with technically challenging underwater sequences seamlessly crafted. With a brilliant musical score composed by Alex Somers, this is a visual and audible feast for the senses, interwoven amongst an inspiring, engaging, and educational story.

SCORE:

Alex's Score 8/10

SILENCED

This documentary exposes how powerful defendants in high profile criminal cases are using defamation lawsuits against their accusers in relation to domestic violence and s*xual assault. This tactic is known as Strategic Lawsuits Against Public Participation (or SLAPP) and is aimed at silencing and intimidating survivors of gender based violence, and the journalists who report on it. British human rights lawyer Jennifer Robinson, from Doughty Street Chambers, has spent the past fifteen years fighting for free speech and the last five years lobbying governments to introduce anti SLAPP legislation. She also successfully defended Amber Heard in her 2020 UK libel trial. Heard, Australian Brittany Higgins and Colombian journalist Catalina Ruiz-Navarro bravely share their harrowing and shocking personal stories about retaliatory lawsuits. This film takes you through a range of emotions, from wanting to scream, to wishing for change, to wondering what the point is when the justice system is stacked so heavily against women. At its conclusion, the entire cinema audience was completely floored by what they’d just seen, myself included, and we all remained frozen in our seats until after the lights came up. I wish a call to action, like a web address, had been included in the credits to give viewers a practical way to support Robinson’s work. Take your sons, your brothers, your husbands, your girlfriends and your daughters to see this! Moving and infuriating, it’s a must watch.

SCORE:

Alex, Amanda and Saraj’s Score 10/10

Kelly and Lila’s Score 9/10

POST TRUTH

Controversially this documentary was entirely generated by artificial intelligence (AI). It consists of hundreds of short video clips created by Alkan Avcıoğlu, who co-wrote it with Vikki Bardot, accompanied by an AI voiceover and AI music. The barrage of visual content with persistent flashing lights and weird imagery brings on a sensory overload that’s nonstop from start to finish. Avcıoğlu’s main point is that humans are becoming reliant on, believing, and falling for information that is fake. There are multiple other philosophical arguments presented during the 104 minute runtime, most of which I can’t remember because they chaotically blurred into one. The first hour was engaging, but without any change to the pace or tone I felt bombard by its repetitive messages. I don’t agree with some of Avcıoğlu‘s sentiments, like the idea that the human race is doomed because we’re all just “robots” who want to be actual machines, yet other parts about the way we use technology to create our own realities really hit home. I appreciated that the AI errors were left in, as the fallible software often deforms body parts, particularly hands and background faces – this gave an honest look at its flaws and limitations. This film isn’t AI-positive, yet ironically every time Avcıoğlu typed in a prompt to make an AI video for it, he was inadvertently training the software to improve. I would’ve classified this production as an original idea if it hadn’t been made using large datasets that include the work of others. It’s thought provoking and provocative, but hypocritical.

SCORE:

Alex and Serena’s Score 6/10

ACROPOLIS CATS & OTHER WONDROUS ANIMALS

Created by Mary Zournazi, who also narrates, this heartwarming documentary tells the story of stray street cats and other rescue animals in Greece, Hawaii, Thailand, and Sydney. It shares the survival journeys of these resilient beings and highlights the selfless people who care for them, doing so mostly at their own expense without any government support. By way of introduction, the featured animals have their names titled on screen, which sweetly adds to the feeling of sentience that Zournazi is aiming to convey. I love how the stray cats in particular are portrayed positively through the emotional connections they share with their human caretakers. Each one is presented with dignity, value and worth. While the film covers animal displacement caused by COVID 19, war, and climate change, it does so without sensationalism. Instead it gently makes you consider how our actions impact all species globally … including our own. A beautiful testament to compassion.

SCORE:

Alex's Score 8/10

EVIL DEAD BURN

Will (George Pullar) is an abusive gaslighter who frequently mistreats his French wife Alice (Souheila Yacoub). While celebrating the birthday of his younger brother Joseph (Hunter Doohan), he gets angry when Alice refuses to leave and drives off in a drunken huff. Speeding, he runs over a Deadite – a demon with characteristics similar to a zombie. The Deadite incinerates Will before possessing his charred body and going on a hunt for an ancient dagger that it wants to destroy. After Will’s funeral, Alice stays with his toxic family at their dilapidated holiday home and soon discovers that the apple doesn’t fall far from the tree. His father Edgar (Erroll Shand) is volatile and his mother Susan (Tandi Wright) is passive aggressive – only Joseph is likeable. Susan even knew about Will’s abusive behaviour towards Alice but turned a blind eye. The story is slow out of the gate, other than a grotesque opening sequence, but as the Deadite takes control of more victims, chaos ensues and the violence (and pacing) increases. With over 8,000 litres of fake blood used during filming, there’s ample guts and gore for horror fans. On a few occasions I frustratingly found it difficult to decipher the voice reverberation of the Deadites. The jumpy, sped-up filming of the fight scenes was also distracting – I understand that it’s meant to bring a frenetic intensity to those moments, but instead it added a slapstick vibe. Most of the special effects are solid, with the exception of the final boss Deadite, whose CGI elements look very fake. Stick around until the end credits, as there are two bonus scenes.

SCORE:

Alex's Score 7/10

Alex M’s Score 8/10

MOANA

Moana (Aussie newcomer Catherine Laga’aia) and shape shifting demigod Maui (Dwayne Johnson) unite again in this reimagining of the animated film. Moana answers the call of the ocean and sails beyond the reef to save her beloved island home of Motunui. She teams up with Maui to return the stolen heart of the island goddess Te Fiti, facing the same dangers and character arcs as the original plot – with some new scenes, additional dialogue and extra songs added in. The blend of live action and CGI seamlessly merges real locations and actors with studio created graphics – the latter successfully gives life to Pua the piglet and the daft but loveable chicken Hei Hei. My favourite scenes feature robber crab Tamato, a vain crustacean adorned with gold treasures he’s “acquired” over the years. Suitable for all ages, there’s a lovely message at the start about being happy wherever you are. A vibrant and engaging adventure, this movie delivers exactly what you expect from a Disney blockbuster.

SCORE:

Alex, Rosie and Lachies Score 8/10

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

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