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

FALLEN ANGELS

This filmed Broadway stage production stars Rose Byrne as Julia and Kelli O’Hara as Jane, two wealthy upper-class housewives. When their bland husbands Fred (Aasif Mandvi) and Willy (Christopher Fitzgerald) go away for a golf weekend, the women fawn over a pending visit from Maurice Duclos (Mark Consuelos), a charismatic Frenchman they both had an affair with nine years earlier. As they await his arrival, Julia and Jane can’t contain their glee and start quaffing champagne. They become more intoxicated as the story progresses and put on a hilarious display of drunkenness, reminiscent of Patsy and Eddy from ‘Absolutely Fabulous’. Byrne and O’Hara shine in these moments, morphing from posh and proper ladies into unhinged “fallen angels.” Their brilliant tipsy chemistry and superb physical comedy steal the show. Set within the living room of a stylish art deco apartment, the backdrop and props are well designed and feel expensive. The play opens with Tracee Chimo (who plays Julia and Fred’s maid Saunders) doing an unnecessary introduction to camera for nearly half an hour, which is exhausting to watch. During the play itself, the lack of lapel mics causes the cast to project loudly and yell their lines, which takes a bit of getting used to. The real housewives of the 1930s.

SCORE:

Alex and Sally’s Score 6/10

Janette’s Score 5/10

THE POLICEWOMAN

Keen to make a difference in the world, Narelle Fraser joined the Victoria Police force in the 1980’s and started out in general duties before working her way up to detective. Through this powerful and personal documentary, she shows the realities of policing and highlights the stress frontline officers experience. Having served as a police officer in another life, I found her story very relatable. Narelle recounts a series of cases she investigated, sharing the personal toll they took, while highlighting the toxic “Suck it up, don’t be a sook” attitude of senior officers. The health and welfare branch didn’t exist when she first commenced and counselling services weren’t available – the culture was to just push on and not talk about emotions or experiences. A dollhouse set and miniature figurines are cleverly used to reenact crime scenes based on Narelle’s memories, while water droplets are filmed as a metaphor for post traumatic stress disorder (PTSD). Narelle explains how every traumatic incident she attended was akin to adding another drop to a glass jar until it finally overflowed. When the impact of the horrific crimes she worked on culminated and became too much, her career ended. Narelle’s candid narration combined with quick pacing cleverly has the same momentum as being on shift in “the job” and gives the feeling that anything can happen at any time. An innovative and insightful look at the physical and mental toll of law enforcement.

SCORE:

Alex's Score 9/10

THE DOLL

Stanisław Wokulski (Marcin Dorociński) is a wealthy store owner in Warsaw who becomes infatuated with superficial aristocrat Izabela Łęcka (Kamila Urzędowska). Determined to win her heart, he uses his wealth to buy access to her inner circle, oblivious to the fact that Izabela looks down on him. Based on the 1890 novel by Bolesław Prus, which is considered a Polish literary masterpiece, this film explores the class divide and unrequited love, but the story doesn’t have enough weight to satisfyingly fill its 2 hour 42 minute runtime. A firmer edit would’ve made it more compelling. The production quality looks and feels expensive, with detailed sets and lavish period costumes reminiscent of 1878, but beyond the visuals, watching this is a chore. Window dressing with poor entertainment value.

SCORE:

Alex and Janette’s Score 3/10

Leon and Saraj’s Score 6/10

SLO PITCH

‘The Brovaries’ are a mostly queer slow-pitch softball team in Canada. Their overly invested coach Joanne (Jess Salgueiro) and her co-captain Boris (Karen Knox) are joined by a group of ragtag but endearing teammates. Backed by their eccentric sponsor, local sports bar owner and wannabe councillor Barb Barbaritti (Emma Hunter), these underdogs navigate relationships, league rivalries, and a lack of athletic prowess. Presented as a mockumentary, characters frequently break the fourth wall by talking straight to the camera. It’s obvious that the cast has a real rapport, which adds to the team’s authenticity. Comedy wise, the genius writing hits every mark. With ten 30 minute episodes, it’s easy to binge and I didn’t want it to end. Fingers crossed for a second season. A feel-good home run.

SCORE:

Alex and Amanda’s Score 9.5/10

PRESSURE

James Stagg (Andrew Scott) is a Scottish chief meteorologist called upon by General Dwight D. Eisenhower (Brendan Fraser) to predict on the weather 72 hours before the D-Day invasion. Stagg travels to England and must analyse atmospheric pattern under tight time constraints, knowing a wrong call will cost lives and could influence the outcome of the war. With hundreds of thousands of Allied troops waiting to land on the beaches of Normandy, he immediately butts heads with his American colleague Irving Krick (Chris Messina), who has an opposing forecast. Based on a true story, this film buildings with suspense. The title is apt, given it could refer to barometric pressure cells or to the pressure placed on the decision makers, from the meteorologists fighting over the weather charts to the General carrying the weight of life and death decisions. Every performance is top-tier, but the on screen dynamic between Scott and Fraser is a highlight. They play two very different but strong willed men, stressed with massive responsibility, and their shared scenes are brilliant. Atmospheric weather effects paired with harrowing invasion sequences round out the high production value. A tense historical drama.

SCORE:

Alex, Anna, Baden, Matthew, Debbie, Bryan, Antionette, and Janette’s Score 9/10

Lydia’s Score 10/10

Jason, Gregory, and Jim’s Score 8.5/10

Carolyn, Tracey, Eric, Siouxsie, Susan, and Deanne’s Score 8/10

Izbel’s Score 7/10

WICKER

Set in an English village, the local fisherwoman (Olivia Colman) is teased for being a spinster and treated like an outcast. In a time where people are known only by their job titles and the men fit metal collars around the necks of their subservient wives on their wedding days, most of the betrothed are bitterly unhappy together. Tired of being alone, the fisherwoman longs for a companion and commissions the basket maker (Peter Dinklage) to weave her one. Thirty days later, he brings to life a handsome man made entirely of wicker (Alexander Skarsgård). The townsfolk are amused at first, before jealousy sets in as the fisherwoman and her gentle wicker man fall in love. No other acting duo could’ve pulled off these roles with the same sincerity. Colman is perfect and always excels when she’s bringing quirky characters to life, while Skarsgård gives a subtle performance as the big hearted man of few words. The rest of the cast is superb too. This is a delightful tale that’s every bit as wacky as it is funny. Despite its bizarre premise, the story carries sweet sentiments and you’ll end up barracking for this unconventional relationship. Charming and mad, this film is everything I hoped it would be.

SCORE:

Alex, Saraj and Isabella’s Score 9/10

Amanda’s Score 8.5/10

WILDWOOD

When her baby brother Mac is abducted by a flock of crows and taken into a mysterious forest called the Impassable Wilderness, Prue McKeel (Peyton Elizabeth Lee) doesn’t hesitate to go after him. Joined by her sweet but timid classmate Curtis Mehlberg (Jacob Tremblay), she finds herself surrounded by talking animals, warring factions, and lots of magic. Prue and Curtis must rescue Mac from the clutches of Alexandra (Carey Mulligan), the vengeful “Dowager Governess” of the wilderness area who plans to use the baby in a dark ritual to bring back her dead son. That’s all you really need to know about the plot other than it has an “M” rating due to some mature themes and violence. This stop-motion claymation feature is a visual masterpiece and unlike anything else I’ve ever seen. The level of craftsmanship and attention to detail is phenomenal. It took 16 years of planning and 231 weeks of production, resulting in 233 meticulously handmade puppets and 133 sets. Each clay figure ranges from 1.6 inches to 34 inches tall and was painstakingly animated frame by frame in a Portland based studio. The epic battle sequence alone is made up of more than 400 distinct shots. Such a labour of love! See it on the big screen to fully appreciate the immense artistry. A beautifully twisted fantasy that will transport you to another world and is in a class of its own.

SCORE:

Alex, Ben and Gills Score 10/10

THE MAKING OF MARIE ANTOINETTE

Filmmaking runs deep in the Coppola family. While Sofia Coppola was directing her 2006 period drama ‘Marie Antoinette’, her mother Eleanor candidly filmed behind the scenes. Decades later, during the 2020 lockdowns, Eleanor and Sofia began editing the footage, a task which was completed after Eleanor passed away in 2024. This unstructured documentary is made up of moments that caught Eleanor’s eye on set, and her unfettered access makes it feel as though you are standing right there beside her. Conscious of being a distraction to the actors, Eleanor dresses in black and makes every effort to quietly blend into the background. At one stage, Sofia jibes that she would prefer to arrive for work fresh rather than straight from a 60 minute press conference with her mother, but for the most part the cast and crew are patient and welcoming. Kirsten Dunst, who plays Marie Antoinette, comes across as an easygoing, consummate professional who enjoys Eleanor’s presence. The sheer scale of Sofia’s film is impressive, with long shoot days and health issues plaguing the ambitious director. The logistics she contends with are staggering and she reflects that while she loved the experience overall, she doubts she will attempt to make something so ambitious again. A legacy of love showcasing her daughter’s craft.

SCORE:

Alex's Score 8/10

ANIMALS

Mark Kimball (Ben Affleck, who also directs) is a politician campaigning to be Mayor of Los Angeles. When his son Denny (Christopher Woodley) is abducted while trick or treating, his political advisor Sam Allison (Steven Yeun) hires posh British fixer Dayle Burton (Gillian Anderson) to facilitate the ransom drop. Mark anxiously waits for news with his wife Abigail (Kerry Washington) and a tense 24 hours plays out with the couples financial and marital secrets exposed. It’s baffling why Affleck, Anderson, Yeun, and Washington would agree to work with such a weak script. They all have the talent to lift it but unfortunately they don’t – these are some career worst performances! It’s not just the source material that’s poor, the direction is diabolical. I hoped things would improve when Anderson turned up but even she was terrible, which I hate to say because I’m a big fan. Everything here misfires, right down to the lighting and which gives an overly bright Hallmark feel. There’s an unintentionally hilarious scene where Mark saves his housekeeper’s son from a trolley rolling down the side of a drainage ditch which we rewound three times just to laugh at – you have to see it (x3) to believe it! An A-grade cast delivering B-grade lines in a D-grade disaster. One of the worst films of the year.

SCORE:

Alex's Score 1/10

Amanda’s Score 2/10

STEAL THIS STORY, PLEASE!

Amy Goodman is an American investigative reporter with thirty years experience in capturing global events from the front line. She travels the world to deliver independent, bird’s-eye coverage, ensuring her news remains unbought and uninfluenced by corporate conglomerates. Brazen and relentless when pursuing targets for a comment, her grassroots ‘Democracy Now!’ radio program, which she co-founded in 1996, airs on over 1,500 stations globally and is one of the few remaining sources of unbiased news. In an environment where media is heavily skewed and “fake news” has eroded public trust in reporting, her straight shooting approach is refreshing. Amy gives a voice to those who’ve been silenced, with her team speaking to everyday citizens impacted by the crises unfolding around them. Directed by Oscar-nominated filmmakers Carl Deal and Tia Lessin, this inspiring documentary captures Amy’s extraordinary career and her driving passion to present the truth to the masses. Watch this story, please!

SCORE:

Alex's Score 9/10

WHALEFALL

Gruff seafarer Mitt Gardiner (Josh Brolin) has a tumultuous relationship with his son Jay (Austin Abrams) and his parenting style is defined as tough love. Suffering a terminal illness, he decides to take his own life. On the first anniversary of his death, Jay goes scuba diving in an attempt to locate Mitt’s missing remains. While underwater, he gets in the way of a sperm whale who’s chasing a giant squid and is swallowed whole by the cetacean. Jay finds himself trapped in its grotesque guts, amongst undigested food, juices, and slime. It’s here that the plot requires suspension of disbelief, logic, and science. Yes, there are two real occasions where divers have accidentally been sucked into a whale’s mouth, but both were quickly spat out. From Jay’s panicked breathing that would’ve drained his oxygen tank in minutes, to the crushing internal pressure, stomach acid, and toxic gas that would render a human unconscious instantly, the odds of him surviving in the whale’s interior are zero. Despite delivering a ridiculously fictional scenario, this film holds viewers in claustrophobic discomfort for its duration. It’s far-fetched and ridiculous, but at least it made me feel something, even if it was an uncomfortable ick while perpetually eye rolling.

SCORE:

Alex's Score 5/10

Jason’s Score 7/10

Janette’s Score 7.5/10

BELOW

Fisherman Calvin Penney (Josh Hartnett) is fighting against the resettlement of his Newfoundland coastal village, Snook’s Arm. Adding to his troubles, a sea creature begins terrorising the community and when Calvin’s son Wade (Charlie Heaton) is bitten by it he begins to have unsettling dreams. Local ice, which is harvested and sold, soon becomes toxic, causing extreme thirst and psychological delusions in anyone who consumes it. Marine biologist Fonda Howander (Mackenzie Davis) begins testing the ice to find out what’s causing the contamination. This six part series has plot elements similar to ‘Widow’s Bay’, being set in an isolated small town and revolving around mysterious folklore, but lacks the polished writing, strong performances, and special effects of its predecessor. The visuals are a mixed bag, with magnificent aerials of icebergs one minute and subpar CGI the next. Inconsistent Irish accents also impact the viewing experience. The retro 1950’s colour palette and post production grading makes every scene look like a picture perfect postcard and suits the slow paced location, where not much changes over time. Calvin’s boat is called ‘High Hopes’ and that’s what I started out with before this supernatural drama sunk. Promising premise, disappointing execution.

SCORE:

Alex's Score 5.5/10

CARRIE

Sixteen year old Carietta White (Summer H. Howell) was raised in isolation and kept indoors by her extremely religious, paranoid parents. When her father dies in a workplace accident, the authorities step in and force her abusive mother Margaret (Samantha Sloyan) to get a job and insist that Carrie enrols in Ewen High School. Carrie is naive and lacks exposure to the outside world, making her a target for the school bully, pretty little rich girl Christine Hargensen (Josie Totah). Christines’s best friend Sue Snell (Annalise Basso) is asked to take Carrie under her wing and is one of the few people to show her kindness and empathy. The tension builds as Carrie’s patience is eroded and her growing rage begins to unleash strong telekinetic abilities. When Christine and town delinquent Billy Nolan (Arthur Conti) take things too far, Carrie discovers her true power and catastrophically goes full send. Written and directed by Mike Flanagan (who has adapted several Stephen King books including one of my faves ‘The Life of Chuck’), this adaptation brings the iconic 1974 novel into the digital age, swapping the in-person harassment for cyberbullying via social media platforms. The stories of other young women with supernatural powers, including astral traveller Emaline West (Thalía Dudek), aren’t fully fleshed out and need more explanation as to who, what, and why. Regardless, this is a well produced series with a cautionary tale. As a huge Stephen King fan, I loved it!

SCORE:

Alex and Amanda’s Score 8.5/10

I WOULD RATHER DIE

Archie Perez (Diego Bernal) has his life turned upside down when he gets bitten by a zombie shop keeper in a local corner store. Joined by his friends Cristina (Lilith Curiel) and Brenda (Farah Justiniani), he races to find a cure before he fully turns. He also has to contend with being pursued by a group of church ladies intent on saving his soul, dealing with high school dramas, and avoiding an investigator named Sarah Díaz (Fernanda Castillo) who’s trying to track down the source of the infection. Set in the town of Mendoza, this Mexican production mixes teenage angst with gory horror and dark comedy. Bernal does well as the reluctantly undead Archie and the supporting cast bring plenty of heart. Consisting of eight half hour episodes, the whole season is easy to binge. Deadpan (literally) and a fresh take on a familiar theme.

SCORE:

Alex's Score 7.5/10

EAST OF EDEN

Based on John Steinbeck’s famous novel, wealthy farmer Adam Trask (Christopher Abbott) marries Cathy / Kate (Florence Pugh), a manipulative woman devoid of empathy. After giving birth to twins she leaves Adam and heads to the city, where she rises from a working girl to a ruthless brothel madam. Heartbroken, Adam struggles to raise their sons Cal and Aron but pushes through with the help of his loyal housekeeper Lee (Hoon Lee). Retelling the biblical tale of Cain and Abel, the story shows how parental favouritism can perpetuate sibling rivalry across generations, repeating the original feud between Adam and his brother Charles (Mike Faist), with Cal (Joseph Zada) and Aron (Joe Anders). New Zealand spectacularly doubles for the Salinas Valley in California from 1862 to 1918. The landscape is grand and the lavish, authentic sets and props reflect the high production value. Pugh is enigmatic as the murderous, calculating Kate and commands every scene she’s in. I was completely hooked for the first few episodes but lost some interest when the focus shifts away from Kate and towards Adam, his sons, and Lee. As the most compelling character she could’ve carried the entire series. Large jumps in time, sometimes decades, accelerate the boys’ growth, but Kate and Adam don’t progress emotionally at all, making the forward skips feel disconnected. Misses the mark in some areas and excels in others.

SCORE:

Alex's Score 6.9/10

Amanda’s Score 7/10

SAND ROADS

In 2010, friends Valerio De Simoni, Teddy Davant, and James Kenyon decided to ride quad bikes fifty thousand kilometres around the world to raise money for charity. Nicknamed ‘The Quad Squad’, they set off full of youthful enthusiasm and recorded every step of their journey on camera. Soon the reality of constant breakdowns, harsh conditions and rough terrain set in, and the relationship between Valerio and James began to deteriorate. When a life changing tragedy struck half way through, the men were forced to re-evaluate what they were doing and why. Now grown adults with wives and families, James and Kristopher nostalgically reflect on the remarkable feat that earned the trio a world record. A shorter run time would’ve been beneficial to tighten up the plot, but this remains a testament to the lure of grand adventure.

SCORE:

Alex, Bron and Lee’s Score 7/10

Cath, Maree and Tracey’s Score 6/10

Vicki and Janette’s Score 5/10

STREET FIGHTER

Ken Masters (Noah Centineo) and Ryu (Andrew Koji) were inseparable growing up until their mentor and martial arts master Gouken was killed by his brother Akuma (Joe Anoa’i). Six years later, Ryu has disappeared, while Ken spends his days saying yes to every marketing opportunity he can get. When Ken is invited to participate in a World Warrior tournament, Ryu returns to seek vengeance on Akuma. This film captures the nostalgia of the arcade game with many of the original characters making an appearance, including the main villain M. Bison (an unnerving David Dastmalchian), Chun-Li (Callina Liang), Blanka (Jason Momoa), Balrog (Curtis “50 Cent” Jackson), Guile (Cody Rhodes), Dhalsim (Vidyut Jammwal), E. Honda (Hirooki Goto), Zangief (Olivier Richters) Vega (Orville Peck) and Cammy (Mel Jarnson). Set in the 1990’s, the soundtrack is loaded with funky needle drops that instantly transport you back to that era. The action sequences are faithful to the game’s iconic moves and the physical dedication of the cast is impressive. Elements of the backstory are told by animated segments that fill in key details. While the ending is blatantly written for a sequel, there are plenty of fun moments and I was reminded of the many hours I used to spend as a teenager in the gaming room of Happy Days Cafe, Tom Price. Definitely better than the 1994 movie, this slaps, high kicks and packs a punch.

SCORE:

Alex, Duncan, Tracey, Eric, Zenda, and Nat’s Score 8/10

Lydia’s Score 10/10

Amanda’s Score 8.5/10

Simon’s Score 7.5/10

Fiona, Zoe and Stefan’s Score 7/10

Ian’s Score 6/10

Leon’s Score 5/10

Damien’s Score 4/10

OTHER MOMMY

Bela (Arabella Olivia Clark) is a young girl caught in the middle of her parents’ strained marriage. She’s pestered by an entity she calls “Other Mommy” who disguises itself as her mother Ursula (Jessica Chastain). This trickster demon presents itself to Bela and her dad Russ (Jay Duplass) within the first few minutes of the film, but there’s no explanation as to why it turned up, where it came from, where it goes, how it manifested, or even what its true intentions are. It keeps asking Bela to let it into her heart but she refuses, without any clear indication of what would happen if she gave in. The family tries to escape the demon, thinking it may be attached to their house, but it follows them, possessing and killing a few people along the way. Although this is meant to be a horror, I found myself laughing at the ridiculousness. Clark gives a believable performance as Bela, acting genuinely fearful and traumatised but the plot is riddled with holes. At one point dozens of people turn up to help fight the demon at Grandma Ruth’s (Karen Allen) house and only two of them are ever mentioned again. Unexplained deaths that would receive immediate police attention get swept aside without consequence and some of the special effects are very fake. A full scale mechanical puppet was used for Other Mommy in certain scenes and may explain why the creature moved so awkwardly. A total waste of time.

SCORE:

Alex's Score 3/10

Wills Score 6.5/10

David’s Score 5/10

Sonya’s Score 4.5/10

Jason’s Score 2/10

STITCH HEAD

Set in a bleak castle above the village of Grubbers Nubbin, mad scientist Professor Erasmus (Rob Brydon) frequently brings new monsters to life, only to forget them the moment he moves onto his next experiment. His first creation, a boy named Stitch Head (Asa Butterfield), looks after the abandoned monsters and keeps them hidden from the townsfolk. He runs away to join the circus when travelling freak show owner Fulbert Freakfinder (Alison Steadman) promises that audiences will love him. He soon realises that he’s made a mistake and relies on his monster friends and a human named Arabella (Tia Bannon) to escape. This is a sweet animated film for kids that has a gothic Tim Burton vibe. Part musical, it explores themes of feeling neglected, embracing your true self and finding family you choose, but presents them in a light hearted way. The gaggle of mismatched monsters are adorable and are as endearing as the movie’s messages. Best suited to young viewers.

SCORE:

Alex's Score 7/10

HOLY CANNOLI

Arturo (Pierfrancesco ‘Pif’ Diliberto) is a real estate agent who tells convenient lies about the buildings he sells and leases. In his spare time he runs an online channel reviewing Sicilian baked goods. When he meets Flora (Giusy Buscemi), the daughter of a famous pastry chef, and helps her find commercial premises for her new dessert shop, the two fall in love. To fit in with her devout faith he pretends to be a practising Catholic. When Flora discovers his deception, it causes major friction between them and prompts Arturo to throw himself into Catholicism. Guided by supernatural visions of the Pope, he follows the Bible to the letter and embraces absolute honesty, much to everyone else’s chagrin, including Flora. This comedy loses its grip when the religious themes become heavy handed and overshadow the humour. The acting feels over the top in places and several plot threads miss the mark. More saccharine than sweet.

SCORE:

Alex and Janette’s Score 5.5/10

Bron and Lee’s Score 7.5/10

TED LASSO: SERIES 4

After intending to wind up for good after three successful seasons, this series made an unexpected return. Now focussing on a women’s soccer team called the Lady Greyhounds, Ted (Jason Sudeikis) is back at AFC Richmond with Rebecca (Hannah Waddingham), Higgins (Jeremy Swift), Keeley (Juno Temple), Roy (Brett Goldstein) and Beard (Brendan Hunt), plus a new cast of team mates and a cameo by Tracey Ullman as zany Zelda. A stand out character is uptight, stoic assistant coach Alice Chilton (Tanya Reynolds) who has the biggest character arc. The story follows the usual tropes associated with the show – mateship, never giving up, being your authentic self, kindness etc – only this time around it unnecessarily tries too hard. Ullman’s character is over the top (with a bad wig) and several of the plot threads are ridiculous, like one about Beard going to his ex-girlfriend’s new play and later, embarking on an extreme makeover to look younger. There’s a lot to be said for quitting on a high and I’m not sure this has enough legs to continue, which is a shame because feel good content is needed more than ever. But it has to be done well and it’s beneficial to know when enough is enough.

SCORE:

Alex and Amanda’s Score 6.5/10

LIFE IS LIFE

Powerful real estate developer Giacomo (Diego Abatantuono) wants to build a luxury resort on a picturesque stretch of beachfront in Sardinia. He buys up all the surrounding land except one plot which belongs to Efisio (Giuseppe Ignazio Loi), an 80 year old shepherd. Over several years, Giacomo makes constant financial offers that seem too good to refuse, eventually reaching a million euros, but Effisio refuses every single time. It’s his ancestral home, with direct access to the beach where he walks his cows every day. Inspired by the true story of farmer and shepherd Ovidio Marras, the battle of wills escalates and ends up in court. Efisio’s daughter Francesca (Virginia Raffaele) is caught between the place she loves, the possible economic windfall, and the peer pressure of the local community who believe the new resort will solve their unemployment crisis and bring in tourist dollars. This is a David and Goliath story about the power of the little guy standing up to a conglomerate convinced that money can buy anything. Beautifully filmed with a sweet soundtrack, the only downside was that it felt too long. Sincere stubbornness.

SCORE:

Alex's Score 7.5/10

ZOMBUCHA

Recently unemployed couple Maddie (Emma Leonard, who also wrote the script) and Leo (Ryan O’Kane) are desperate to find a way to make some quick cash. When they head to a local farmers market they meet l Kai (Duncan Fellows), who’s raking it in selling his home made kombucha. Maddie and Leo steal Kai’s SCOBY (the living kombucha base) and use it to develop their own brand ‘Thirsty Virgin’. They treat the SCOBY like a child and feed it herbs stolen from their neighbour’s garden, only for it to become sentient and rapidly grow. Their new brew becomes a hit with the public, but it comes with an unexpected side effect – anyone who drinks it turns into a zombie. Maddie and Leo are forced to team up with their friends (including lesbian mother Audrey played by Shakira Clanton who is brilliant ) and fight to prevent a full blown apocalypse. While the plot sounds ridiculous on paper, this film is genuinely funny and delivers many laugh-out-loud moments thanks to the superb comedic cast. With a vibrant aesthetic and solid pacing, this is wildly entertaining. A fun ride from start to finish.

SCORE:

Alex's Score 7.5/10

THE SOCIAL RECKONING

Jeff Horwitz (Jeremy Allen White) is an investigative journalist working for The Wall Street Journal. He begins investigating the conduct of Facebook and finds a whistleblower in Frances Haugen (Mikey Madison) amongst the company’s closed ranks. She helps expose the way the algorithm works to grow views and profits rather than police its own content. Mark Zuckerberg is perfectly portrayed by Jeremy Strong, who has his deadpan demeanour and voice down pat. He outshines White and Madison, though neither really had to stretch much, playing a mild-mannered journalist and a quiet data scientist respectively. The message of this film is serious and important, so the moments of obvious humour didn’t always land for me. Written and directed by Aaron Sorkin as a companion piece to ‘The Social Network’, this stands alone as a current statement about the manipulation of social media users and how misinformation can impact behaviour. All I could think of afterwards was the boiling frog fable about a frog that fails to notice the slow, steady increase of water temperature until it’s too hot to escape.

SCORE:

Alex and Alex’s Score 7/10

Natalie’s Score 9/10

Stefan’s Score 8.5/10

Rebecca’s Score 6.5/10

Fiona’s Score 6/10

Duncan’s Score 4/10

PICKPOCKETS

Set across Sydney, two rival pickpockets Jesse (DC Fairhurst) and Robin (Lucy Green) begin encroaching on each other’s territory. Their mutual resentment quickly escalates into a tit-for-tat revenge game where Jesse gets stabbed and Robin finds herself repeatedly arrested. Everything comes to a head when beloved (but unhinged) Aussie celebrity, Jasper LeClaire (Tim Minchin), enters the mix and demands the pair fulfil a near impossible request. This is an engaging film with fast pacing and a high tempo score that accelerates the action. It’s uniquely filmed in black and white with selective pops of colour, which cleverly highlight how Jesse and Robin mark the objects they plan to steal. Co-written, directed and edited by Fairhurst and co-written and produced by Green, it also serves as a public service announcement regarding personal vigilance, reminding viewers not to be complacent with their belongings in public. A zany, fun crime escapade.

SCORE:

Alex's Score 8/10

PARAMEDICS

Channel Nine’s fly-on-the-wall documentary series returns for its seventh season, shifting its focus to Perth for the very first time. Each episode follows the tried and tested format of tracking a medical emergency, from the initial call right through to delivering the patient to hospital. … yet it’s so much more than an incident timeline. The featured paramedics (Michael, Kieran, Wishy, Josh, Ven, Dimi, Rhi and James) share their personal motivations for joining St John WA and give glimpses into their backstories and current lives. They’re all likeable, professional, individuals who have genuine compassion for every person in their care. Each episode follows three or four separate cases, ranging from motor vehicle accidents and falls to heart conditions, sports injuries, broken limbs, and drug overdoses. Post-hospital updates on each patient’s recovery are provided and appreciated. Riveting, real and genuinely moving, this is an eye opening look at the dedication of frontline workers.

*The first four episodes have been watched for review.*

SCORE:

Alex's Score 9/10

THE WIDOWER: TIL DEATH DO US PART

Thomas Randolph has been married six times, but only two of his wives are still alive. While one passed away from cancer, three others died under suspicious circumstances. He was arrested for the 1986 murder of his second wife Beckie and was acquitted, only to be charged twenty years later for the 2008 murder of his sixth wife Sharon. Found guilty, he appealed his conviction to the Nevada Supreme Court, who ordered a retrial. He was found guilty again and sentenced to sixty years in prison. This jaw-dropping documentary focuses on the pursuit of justice by now retired Las Vegas Metro Police Detective Dean O’Kelley, who investigated the cold case, and Dateline NBC journalist Dan Slepian, who interviewed Randolph many times over a decade. Randolph is a walking ick who considers himself to be God’s gift to women. His M.O. involved taking out life insurance policies on his wives and asking friends to commit the murders for money. The one man who agreed to help him, Michael Miller, was shot and killed by Randolph, who then double-crossed him by claiming self-defence after Miller murdered Sharon. Pocketing hundreds of thousands of dollars in payouts, he continually played the system and frequently sued prosecutors and hospitals for settlement windfalls. He manipulated every legal loophole he could find, including a frustrating ruling where any mention of his first murder charge was excluded from his second trial for Sharon’s death to prevent jury prejudice. A narcissistic, revolting piece of work, Randolph’s ability to get away with literal murder (more than once!) for as long as he did is mind blowing. Hopefully he remains incarcerated for the rest of his days.

SCORE:

Alex's Score 8/10

THE GREATER GOOD

Tour guide Biagio (Rocco Papaleo who also directs and is a co writer) takes four incarcerated women (Samanta played by Claudia Pandolfi, Gudrun played by Teresa Saponangelo, Anny played by Rosanna Sparapano, and Livi played by Livia Ferri) and their supervisor Raffaella (Vanessa Scalera) on an overnight hiking trip into the Italian countryside as part of a special rehabilitation program to search for an ancient tree. While the women travel through the picturesque landscape, they are forced to confront the underlying reasons for their crimes and the circumstances of their incarcerations. In a strange directorial choice, characters frequently break the fourth wall by speaking directly to the camera, and appear in elaborate costumes while musicians play instruments around them. These theatrical, play-like scenes are out of place and unnecessary. In the interests of full disclosure, I found the pacing and plot so slow I fell asleep for a portion of the middle, only to wake up and find that nothing much had progressed. What I did see was dull and gimmicky.

SCORE:

Alex and Janette’s Score 5/10

Bronny’s Score 8.5/10

Lee’s Score 8/10

Serena’s Score 6.5/10

SEA LOOK: THE TAGGED SEALS

Set on an iceberg, this engaging animated series follows the daily life of a group of seals who communicate through vocalisations and body language. The graphics are beautifully drawn, with expressive, big eyed characters and minimalist backgrounds. Every seal has a distinct personality and the start of every episode, numbered flipper tags are shown to reveal which specific seals feature in that chapter. A cute cast of birds, whales, and fish also make appearances. There are subtle bits of crude humour (seals have flatulence!) but the content is still family friendly with a G rating. The format of short episodes, no more than 14 minutes long will engage even the youngest viewers. Best of all though, the bouncing movements of the seals, distinct colour tones, and squeaky sound effects make this mesmerising for dogs. Funny, cheeky and charming, our toy poodle x loved it!

SCORE:

Alex's Score 8.5/10

THE COMFORT DOGS OF UGANDA

The 20 year conflict in Northern Uganda between the Lord’s Resistance Army (LRA) and the government saw warlord Joseph Kony abduct children and force them to fight for him. This powerful short documentary tells the story of former child soldiers Lucy, Francis, and Jennifer. They are now guardians of dogs entrusted to them through the Comfort Dogs of Uganda program. Created in 2015 by The Big Fix Uganda animal welfare charity, which also operates the only veterinary hospital in Northern Uganda, the initiative helps war trauma survivors heal alongside rescue dogs. The project is managed by Francis Okello Oloya, a psychologist who lost his sight as a child soldier when a bomb exploded in his front garden. It gifts these life saving dogs for free, and all guardians complete an intensive 20 week dog bonding and education program. Training the dogs requires patience and emotional control, which helps reconnect the neural pathways damaged by combat trauma. The dogs also bring laughter, joy, and love back into their guardians’ lives, and ongoing psychological counselling is provided as well. All of the dogs’ needs are taken care of, including food and veterinary treatment. Within ten minutes, I’d cried multiple times – first for Lucy, Francis, and Jennifer sharing the abuse they suffered during their painful childhoods, then for the poor state of many dogs in Uganda, and finally for the deep adoration they have for their own dogs Sadik, Tommy, and Ogen. Hearing Francis speak with such pride at being awarded a gold medal through the program also set me off. It’s a rollercoaster. Director and producer Richard Wainwright has created one of the most powerful half-hours I’ve ever watched. It serves as an incredible awareness tool and seeks to raise funds for The Big Fix. Heartbreaking but also heartwarming, put this on your must see list.

SCORE:

Alex's Score 10/10

THE LESSON

Attorney Elisabetta (Matilda De Angelis) is representing university professor Angelo (Stefano Accorsi) at his se*ual assault trial. In the opening court scene, his victim unexpectedly retracts her claims and says she made the allegations up, allowing Angelo to walk free. Soon afterwards, Bette’s former boyfriend Daniele (Marlon Joubert) is released from prison and she becomes convinced he’s stalking her. While staying at her parents’ remote country house, she’s shocked when the professor shows up, claiming he’s been coincidentally renting the property next door. She prepares to make him a cup of tea and panics when he steps up behind her, making a split second decision that has life changing consequences for them both. The plot of this film is intriguing on paper, but it moves into farcical territory as it progresses. I found it hard to buy into the story right from the start as De Angelis looks too young to be an experienced attorney – plus her reckless criminal choices don’t align with the way a real legal professional should behave. The acting was average and the final minutes fail to deliver a satisfactory payoff. Bland and lacks direction.

SCORE:

Alex's Score 5/10

Janette, Serena and Ang’s Score 6/10

THE MISANTHROPE

Sandra Oh is front and centre (stage) in this National Theatre production, playing Alice, an uptight novelist. She has a huge list of things she despises, with people, hypocrisy, fake politeness and influencer culture at the top of it. She freely expresses her cynical opinions to all and sundry, including flamboyant bestie John (Paul Chahidi) and flirty boyfriend Stefan (Tom Mison), who she suspects is cheating on her. With the gender roles and character names changed, this is a modern interpretation of Jean-Baptiste Poquelin’s satirical writings, originally penned in 1666. Being a live performance captured on film, the cast is responsible for carrying the entire story. Any slip up or mistake is instantly amplified, yet in this production the actors are flawless and show impeccable timing. They handle the dialogue-heavy script with ease, and Oh is particularly impressive. She excels! This is a format which brings content to the masses that many of us would otherwise not see. I’m hooked.

SCORE:

Alex's Score 8/10

VERITY

Successful author Verity Crawford (Anne Hathaway) has been in a catatonic, paralysed state after a car accident several months ago. Lowen Ashleigh (Dakota Johnson) is asked to ghostwrite the remaining books of her highly successful thriller series. After accepting the offer, and a generous fee, Lowen moves into Verity’s Vermont home which she shares with her husband Jeremy (Josh Hartnett) and their son Crew (Brady Wagner). During her stay, Lowen digs through Verity’s notes to research her writing style and to understand character development process. When she uncovers an autobiographical manuscript, she begins to suspect that Verity might not be as incapacitated as everyone thinks. The tension of this psychological thriller builds steadily and the pacing maintains momentum throughout. Hathaway’s performance has the most range, switching between flashbacks of her perfect life, to the present where she is make up free and bed ridden. The Crawfords house is gothic real estate p*rn from the outside but is filled with shadows and a heavy atmosphere on the inside. Its picturesque lake and forest outlook is spectacular – such a juxtaposition to the events that have taken place there. You’ll be kept guessing until the very end, and left to decide where the truth lies. Creepy and unsettling.

SCORE:

Alex's Score 8/10

DIGGER

When billionaire oil tycoon Digger Rockwell (Tom Cruise), one of the world’s richest men, arrogantly ignores urgent warnings about an ice fracture in Greenland, it results in a global disaster. Set in the USA, he meets with President Compton (John Goodman) and a group of wealthy, sycophantic politicians and pompous military personnel to brainstorm their public narrative. They all care for money more than people and the planet, with the exception of Digger’s environmental advisor Dr Ganesh (Riz Ahmed). I don’t want to give too much away about the plot other than to say it takes several unpredictable turns that go in unexpected directions. Go in blind and let it unfold as a surprise. Written and directed by Alejandro González Iñárritu, his original screenplay is a bold choice for Cruise, who uses his star power to deliver a thought-provoking view and a message I’ll think about for a very long time. The action unfolds on stylised sets with immaculate attention to detail and a distinct colour palette, creating a starkly striking atmosphere. The entire cast is brilliant in their heavily caricatured roles, though Sandra Hüller is underutilised as Digger’s half-sister Emma … but this isn’t a movie about women. Funny and insane on one hand, it’s current and foreboding on the other. If you watch it and don’t like it, you don’t get it. Just give Tom Cruise the Oscar, already.

SCORE:

Alex and Kelly’s Score 10/10

SENSE AND SENSIBILITY

Following the death of her husband, Mrs. Dashwood (Caitríona Balfe) and her daughters Elinor (Daisy Edgar-Jones), Marianne (Esmé Creed-Miles) and Margaret (Bodhi Rae Breathnach), are forced to leave their family estate. Elinor soon catches the eye of shy gentleman Edward Ferrars (George MacKay), while Marianne falls for charming John Willoughby (Frank Dillane). The two sisters travel to London hoping to reunite with their beloveds, only to be left heartbroken after discovering that one of the men is already engaged and the other isn’t who he seems. This romantic drama is adapted from Jane Austen’s first novel, which was published in 1811 and is set in the early 1800’s. The story emphasises the pressures placed on young women to find financially stable husbands, while being ridiculously polite and maintaining social etiquette at all times. A well chosen cast, along with authentic period costuming, hair, makeup, and hats, bring the Regency era to life. I loved all of the animals included, especially the many dog cameos. There’s a clever plot twist near the end for those who haven’t read the book. An easy watch about choosing genuine love over material wealth.

SCORE:

Alex's Score 8/10

THE GREAT ARCH

Danish architect Johan Otto von Spreckelsen (Claes Bang) is thrust into the limelight when he wins a national 1983 competition to design a new landmark in Paris. After reluctantly hiring a team of French builders and project managers, led by Fellow architect Paul Andreu (Swann Arlaud), he devotes the next four years to the construction of his beloved “cube”, the Grande Arche de la Défense. Otto’s perfectionism spirals after butting heads with the French government’s red tape and financial constraints. As costs become untenable and compromises are demanded, he clashes with his colleagues over the rigid control he demands. His vision for the cube is all he cares about, which puts distance between his wife Liv (Sidse Babett Knudsen) and severely damages their relationship. The cast are superb and give authentic, impassioned performances. Partly based on true events, with some fictional liberties, this is a fascinating behind the scenes look at a magnificent but obsessed creator and the personal toll of literally building a legacy.

SCORE:

Alex and Janette’s Score 7/10

CHARLIE HARPER

Charlie (Nick Robinson) and Harper (Emilia Jones) first cross paths when Charlie works as a teacher’s assistant in Harper’s English class. Reconnecting at a party years later, they end up dating and move in together. Harper pursues a career as a chef, while Charlie lives in denial that he’s an alcoholic. They both seem like decent people who slowly grow apart … and disappointingly nothing much else happens. The story starts with each of them recounting their five year relationship to other people, before it catches up to the present. Some interesting abstract filming techniques are used but overall this film is dull in pacing and content. Even the soundtrack has little impact, with a song that’s sentimental to the characters played three times failing to leave any emotional imprint on me as a viewer. Subdued and unmemorable.

SCORE:

Alex and Deb’s Score 5/10

Bryan’s Score 3/10

LIONESS: SEASON 3

This season of the this special ops thriller has plenty of action, but it doesn’t recreate what makes ‘Lioness’ special in the first place. The plot is overly complicated, while the constant switching of timelines is dizzying. Without introducing a new Lionesses or leaning into any of the special operations strategies that made Season 1 so unique, it feels like just another spy show but with a bigger military emphasis. Zoe Saldana is still excellent as Joe, but overall this was the weakest season for me. When the big reveal finally happened in the final minutes, I had to research who the actual abductor was as the whole preceding storyline gave no clues. It feels like they are making it up as they go along.

SCORE:

Alex's Score 6/10

UNABOMBER

Unabomber Ted Kaczynski (Jacob Tremblay) inflicted a reign of terror across America from 1978 until 1995. He killed 3 people and injured 23 others with his improvised explosive devices before he was finally caught in 1996. This partly biographical drama focuses on two main timeframes – his early college years as a math prodigy at Harvard where he participated in controversial psychological experiments conducted by Professor Henry Murray (Russell Crowe) and the nationwide manhunt leading to his arrest. The script takes many liberties with the actual truth, condensing an entire task force down to one main FBI agent piecing together the evidence (Kathy Scruggs played by Shailene Woodley) and heavily implying Kaczynski’s university days were responsible for his radicalisation. There’s a definite sympathy angle in relation to the latter, with the experiments presented as a convenient scapegoat for the formation of his extreme anti-industrial views. The reality is, his withdrawal from society and self isolation in the Montana wilderness are more likely to blame. A stronger story would’ve been to cover his entire life rather than use a brief period to justify his crimes committed decades later. Tremblay is excellent as Kaczynski, delivering an intense and at times unnerving performance. A fragmented attempt to rationalise a delusional mind.

SCORE:

Alex's Score 5.5/10

Amanda’s Score 7/10

COYOTE VS ACME

Watched this a second time with members of The Popcorn Panel movie club and everyone agreed it was nostalgic fun.

Coyote vs. ACME

Ketchup Entertainment

Pinnacle Films

 

SCORE:

Alex, Amanda and Randi’s Score 10/10

Charli’s Score 9.5/10

Kelly, Steve, Aunty and Jason’s Score 9/10

Kaz and Dez’s Score 8/10

Dave’s Score 6.5/10

PULP – WHAT DO YOU DO FOR AN ENCORE?

Rising to fame in the 1990’s, British pop band Pulp took to the stage in 2025 to promote their first album release in 24 years. Directed by Garth Jennings and narrated by frontman Jarvis Cocker, this concert documentary mixes live footage of this gig with archival clips. Cocker comes across as funny (his quips about ageing definitely ring true), self-deprecating, and personable while sharing stories of how the band climbed the “mountain of pop.” What impresses me the most is his authenticity, with his signature awkward, angular dancing style making him all the more relatable. I went into this screening knowing almost nothing about the band, other than their hit anthem “Common People” – so discovering the rest of their music was a pleasant surprise. Their show was a ball of infectious energy, and I can only imagine how electric it felt to be there amongst the 20,000 excited attendees. At my cinema screening, audience members clapped at the end of the songs and gave a big round of applause when the credits rolled. Existing fans will love this, and as a new a fan, I did too.

SCORE:

Alex's Score 9/10

NEW ZEALAND SPY

When New Zealand’s national intelligence agency has five vacant agent positions and only three applicants, management has no choice but to hire the entire pool. Qualified recruits Michael (Joe Thomas) and Susan (Rose Matafeo) are joined by a second Michael (Paul Williams), an incompetent try hard who secures a spot by proxy. The mismatched trio is sent on a chaotic mission to stop an assassination plot and prevent the head of Australian intelligence from purchasing state secrets on the Kiwi black market. This is a light hearted, low budget comedy filled with rapid fire Kiwi satire and bumbling physical humour from Williams. Not every gag lands and sometimes the humour feels slightly forced, but for the most part it gives genuine laughs. With only six episodes under 30 minutes long each, it’s easy to consume and perfect to binge. Retro fun that doesn’t take itself too seriously.

SCORE:

Alex's Score 6.9/10

Amanda’s Score 5.5/10

THE WEIGHT

Set in 1933 during the Great Depression, Samuel Murphy (Ethan Hawke) is a widowed single father who gets arrested and sentenced to hard labour in a prison camp after beating up a cop. He is forced to work as on a road building crew managed by warden JJ Clancy (Russell Crowe). Clancy sees potential in Murphy as a leader and believes he’s trustworthy. He offers him a deal – if Murphy helps smuggle gold bars out of a mine and through the dense wilderness, he’ll be granted an early release and the chance to reunite with his young daughter Penny (Avy Berry) before she’s put up for adoption. After agreeing to the proposal, Murphy sets off on the trek with three fellow prisoners and two armed mine guards. Along the way, a Native American woman named Anna (Julia Jones) joins the group as their cook. As they battle the harsh elements, distrust creeps in amongst the men and they face the constant stress of being attacked by local thieves. The burden of their precious cargo weighs heavily on their bodies and their minds. Authentic costumes, sets, and period props enhance the historical realism of this film, while every member of the cast is brilliant. Hawke is compelling and once again showcases his versatility as an actor. This role is worlds apart from his performance as Lorenz Hart in ‘Blue Moon’, but just as intense. Crowe delivers a solid American accent during his brief screen time, while Berry is an absolute scene stealer, with her cuteness and talent reminiscent of a young Abigail Breslin in ‘Little Miss Sunshine’. Wonderful panoramic cinematography and an engaging story round out this rugged and captivating adventure.

SCORE:

Alex's Score 8/10

Jason’s Score 8.5/10

THE LAST WHALE SINGER

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

SCORE:

Alex's Score 8/10

MONSTER: THE LIZZIE BORDEN STORY

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

SCORE:

Alex's Score 5.9/10

Amanda’s Score 6.5/10

RUNNER

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

SCORE:

Alex’s Score 5.9/10

Jason’s Score 7.5/10

HEART OF THE BEAST

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

SCORE:

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

Steve and Tracey’s Score 8/10

Charli’s Score 7.8/10

Dave’s Score 7/10

RESIDENT EVIL

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

SCORE:

Alex and Amanda’s Score 6.5/10

Alex and Rebecca’s Score 8/10

OASIS: DON’T LOOK BACK IN ANGER

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

SCORE:

Alex and Kelly’s Score 5.5/10

COYOTE VS ACME

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

SCORE:

Alex's Score 10/10

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