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

HOW TO MAKE A KILLING

Loosely based on the 1949 film ‘Kind Hearts and Coronets’ but brought forward to a present day setting, Glen Powell stars as Becket Redfellow, a blue collar worker living a modest life as a tailors assistant. The opening scene shows him condemned on death row, spending his final four hours downloading his tale of woe to a priest. He reveals that his mother Mary Redfellow (Nell Williams) was disowned by her billionaire father when she was eighteen years old and pregnant with Becket. As an adult, he desperately wants to be the sole heir of the Redfellow fortune and decides he must eliminate every family member standing in his way. Margaret Qualley co-stars as Julia Steinway, Becket’s childhood crush who re-enters his life and complicates his plans. The story builds up to an unexpected twist, where the power dynamics shift. While the subject matter is murderous, the visuals aren’t graphic, gory, or particularly violent. Instead, Becket’s narration is used to describe the crimes he commits and to verbally share his motivations. Brisk pacing and an engaging blend of action, drama, and dark comedy demand your attention from start to finish. Powell brings just the right amount of charisma to Becket, but Qualley’s Julia is plagued by several plot holes regarding her whereabouts over the years and how she evolved into the person she’s become. For half of the film I randomly wondered if she was a ghost because she doesn’t interact with any other characters – her lack of backstory and depth make her the weakest link. Stylish, slick, and proof that everything comes at a cost. 

SCORE:

Alex's Score 7.9/10

Saraj’s Score 7.9/10

THE SILENT FRIEND

Set in the botanical gardens adjacent to a German university, this non-linear plot follows three people from different generations whose lives are connected by an ancient ginkgo tree. In 1908, Grete (Luna Wedler) becomes the university’s first female student and goes on to photograph the intricate patterns in plants. In 1972 a student named Hannes (Enzo Brumm) is left in charge of his friend’s geranium, which is wired up for a scientific experiment. Lastly during the COVID lockdown in 2020, world-renowned Hong Kong neuroscientist Dr Tony Wong (Tony Leung Chiu-wai) gets stuck at the university and passes his time by conducting experiments to assess the emotions of the ginkgo tree. Each era is uniquely captured via a different medium to create a distinguishable sense of time passing – 35mm black and white film for 1908, 16mm film for 1972, and digital recording for 2020. The tree, a sturdy and consistent sentinel, is positioned as the central character rather than merely appearing in the background. The cinematography features lingering, meditative scenes that depict the subtle, almost silent, movements of nature. Gentle and intentional in its pacing, this is a film you sit with, just as you would sit in nature. At two hours and twenty seven minutes long, it easily held my attention and I was engrossed in every frame, though trees are one of my special interests and I could look at them for days. I also enjoyed the scientific elements and the mesmerising way rhythmic pulses of light are used to show the results of Dr Wong’s tests. These moments give a deeper understanding of the interconnectedness of life on Earth and serve as a beautiful reminder of the invisible bonds between all living things. I’ll never look at trees the same way again. Soulful, quiet, and grounding. Fun fact: The ginkgo tree is a real-life landmark in the Old Botanical Garden of the Philipps University of Marburg, Germany, and was planted in 1832. It has witnessed the entire century of human change depicted on screen.

SCORE:

Alex's Score 9/10

DIABOLICAL: THE EPSTEIN FILES

Walkley Award-winning Australian reporter Grace Tobin directs this hard hitting documentary, which follows her investigation into the release of the ‘Epstein Files’ relating to disgraced financier and child s*x offender Jeffrey Epstein. Tobin travelled across the United States to interview key figures, including Mark Epstein (who still questions the official ruling of his brother’s death), investigative journalist Julie K. Brown whose work pressured authorities to reopen the investigation into Epstein in 2018, outspoken and divisive political figures Thomas Massie and Marjorie Taylor Greene, and several brave survivors. She highlights how the files have caused a political scandal for the current American administration and have shattered the fundamental public belief that the law applies to everyone. Consisting of 3.5 million documents containing court depositions / rulings, emails, flight logs, the names of 1200 women who came forward, 180,000 photographs, and 2000 videos, the files read like a who’s who of the rich and famous. This is a comprehensive, well researched, and evidence based production that avoids sensationalism. It has a real time relevance, giving immediate context to the fallout of the files and the legal failures that allowed this network of depravation to exist for decades. A polished, professional and sobering reminder that there is still much to uncover. Let justice be done.

SCORE:

Alex's Score 8.5/10

CRAP HAPPENS

Forty year old rapper and pizza shop employee Toni (Anton Schneider) returns to his hometown of Schitten (which translates to “pooping” in German) to attend his mother’s funeral. While there he discovers he’s the father of a teenage boy named Charly (Amadeo Arndt), forcing him to reconsider his dreams of musical stardom as he takes on the newfound responsibility of parenthood. Aided by his cute emotional support duckling, bought to life by mediocre CGI, this comedy heavily plays on the disconnect between Toni’s rapper persona and the small town life he thought he’d left behind. Dimitrij Schaad, who plays Johnny Carrera (the much younger boyfriend of Toni’s deceased mother and his stepfather), is a co-creator alongside his brother, director Alex Schaad. Recorded in picturesque locations across Berlin, Germany, and Poland, this series has a polished cinematographic feel similar to a movie. Each scene is meticulously lit and the sets are vibrant and colourful. There are some genuine laughs thanks to the witty dialogue and a stack of visual gags, but other parts fall flat by trying a little too hard and crossing the line into ridiculousness.
Some viewers will be frustrated with this inconsistency. At nine episodes long, the story becomes a bit monotonous in the middle but it picks up the pace again near the end. A quirky and sweet show with messaging about unbreakable family ties, that would’ve made a great 90 minute movie.

SCORE:

Alex's Score 7/10

IN THE BLINK OF AN EYE

This film shares three entwined stories that explore the cycle of human evolution and connection. Moving through the prehistoric past, the present day, and a distant future, each segment covers several decades. In the past, Neanderthal family Thorn (Jorge Vargas), Hera (Tanaya Beatty) and their two young children are struggling to survive the end of their era. In the present, anthropology doctoral student Claire (Rashida Jones) is studying Thorn’s ancient remains while dealing with her mother’s failing health and a new relationship with colleague Greg (Daveed Diggs). The future sees astronaut Coakley (Kate McKinnon) on a centuries-long mission to deliver human life to a distant planet, accompanied by an AI operating system named Rosco (Rhona Rees). Coakley is a longevity-enhanced pilot who has been genetically engineered to live forever and is already 210 years into a 336 year journey when she appears on screen. While this interstellar thread was the most interesting, McKinnon is a mismatched choice for the portrayal of such a serious character. Thanks to a decade of typecast comedic performances on ‘Saturday Night Live’, this role just didn’t work for her and I kept waiting for the jokes. The development of all of the characters is light on and the time jumps lead to some unrealistic decisions that see major plot points go unexplained – like how Thorn’s daughter was able to starve off pregnancy for twelve years after getting married, or what actually happened to the human race. These gaps make the narrative feel slightly disjointed and leave too many questions unanswered. Overall this movie is neither amazing nor dull, it just sits comfortably in the middle. There’s some food for thought around how our species will carry on in the coming millennia, but for me it didn’t delve into anything deeply enough.

SCORE:

Alex's Score 7/10

DUST BUNNY

Eight year old Aurora (Sophie Sloan) is living with her latest foster family when she manifests a dust bunny (a clump of hair under her bed) into an actual monster. Feeding on her trauma, the creature grows into an imposing beast and devours anyone who walks on the floor of her apartment – picture a raging rabbit version of Carol from ‘Where the Wild Things Are’. Aurora reaches out to her neighbour from down the hall ‘Resident 5B’ (Mads Mikkelsen), a middle aged professional assassin, and hires him to eliminate it using money she stole from a church collection plate. R5B has his own problems and is the target of a rival group of hitmen, resulting in him simultaneously hunting a supernatural monster for a child while being hunted himself by real and dangerous killers. Sigourney Weaver makes a guest appearance as Laverne, R5B’s ruthless advisor. Her heartless character has some of the best lines. There isn’t a huge amount of dialogue between everyone else, just enough to fill gaps and push the momentum. While the subject matter might sound cute thanks to the dust bunny premise, the action sequences are not for kids. Most of the fight scenes take place in the small hallways of Aurora’s apartment and are very creatively choreographed to fit into such tight spaces. Using old school practical animation and puppetry, with a bit of CGI thrown in, the creature always comes across as slightly endearing, no matter how ferocious it looks and despite being 12 feet tall. Shot in a super slim ratio of 3:1, the panoramic letterbox format emphasises the actors yet also encourages you to scan every frame. There are elements of Wes Anderson in the hyper-stylised, symmetrical set design and meticulously crafted colour palettes, only here they result in a grim storybook aesthetic. Imaginative, quirky, and fun … just stay off the floor!

SCORE:

Alex's Score 7.9/10

Amanda’s Score 7.5/10

SIRAT

This is my second watch of what has to be one of the most impactful movies ever made. It’s not just a story – it’s a test of your nerves. Go in blind to the plot and don’t read any spoilers about what’s to come. The film’s title is defined by this quote “There is a bridge called SIRÄT that links hell and paradise. Whoever crosses it is warned that it is narrower than a strand of hair and sharper than a sword.” Remember that as you wonder what the actual … is going on. This is a film everyone should see at least once.

SCORE:

Alex and Janette’s Score 10/10

Kelly, Steve, Sharon, Chris, Treacy, and Simon’s Score 9/10

Amanda and Les’s Score 8.5/10

Leigh, Sam, Phil and Venessa’s Score 8/10

Saraj, Jason, Jenni and Duncan’s Score 7/10

Fiona and Tony’s Score 6/10

THE NIGHT MANAGER: SEASON 2

This season brings back Tom Hiddleston as Jonathan Pine with all the stiff restraint, moral fatigue and L-plate spy skills that made the first season an interesting watch. While the production and locations are big and full, the storytelling isn’t and at times it feels rinsed and repeated. One of the immediate gaps is the reduced presence of Olivia Colman’s character Angela Burr. Her absence creates a vacuum that never quite fills. The opening episode is thick with explanation and backstory, building an unsteady foundation for the shows mishaps to unfold. By the close out, we are reminded that spy stories don’t always aim for neat endings, but the uneven build-up makes that point harder to land. Rather than delivering a sense of completion or a suspenseful release, it leans into a “tad” moment of wizardry, which left me feeling more deflated than intrigued. Stylish, serious, and sometimes compelling this series still holds interest, but it asks for patience it doesn’t repay.

SCORE:

Amanda’s Score 6.8/10

SCREAM 7

There’s a line from Casey Becker (Drew Barrymore) in the opening scene of the original ‘Scream’ movie where she says “The first one was a classic. The sequels always suck!” While she was talking about ‘A nightmare on Elm Street’, her words ring true for this seventh franchise installment as it struggles to live up to the quality of its predecessor. The OG was a masterpiece of slasher horror but #7 leans so heavily into nostalgia that it barely has its own plot. Neve Campbell returns as Sidney Prescott, now with a 17 year old daughter, Tatum ((Isabel May), and a husband, Mark (Joel McHale), in tow, plus two other children who have conveniently been shipped off to Grandma’s for reasons unknown, never to be mentioned again. They are nicely settled in the town of Pine Grove, where Mark is the Police Chief and Sidney owns a coffee shop. Life seems peachy until those creepy Ghostface calls return: “Hello Sidney, are you having fun yet?” No, she isn’t and the body count begins to climb. An AI plot thread featuring suspected deepfakes bring the events into a current timeline and things progress steadily, albeit predictably. There’s the sacrificial lamb couple who clearly won’t survive the first act, plus a group of expendable friends that only exist as collateral damage. A heap of questionable decisions are made along the way, some bits elicit a laugh, and Gale Weathers (Courteney Cox) returns but doesn’t really do much other than drop f-bombs. We finally reach the great killer reveal only to discover, it isn’t that great. You’ll probably pick it early on. It’s also completely unrealistic how Ghostface can bounce back from all manner severe of physical assaults. The kills are more gory and inventive than the original, but they don’t fit the classic slasher theme and feel out of place here. Film franchises need to stop relying on audience loyalty to get these movies across the line. It feels like Scream has quite literally been done to death.�

SCORE:

Alex and Jason’s Score 5.5/10

David’s Score 6/10

Anna’s Score 5/10

Matt’s Score 2/20

LE NOR (THE RAIN)

This groundbreaking play is performed by innovative Perth-based theatre collective The Last Great Hunt. It’s the third production I’ve seen from them and it did not disappoint. Set on the fictional drought-stricken island of Sólset, the story captures the trials and tribulations of several residents living in the same apartment block as they navigate the impacts of climate change. They speak in a made up language, adapted from mixed Scandinavian dialects which are decipherable thanks to English subtitles. The heavy 1980’s costumes and hair styles are accompanied by a nostalgic pop soundtrack of the same era. This performance is a technical masterpiece of live-cinema. The audience simultaneously watches the actors and camera operators create a film in real time and the finished product is projected onto a screen as the action unfolds. With a plethora of lighting wizardry (think torches, head lamps, LED panels, and lasers) and on-the-fly special effects, precise levels of coordination and timing create a seamless experience. Filmed using GoPros and small mobile cameras, the actors double as the film crew and sound recordists, showcasing incredible versatility and skill across multiple roles. This is a show unlike anything I’ve ever seen – it’s profound, witty, endearing, funny, clever, mesmerising, poignant and unforgettable. There simply aren’t enough superlatives to describe how incredible it is. The opening night during the Perth Festival deserved its standing ovation.

SCORE:

Alex, Amanda, Saraj, Simon, Andrew, Bron, and Lee’s score 10/10

PROCLIVITAS

After the sudden death of her mother, Clare (Rose Riley), a doctor and recovering opioid addict, returns to her childhood home to prepare it for sale. The old two story house has been closed up for 15 years and is in need of some TLC. It frequently gives Clare the heebie-jeebies and the uneasy feeling that she’s being watched. While attempting to remain sober in a place filled with triggers, she reconnects with her teenage boyfriend Jerry (George Mason). Their rekindled romance unlocks Clare’s suppressed memories and sees the manifestation of a malevolent entity that feeds on her fragile mental state. Jerry’s sister and local police officer, Tara (Hayley McElhinney), has trepidation about the couple reuniting, but her warnings fall on deaf ears. As Clare’s visions increase, she’s forced to confront whether they are a symptom of her relapse or a genuine haunting from an incident in her past. Filmed around Perth and the Mundaring Hills, the iconic Australian bush creates a sense of isolation and growing foreboding. Dark, shadowy cinematography combined with superb use of lighting and sharp sound (I loved the inclusion of pobblebonk frogs croaking) drive the terror and emphasise Clare’s descent into its clutches. While there are elements of horror, they are matched with an emotional depth that creates genuine viewer intrigue. Made with an all-female West Australian creative team, writer/director Miley Tunnecliffe has crafted an unnerving film that puts a haunting spin on the impacts of grief, guilt, and addiction. It complements ‘The thing with feathers’ which also presents grief in an aggressive and impactful way. A homegrown home run.

SCORE:

Alex's Score 8/10

NOVEMBER

Fred Valenti (Jean Dujardin) is the chief commander of the French anti-terrorism unit. Based on true events following the November 2015 Bataclan Theatre attacks in Paris, where 130 people were killed and hundreds injured, he leads a multi country manhunt to find the perpetrators before they can strike again. Under intense public and government pressure, Valenti and his colleagues, including well meaning but impulsive Captain Ines Moreau (Anais Demoustier), are pushed to their physical and emotional limits during the five day operation. When a witness named Samia (Lyna Khoudri) comes forward and reveals the hideout location of the terrorists, Valenti finally has the opportunity to take down the mastermind, provided everything goes according to plan. This is a fast paced, police procedural with a documentary style vibe. It’s a fascinating behind the scenes look at the complex moving parts required to bring these offenders to justice. Character development is light on and everything we learn about the protagonists unfolds through their work. There’s no standalone hero, with the focus instead on team efforts, communication, and interagency collaboration. Thankfully it doesn’t show the massacre, moving straight into the manhunt and the meticulous methods used by the investigators from the start. Everything has an urgency to it and the final twenty minute, pre-dawn showdown is nail biting. Compelling viewing which some are calling the French ‘Zero Dark Thirty’.

SCORE:

Alex's Score 8.5/10

IRON LUNG

The ‘Iron Lung’ video game sold over 300,000 units. A massive boost to its popularity came from a YouTuber with 39 million followers, Mark Fischbach (aka Markiplier), who featured it on his channel and became a super fan. Taking it from the gaming world to the big screen, he is the writer, director, producer, self funder, and distributor – as well as the lead actor, playing a convicted criminal called Simon. His character is forced to pilot a run-down submarine through a sea of blood on a desolate moon. The stakes are high after a catastrophic event wiped out every habitable planet and star in the universe, leaving the human survivors scavenging for resources. Simon is promised his freedom if he can successfully record the ocean floor. He’s the only person on screen for the entire film, trapped in a claustrophobic, windowless sub that’s bolted shut from the outside. Fleeting glimpses of the undersea world are courtesy of an x-ray machine which projects grainy infrared images onto a large screen and Simon soon discovers he is not alone. He finds himself battling for his survival and sanity as he deals with growing paranoia and a deteriorating mental state. Aside from childhood flashbacks, the only other presence of note is the voice of his handler, Captain Ava (Caroline Kaplan), whose communicates with him via a dilapidated speaker. This film was initially slated for a limited release at 60 indie USA cinemas, but its boom in popularity quickly saw it expanded to 4,000 locations globally. For a horror it’s refreshingly different. There aren’t any jump scares – instead every scene is fraught with growing, suffocating tension. The set consists of the bleak, shadowy interior of the submarine, dimly lit by the glow of the main computer monitor. Over 300,000 litres of fake blood was used, breaking the record held by the 2013 remake of ‘Evil Dead’. Multi-directional, layered sound is used very effectively, with creepy whispers and odd noises coming from all directions. I’m not familiar with the game, but I really enjoyed this. While it wasn’t scary in the typical sense, it shows how much you can do with so little … and some blood.

SCORE:

Alex's Score 8/10

PILLION

Parking attendant Colin (Harry Melling) leads a mundane existence until he meets mysterious and alluring biker Ray (Alexander Skarsgård). Before he knows it he finds himself in an intense submissive-dominant relationship, moving into Ray’s apartment where he’s expected to clean, cook, and sleep on the floor while Ray barely speaks to him or even looks in his direction. Their unbalanced power dynamic is centred around the concept of the “pillion.” In everyday terms this refers to the passenger seat behind the rider on a motorbike or the person sitting in it, but within the BDSM biker community the pillion is the submissive partner who surrenders their trust and control to the rider. As much as this is a love story about Colin falling for Ray, it’s also about him learning to love himself and realising he can establish his own rules and boundaries. The acting is phenomenal. Melling is as far removed from his days as Dudley Dursley in the Harry Potter film franchise as he can get. He peels back Colin’s evolution with an innocent sensitivity. Skarsgård plays Ray as a robotic man of few words, who tries to keep his emotions suppressed at all times. Interestingly Ray’s group of biker friends are real life BDSM practitioners rather than just actors. My favourite character is Colin’s mother Peggy (Lesley Sharp) who isn’t afraid to speak her mind about how Ray is treating her son. An engaging, queer “dom-com” about a journey of self discovery.

SCORE:

Alex, Janette and Jet’s Score 8/10

EPiC: ELVIS PRESLEY IN CONCERT

This documentary is everything I wished the recent Marianne Faithfull production, ‘Broken English,’ had been. Narrated by Elvis himself through a previously undiscovered 45 minute recording and archival press interviews, this film chronicles his musical journey, covering part of a 7 year period where he performed 1,100 live concerts, sometimes playing 3 shows a day. It briefly touches on pivotal moments in his private life, like his 2 year conscription into the US Army, the death of his mother, and the birth of his daughter. The rest is a treasure trove of never before seen performances and behind the scenes footage. Director Baz Luhrmann has crafted a cinematic masterpiece (and you know you’re in his hands as soon as you see the abstract gemstone patterns from Elvis’s most famous jumpsuits in the opening credits) but it’s Elvis who does all the heavy lifting on screen. He didn’t just sing the lyrics, he embodies the music. Behind his public persona is a man who takes his craft seriously but never takes himself too seriously, coming across as playful, witty, and likeable. The mutual respect and adulation between Elvis, his extensive band, and his backup singers are some of my favourite scenes. Such was the trust between them all that of the 150 songs they knew inside out, Elvis would often deviate from the set list on a whim and throw in a random song on any given night. There’s a brief mention of his controversial manager, Colonel Tom Parker and “(You’re the) Devil in Disguise” plays when he appears on screen. A subliminal message? The audio quality is far superior to what is expected for a catalogue more than 50 years old. Watching this is the only way any of us can now witness his magnetism firsthand and understand the electricity of being in his audience. His crowd reaction would be described as “crying, screaming, throwing up” in today’s vernacular. This is an absolute must see for anyone who loves Elvis, music, or expertly complied documentaries. It made me want to download every single Elvis song I could find – so I did.

SCORE:

Alex's Score 9.5/10

PEOPLE WE MEET ON VACATION

Based on the bestselling novel of the same name, this rom com follows college besties Alex (Tom Blyth), a teacher, and Poppy (Emily Bader), a travel writer, as they meet up for a week long holiday. While their annual seven day sojourns have been a tradition for over a decade, they have skipped the last two years after a falling out. Determined to repair their bond, Poppy convinces Alex to take a trip to Palm Springs, where they revisit past memories through a series of nostalgic flashbacks. The characters balance each other out nicely, with Alex providing grounded stability to Poppy’s globetrotting, chaotic nature. The story explores whether the choices that drove them apart are too big to overcome and if their connection can finally transition from friendship into something more. The slow-burn between Poppy and Alex carries the unspoken tension of long-term attraction, delivering all the feels in a sweet but very predictable way – you can guess the ending at the beginning. Light hearted with a sentimental vibe.

SCORE:

Alex's Score 7/10

FIRST LIGHT

Sister Yolanda (Ruby Ruiz) is a devoted nun living in a decaying mountain convent in the Philippines. Her quiet life is shattered when she is called to give last rites to a young construction worker injured in a suspicious accident. When he later dies in the hospital, Yolanda begins an investigation that uncovers a web of corruption, leading to the painful realisation that the Church and local authorities are not just turning a blind eye, but are actively hushing up the tragedy to protect the interests of the rich. Dialogue is sparse in this film and the story has little momentum, which may feel too laboured for some viewers. The plot focuses repetitively on the mundane tasks of daily life and Yolanda’s routine. With a 118 minute runtime it becomes a test of endurance to make it to the end. The cinematography has a realistic, grounded feel, using natural light and authentic locations. A meandering search for meaning that struggles with its pacing.

SCORE:

Alex's Score 5.9/10

THE TESTAMENT OF ANN LEE

Traumatised by a strict upbringing and the tragic loss of her four infant children, illiterate blacksmith’s daughter Ann Lee (Amanda Seyfried) seeks solace in a Quaker sect. She undergoes a spiritual transformation, claiming to have received a divine revelation that s*xual lust is the basis of all sin. Splitting from the Quakers, she forms her own radical religious group called the Shakers, whose followers believe she is “Mother”, the female Christ. Facing religious persecution and imprisonment in England, she leads eight followers, including her oppressive husband Abraham Standerin (Christopher Abbott) and devoted brother William Lee (Lewis Pullman), to America in 1774. After establishing a community in the harsh New York wilderness, she implements controversial principles that were revolutionary for the time – celibacy, communal ownership of property, pacifism, and gender equality. Despite passing away at the young age of 48, her movement flourished across America for over a century, reaching 6,000 members at its peak. This is a laborious film that feels much longer than its 130 minute runtime. A narrator helps move the slow plot along and is a saving grace in this regard. Ann lacks any sort of psychological development – you see what she does but aren’t privy to the motivations of why she does it. She’s essentially an evangelistic cult leader, yet it’s a mystery why people followed her as she isn’t portrayed as charismatic or influential. This movie also suffers from an identity crisis. There isn’t enough singing for it to be classified as a musical, yet it feels like it wants to be. That said, the singing is magnificent and the accompanying feverish, trance-like dance sequences are mesmerising – these moments are the strongest scenes. Historical fanaticism not quite laid bare enough.

SCORE:

Alex and Jason’s Score 7/10

Tony, Lee, Katherine, and Janine’s Score 8/10

Nicola’s Score 6/10

Hilda and Kelly’s Score 5/10

Deanne’s Score 4/10

FLOODLAND

Lismore in northern New South Wales is Australia’s most flood prone postcode. A catastrophic deluge in 2022, changed the city’s physical, social, and economic landscape after floodwaters reached an unprecedented peak of 14.4 metres. This shattered previous records and displaced thousands of residents from over 4,000 uninhabitable homes, triggering a housing and mental health crisis that remains today. Director Jordan Giusti spent three years in the area capturing the aftermath of the disaster, highlighting how the community struggled to survive. He tells the story of Hal, a home owner forced to navigate the government buy back scheme, and his friend Harper, a local resident whose frustration with political complacency drove him to become a prominent grassroots activist. This documentary is a cinematic slow burn about trauma and resilience, crafted by someone who deeply cares for the region. Giusti’s camera frequently lingers on the Wilson River and the often quiet, mud caked streets, forcing you to sit with the stillness and devastation. Ambient sounds of cicadas, lapping water, and shovels scraping punctuate the shocking footage. The river itself is a main character, switching moods from calm and shimmering, to a violent force of nature. Elder Uncle Gilbert Laurie of the Bundjalung people explains that the river is doing what it has always done and shares the history of his ancestors warning European settlers not to build permanent structures in the basin as it was essentially a wetland. A tighter edit of at least 15 minutes would’ve refined the content. Solid storytelling with a raw grit.

SCORE:

Alex's Score 7.9/10

SCREAM

In the picturesque town of Woodsboro, California, high school student Sidney Prescott (Neve Campbell) becomes the target of a masked killer known as Ghostface. It has been exactly one year since the murder of her mother and as the body count rises among her circle of friends, Sidney finds herself unsure of who to trust. The investigation is led by bumbling Deputy Dewey Riley (David Arquette). He’s joined by ambitious reporter Gale Weathers, played by Courteney Cox, who was Arquette’s real-life wife at the time. Mention must be made of the iconic opening scene where Casey Becker (Drew Barrymore) prepares to watch a scary movie alone at night. The phone rings and a gravelly voiced stranger begins a creepy conversation that leads to a violent showdown. It’s considered to be one of the most effective starting sequences in horror history and is a masterclass in tension, smashing predictability by killing off the film’s biggest star within the first twelve minutes. This is the original and, so far, the best of the ‘Scream’ franchise. It’s the perfect slasher film, combining an engaging story with solid acting, great momentum, and moments of humour. It has the perfect balance of suspense, unexpected jump scares, and a high kill count. The frequent, witty references to other horror movies are superb and show how much the writers truly love the genre – not to mention that this OG paved the way for an entire generation of new slasher content. I accidentally booked this as a Friday the 13th screening thinking it was ‘Scream 7’ but it was a happy mistake to make since it had been 30 years between viewings. Fingers crossed for the next instalment – this one will be tough to beat!

SCORE:

Alex, Saraj, and Duncan’s Score 9/10

Fiona’s Score 8.5/10

Tony’s Score 7/10

REALITY CHECK: INSIDE AMERICA’S NEXT TOP MODEL

This insightful three part doco explores the legacy of ‘America’s Next Top Model’, through revealing interviews with the show’s creator Tyra Banks and executive producer Ken Mok. It brings together members of the original judging panel, including creative director Jay Manuel (Mr. Jay), runway coach J. Alexander (Miss J), and fashion photographer Nigel Barker, to dissect the deeply problematic production. Filmed in the early 2000’s, the show comes from an era where contestants’ complaints were dismissed as them being too difficult. The aspiring models were treated as open slather for derogatory comments regarding their weight, body shape, and personalities, creating an environment that was often inappropriate, abusive, and emotionally dangerous. Many of the contestants were left to grapple with eating disorders and shattered self-esteem because the show failed to operate under an appropriate duty of care. Banks had zero creative control over this documentary and was invited as an interview-only guest. She definitely does not emerge as squeaky clean, despite mostly opposing the damning statements made by former cast members and crew. The truth behind this juggernaut of reality television is that it was a vacuous and harmful machine, and it’s cringeworthy to realise how much of this toxic behaviour was overlooked at the time. Interestingly, former ANTM judge Janice Dickinson was absent from this program. She received the harshest edit, largely due to archival footage of her abhorrent comments to contestants, and is set to release her own tell-all documentary ‘Dirty Rotten Scandals’ next month.

SCORE:

Alex's Score 8.5/10

THE BURBS

This dark comedy is set in Hindu Hills, the fictional “Safest Town in America”. Lawyer and new mother Samira Fisher (Keke Palmer) has recently moved into her husband Rob’s (Jake Whitehall) childhood culdesac home. Struggling with maternity leave boredom while Rob’s at work, she becomes fixated on the suspicious disappearance of his high school friend, Alison Grant (Erica Dasher) and turns her attention to the mysterious new owner of a previously long-abandoned Victorian mansion across the street. Joining joins forces with three neighbours, former Marine Dana (Paula Pell), recent widow Lynn (Julia Duffy), and eccentric recumbent bike rider Tod (Mark Proksch), Samira’s investigation takes all sorts of twists and turns. This is a well cast show with plenty of comic relief thanks to the strong performances of the self-appointed sleuths. Palmer is fabulous in the lead role, displaying a genuine knack for quick quips and humour. With no expense spared on the sets, there’s a vibrant, polished feel to the production that ‘a reminiscent of 2004’s ‘Desperate Housewives’. I was completely engaged for the first half of the series, but my focus shifted once several of the plot threads were resolved, and the final four episodes were a hard slog. The ending was a cliffhanger which is a risky move for a show that hasn’t been renewed yet. This lack of resolution was a let down after sitting through eight hours of content and didn’t feel like much of a pay off for my time investment. That said, the Rihanna banger “Disturbia” playing as the final scene faded out and the credits started was a fun touch.

SCORE:

Alex's Score 6/10

BROKEN ENGLISH

As a longtime Marianne Faithfull fan, I was excited when I heard about this documentary. The result however, is a major disappointment. It’s partly filmed like a scripted drama, featuring Marianne in a real interview setting (captured post-COVID after recovering from a near-death bout of the virus) but paired with a fictional interviewer (George MacKay). While MacKay is clearly performing as he leads her down memory lane, Marianne is not, which creates a bizarre disconnect. Adding to the over dramatisation is the inclusion of Tilda Swinton as “The Overseer” from the “Ministry of Not Forgetting.” Her time on screen is spent talking into the interviewer’s earpiece and recording voice notes on a tape recorder. Casting such a recognisable actress as this character only widens the identity crisis between reality and fantasy. The musical choices are also frustrating. Other artists perform Marianne’s songs, but none possess a voice iconic enough to carry them. While a handful of her own songs are played via video clips, they aren’t shown in full and there simply isn’t enough of Marianne’s vocal content. The final scenes show her last live performance, held in a recording studio with Nick Cave and Warren Ellis. Near the end of the song she is singing, Cave cuts in and takes over. This is particularly irritating given the documentary’s premise is to push back on the misogynistic view that Marianne was just “Mick Jagger’s girlfriend”, despite having released 21 solo albums. Still, she did look genuinely thrilled to be making music with her friends. Marianne passed away before she could see this finished product so we will never know what she thought of it. A straightforward documentary filled with archival footage and a solid interview would’ve definitely been more relatable for her fanbase. Instead this self-indulgent mess made me feel annoyed and profoundly sad. Her legacy deserves better.

SCORE:

Alex's Score 4/10

SAIPAN

Based loosely on true events, this drama highlights the fallout between the Republic of Ireland’s football captain Roy Keane (Éanna Hardwicke) and team manager Mick McCarthy (Steve Coogan) just days before the 2002 FIFA World Cup. Set mostly on the island of Saipan in the Western Pacific, the story focuses on the team’s substandard training base and Keane’s abrupt, unrelenting demands for professional excellence. Tensions eventually simmer over and a heated meeting results in McCarthy controversially sending his star player home. In Keane’s absence, Ireland made the top 16 in the tournament before losing to Spain in a penalty shootout. At least 30% of this film consists of actual file footage, featuring fans at games and the real life protagonists being interviewed on camera. In a fun nod to my home city, one of the banners in th crowd reads “@jboreillys Perth WA”. When the credits rolled I wondered if a documentary version had perhaps fallen through, leaving this as a Plan B option. While the performances are top-notch and the subject matter is moderately interesting, I had three questions: why was this made, why was it made after all these years, and who exactly is the audience? There have been far greater controversies in football over the past 23 years with significantly more meat to their stories than a clash of opinions and a battle of egos. Why not let sleeping dogs lie on this one? The title also fails to reflect the content of the film in any meaningful way, other than being the location of the blowup. A more suitable name would be easier for the target demographic (whoever they may be!) to find it. Fun fact – the character of Roy Kent from the beloved series ‘Ted Lasso’ is based on Keane, mirroring his reputation as a harsh, intense, and talented midfielder.

SCORE:

Alex's Score 6.9/10

Janette’s Score 7/10

JIMPA

Adelaide based filmmaker Hannah (Olivia Colman) travels to Amsterdam with her husband and non-binary teen Frances (Aud mason Hyde ) to visit he ageing father Jim, affectionately known as Jimpa (John Lithgow). Spanning several days, this moment in time story follows Hannah, Frances and Jimpa as they navigate their complex relationships. Hannah is anxious to tell Jimpa she’s making a film about his marriage to her mother, while Jimpa hasn’t been the same since a recent stroke. I loved the acting in this film more than the story. Lithgow plays a gay man exceptionally well and the European setting gives an authentic look into the liberal gay scene. Colman (my favourite actress) is fabulous as always, though this role almost seems too easy for her as it isn’t much of a stretch from her frequently recurring parental typecast. A intriguing touch is the use of brief, dialogue-free flashbacks for each character, adding their backstories quickly and quietly. Hannah, Francis and Jimpa claim to know exactly what they want, yet when it comes to the crunch, they don’t. Hannah consistently proclaims “I’m too closed off” yet frustratingly doesn’t experience any growth. Kate Box makes an appearance as Hannah’s sister Emily and adds one of the few authentically Australian accent to the mix – Colman being English and Lithgow being American didn’t quite cut it, but I forgave this verbal mishmash by ignoring the fact that they are meant to be Aussies. The pacing is sluggish in places and shaving off at least 30 minutes of run time would’ve served it well. In a mirrored twist, Hannah is trying to make a movie about her father but in real life, director Sophie Hyde is actually making this film about her own father (the real Jim) and her own non-binary child Aud (Frances). A meandering exploration of inter-generational connections and queer acceptance.

SCORE:

Alex, Duncan, Kate, Janine, Hilda, Pen, Deb’s Score 7/10

Vanessa’s Score 10/10

Tony’s Score 9/10

Nicole, Deanne and Lisa’s Score 8.5/10

Sharon, Chris, Jet’s Score 8/10

Fiona’s Score 6.5/10

Jason, Janette, Kelly, Anna’s Score 6/10

Lynn’s Score 5/10

WUTHERING HEIGHTS

Cathy (Margot Robbie) and Heathcliff (Jacob Elordi) form an obsessive bond after he moves into her family’s gothic estate, Wuthering Heights, as a child. They are later estranged when Cathy marries Edgar Linton (Archie Madekwe), the affluent owner of neighbouring property Thrushcross Grange, choosing his riches over a future with measly servant, Heathcliff. Bereft, Heathcliff leaves to travel the world and returns years later as a wealthy, vengeful man whose sole motivation is to win Cathy back. He proceeds to obliterate the lives of everyone around him in the process. One of the most impressive facets of this adaptation is the cinematography. There’s an abundance of haunting, rainy shots of the inhospitable moors, while the indoor sets provide a stark contrast for the two main locations – Wuthering Heights is gloomy and falls into ruin, while Thrushcross Grange is filled with art and meticulously designed, colour themed rooms. Exceptional costume design adds to the visual spectacle, particularly the elaborate gowns worn by Robbie. Both leads portray their characters with intense physicality – Robbie brings a frantic madness to Cathy, while Elordi depicts Heathcliff with a brooding volatility. Despite this, I didn’t feel any chemistry between them and had zero emotional attachment to either one, mostly because their childhood connection feels rushed and their behaviour as adults is so unredeeming. Compared to the 1847 book, the film isn’t factual in keeping with Emily Bronte’s plot, nor accurate to the historical time period. An unexpected highlight was the excellent Charli XCX soundtrack. It’s a well-suited modern touch, dialed down from her usual industrial, high energy pop rock. The musical icing on the cake would’ve been a belting version of Kate Bush’s iconic ‘Wuthering Heights’ playing as the credits rolled. Admittedly that’s the only place it would fit, but perhaps this is a missed opportunity? A bleak look at prohibited love that’s worth a watch for its aesthetic.

SCORE:

Alex and Janette’s Score 7/10

Rebecca’s Score 10/10

Robins and Kate’s Score 9/10

Alex’s Score 8/10

THE MAN IN MY BASEMENT

Charles Blakey (Corey Hawkins) is unemployed and facing the foreclosure of his ancestral family home. His luck seemingly changes when wealthy businessman Anniston Bennet (Willem Dafoe) knocks on his door with a proposal to rent out his neglected basement for sixty days. Lured by the promise of a large sum of cash, Charles accepts the too good to be true offer. The arrangement quickly spirals into a psychological battle of control between the two men, forcing Charles to confront the ghosts of the past. This film is 60% snooze fest and 40% sludge. The plot swings and misses, attempting to combine too many opposing elements that don’t add up to a whole. An entire storyline about artifacts in the house that appear to be cursed, evaporates without explanation. Both Bennet and Blakey make inexplicable decisions and their characters lack any real depth. At two hours long, it’s a hard, pretentious slog.

SCORE:

Alex's Score 3/10

CRIME 101

Serial jewel thief Mike Davis (Chris Hemsworth) has eluded authorities by adhering to a strict set of rules – leave no DNA at the scene and never commit an act of violence. When Detective Lou Lubesnick (Mark Ruffalo) notices that a series of high end robberies are clustered along Los Angeles’ Route 101, he identifies they’re the work of a single operator. As Mike prepares for one last job he becomes the target of Ormon (Barry Keoghan), a volatile and unpredictable criminal who wants him out of the picture. With the pressure mounting and Lubesnick on his tail, Mike must decide when enough is enough. In a case of excellent casting, this heavy hitting ensemble is rounded out by Halle Berry as Sharon Colvin, a disillusioned insurance broker for the ultra-wealthy, and an unrecognisable Nick Nolte as a weathered fixer known as Money. Despite Ruffalo being typecast in his seventh role as a slightly unkempt but tenacious law enforcement officer, the look is so familiar for him that it feels right. Hemsworth takes a step back from his usual hyper-masculine persona to portray the awkward, socially anxious Mike with a relatable vulnerability. The film’s well balanced pacing alternates between strong character development and punchy action. Los Angeles is portrayed with gritty realism, exposing the class divide and using cinematography that favours deep shadows and harsh natural light. The practical stunts are impressive, particularly Hemsworth’s work behind the wheel. Pulling a “Tom Cruise”, he performs nearly all of his own driving stunts, reaching speeds of 110 km/h (80 mph) through the streets of downtown LA. While the story loses some of its believability towards the end, it still holds its ground as a solid heist thriller. Made for the big screen!

SCORE:

Alex's Score 8/10

Amanda’s Score 9/10

SHELTER

Michael Mason (Jason Statham) is a former MI6 assassin living an isolated life with his dog in a remote lighthouse off the Scottish coast. During a violent storm he rescues a young girl named Jessie (Bodhi Rae Breathnach) from the sea. During a trip into town for supplies he exposes his location, leading his former handler Manafort (Bill Nighy) to send a ruthless mercenary named Workman (Bryan Vigier) to hunt him down and take him out. In typical Statham style, his character is a man of few words with a hidden past, a deadpan demeanour, and elite combat skills. When he does speak, it’s in his signature low volume, raspy tone. While I enjoyed this movie slightly more than his last endeavour (‘A working man’), Statham and Breathnach lack depth in their performances and their on screen connection, though the lean writing is partly responsible for the latter. The formulaic plot has a few continuity issues and the first half an hour is slow going. While the stunts are the film’s strongest suit, they are unfortunately the only card it has to play. Oh and the cardinal movie sin is committed – they kill the dog. Nope.

SCORE:

Alex's Score 5/10

Liz’s Score 7/10

Coralie’s Score 6/10

Cath’s Score 5.5/10

Vicki’s Score 4/10

LORD OF THE FLIES

For the first time since its publication in 1954, the estate of author William Golding has granted permission for this classic to be adapted into a series. Written for television by award-winning screenwriter Jack Thorne, the creator of ‘Adolescence’, this interpretation offers a fresh perspective on the group of schoolboys forced to self govern after their plane crashes on a deserted island. Consisting of four episodes, each one is told from the viewpoints of Piggy (David McKenna), Jack (Lox Pratt), Simon (Ike Talbut), and Ralph (Winston Sawyers). Filmed almost entirely in Malaysia, the highly saturated colour palette emphasises the lush, but oppressive jungle and the deep blues of the surrounding sea. The cinematography uses a range of clever filming techniques to create an immersive experience, from grand sweeping vistas and mirage-like silhouettes, to claustrophobic, wide-angled close-ups of the boys’ faces. There isn’t a steady-cam in sight. The shaky, handheld camerawork makes you feel like a voyeur in every scene. It keeps you unbalanced and on edge, with a relentless foreboding that chaos could erupt any second. The casting is superb, featuring a talented group of young actors who bring depth to their iconic characters. McKenna as Piggy and Pratt as Jack are stand outs, playing polar opposites. While the basis of the script is familiar, this version breathes new life into the original material. It takes skill to modify a well known story and actually improve on it. Mission accomplished.

SCORE:

Alex's Score 10/10

Amanda’s Score 10/10

THE UGLY STEPSISTER

This Norwegian body horror film reimagines the classic story of Cinderella as a visceral nightmare, under the tag line “Beauty is pain”. The plot centres on socially awkward teenager Elvira (Lea Myren) who jealously lives in the shadow of her beautiful stepsister Agnes (Thea Sofie Loch Næss), A.K.A. Cinderella. Following her stepfather’s death, Elvira’s mother Rebekka (Ane Dahl Torp) becomes obsessed with marrying Elvira off to Prince Julian (Isac Calmroth). Convinced that Elvira’s appearance is the only barrier to winning the Prince’s heart, Rebekka pours her life savings into a series of brutal, grotesque cosmetic procedures for her daughter, performed by a butchering doctor. These scenes are shocking, bloody, and sickening to watch. This is where the traditional fairy tale of old takes a dark turn. While the plot retains the glamour of the ball and the dropping of the glass slipper, and we all know Cinderella eventually comes out on top, the story here lies in the self-destructive abuse Elvira is prepared to undergo. The horrific consequences of her surgical modifications, body mutilation and the ingestion of a live tapeworm (retch!) make a chilling statement about her tunnel-visioned struggle for aesthetic perfection. With detailed period costumes, realistically gory special effects, and a gothic vibe throughout, this is as far from Disneyland as you can get. A disturbing modern adaptation.

SCORE:

Alex's Score 7/10

QUEEN OF CHESS

Hungarian born Judit Polgár is considered to be the greatest female chess player of all time. Along with her two sisters, she was the subject of a controversial experiment conducted by her father, educational psychologist László Polgár, who believed that geniuses are made, not born. Deciding that chess would be his daughters’ passion, he had them practicing for up to eight hours a day as soon as they each turned five. Growing up in an era where chess was dominated by men, Judit shattered the glass ceiling by refusing to play in women only tournaments. Instead she chose to compete against the best men in the world to prove her merit on an equal stage. At 15 years and four months of age, Judit became the youngest Grandmaster of her era, yet she still found it difficult to be taken seriously on a professional circuit where women were viewed as intellectually inferior. She constantly encountered sexism and condescending behavior from male peers who initially dismissed her abilities based solely on her gender. This documentary tells her tenacious story through archival footage, including home movies of the Polgár sisters as children, and present day interviews with Judit, her family, and professional chess players. She remains the only woman to ever break into the overall world top ten, reaching at #8 in 2005 and she held the position of the number one female player in the world for an incredible 26 years. Girl power to the extreme.

SCORE:

Alex's Score 8.5/10

THE WRECKING CREW

This adrenaline fuelled comedy follows two estranged half brothers, James Hale (Dave Bautista) a disciplined and straitlaced Navy commander, and Jonny Hale (Jason Momoa) a chaotic, alcoholic cop from Oklahoma. They are forced to reunite in Hawaii after their private investigator father, Walter, is killed in a suspicious hit and run. When the brothers uncover a corrupt land deal involving the Yakuza, they must set aside their long held resentments to pursue justice. This film delivered more laughs than I expect and the two physically imposition leads have a genuine on screen chemistry. Their brotherly banter is delivered with real bitterness and they bounce off each other well – both figuratively … and literally when tensions boil over and they get into a brawl. Momoa is a natural playing a character with a smart mouth. Balancing the humour is the action, which features ample car chases, shootouts, explosions, and enough wincing violence to keep things interesting. The pacing moves swiftly, maintaining consistent momentum even if the script is quite formulaic. Hawaii looks breathtaking and the aerial drone shots are stunning. An entertaining romp that doesn’t take itself too seriously.

SCORE:

Alex's Score 7.5/10

NIGHTMARES OF NATURE: LOST IN THE JUNGLE

The second season of this unconventional series focuses on the rainforests of Costa Rica. Each episode follows a different creature – an opossum, a baby iguana, and a jumping spider – as they attempt to survive their lethal natural environment and a decaying, abandoned research lab filled with predators. Produced by Blumhouse, the studio known for modern horror hits, theres a distinct survival-horror vibe, complete with the jump scares, suspenseful score, and cinematic editing usually found in a slasher film. Foreboding narration by Maya Hawke only adds to the sense of impending doom. Despite a polished, digitally rendered look, zero CGI animals were actually used, though several of the sets were fabricated and fully controlled. I wonder how much of the animals’ natural behavior was prompted by the contrived and artificial nature of these backdrops, and I question the ethics relating to some of the dangerous situations the creatures were placed in, despite a disclaimer in the credits stating that no animals were harmed. I definitely prefer the gentle, educational nature docos, calmly and soothingly voiced by David Attenborough to this edge of your seat scare fest. Still, as a miniseries it breaks the mould for a genre that’s always been stuck in the same groove.

SCORE:

Alex's Score 7.5/10

THE VOICE OF HIND RAJAB

In January 2024, six year old Hind Rajab was involved in a series of desperate phone calls with the Palestine Red Crescent Society (PRCS) as she sat trapped in a car in Gaza, surrounded by deceased family members who had come under fire. This powerful film highlights the hours that pass as dispatchers frantically navigate a maze of red tape to get approval for an ambulance to attend her location. By blending the actual 70 minute recordings of Hind begging for help, the film emphasises the disconnect between her pleas and the bureaucratic and military hurdles preventing first responders from traveling a mere eight minutes to render aid. As the clock ticks, two paramedics, Yousef and Ahmed, attempt a rescue that ends in further tragedy. The horror here isn’t presented by graphic scenes, but through the harrowing voice of a terrified child crying over a crackling phone line. With palpable footage of the real people the actors are portraying, alongside images of the desecrated ambulance and the bullet-riddled car, it’s undeniably clear that this isn’t drama, it’s fact. While broader politics takes a backseat to the frustration and psychological trauma of the dispatch team, this movie is a stark reminder of the dangers faced by civilians during conflict and the resulting assault on innocence. Chilling, palpable, and a does a full circle to helplessness.

SCORE:

Alex's Score 8/10

Duncan’s Score 8/10

LUCY LETBY: BEYOND REASONABLE DOUBT

This 59 minute true crime doco examines the case against neonatal nurse Lucy Letby, who worked at the Countess of Chester Hospital in North West England from 2012 until 2016. Over an 11 month period, 25 infants in her care experienced sudden and unexplained medical collapses, resulting in several deaths. Letby was the only staff member present during every event. In August 2023, she was found guilty of seven counts of murder and seven counts of attempted murder, receiving 15 whole-life orders, ensuring she will spend the rest of her life in prison without parole. While she is labeled the most prolific child serial killer in modern UK history, a panel of international experts muddies the waters by arguing that the prosecution’s theories were flawed, suggesting that the spike in deaths could have resulted from hospital failures and the poor health of the infants rather than foul play. Countering this is the litany of evidence that secured her conviction, including a Post-it note written by Letby that stated, “I am evil, I did this” and “I killed them on purpose because I’m not good enough to care for them.” This documentary maintains a neutral stance, avoiding a definitive verdict on her guilt or innocence. Instead it focuses on whether the legal measure of beyond a reasonable doubt was met during her trial, leaving the final judgment to the viewer. My position of guilty did not change by the end as no fresh points of view were offered.

SCORE:

Alex's Score 7/10

WAKE UP DEAD MAN: A KNIVES OUT

Detective Benoit Blanc (Daniel Craig) and his distinctive Southern drawl return in this third instalment of the ‘Knives Out’ franchise. He’s called to a small Catholic church in upstate New York following the murder of Monsignor Wicks (Josh Brolin), a dominant preacher whose motivation is the political power gleaned from a radicalised religious audience. With all fingers pointing at Father Jud Duplenticy (Josh O’Connor), the young priest teams up with Blanc to clear his name and identify the true culprit. As the investigation unfolds it’s revealed that his cult-like congregation members have motives for wanting Wicks out of the picture and things take a bizarre turn when he seemingly rises from the dead. The stellar cast, including Glenn Close, Jeremy Renner, Kerry Washington, Andrew Scott, and Mila Kunis, all deliver excellent performances. With an Agatha Christie-style mystery to solve, the plot presents an interesting look at religious intentions, framed by an overarching battle between good and evil. A dark, Gothic vibe sets this film apart from the look and feel of its predecessors. The best whodunnit of the series so far.

SCORE:

Alex's Score 7.5/10

THE MUPPET SHOW

I was excited to see the ‘The Muppet Show’ reboot advertised to celebrate its 50th anniversary, marking 45 years since the original series ended in 1981. Aiming to capture the original spirit for both new and old audiences, I was hoping for a trip down memory lane that would take me back to my childhood. While a sense of deja vu kicked in seeing so many beloved and familiar puppet faces on screen, this special sadly lacked any sort of wow factor. Miss Piggy’s nasty and aggressive shtick, where she constantly tears others down based on their appearance, doesn’t really fit in 2026. We have all evolved to know better but she seems stuck in her mean girl era of the past. Kermit is now voiced by Matt Vogel and doesn’t sound anything like the Kermit of old. He lacks the high pitched exasperation the character is famous for and this disconnect threw me every time he appeared. While the other voice-to-character matches are pretty spot on, the canned laughter is irritating. By overly emphasising every apparent gag, the jokes feel even less funny than they are. Guest star Sabrina Carpenter does an okay job, performing three songs and holding her own against a territorial Miss Piggy. The synonymous glitz, glamour, and high energy of a Muppets presentation are all present and the expected backstage chaos adds jeopardy with Kermit under immense stress to keep everything running smoothly. Overall though, it feels like a case of quantity over quality, with most characters (and the two other special guests Seth Rogen and Maya Rudolph) featured so briefly that they fail to get any decent airtime or story. Yes, I wanted nostalgia, but not a whole shebang that hasn’t moved with the times in terms of content, dialogue, or delivery. Maybe I’m just too old for it now or perhaps I’ve aged out of the target audience? Word is that this one-off episode is serving as a backdoor pilot to revitalising the franchise pending viewer response and numbers. If so, I won’t be tuning in.

SCORE:

Alex's Score 5/10

IMAGINE

Directed by First Nations creators Jack Manning Bancroft (a Bundjalung man) and Tyson Yunkaporta (an Apalech man), this groundbreaking animated feature is a triumph of collaboration unlike anything I’ve seen before. Bancroft and Yunkaporta crowdfunded this project and in doing so, wholeheartedly developed a movie for the people by the people. Set across five symbolic islands, the story follows Jeff (voiced by Yunkaporta), a wisecracking green alien dog who leads non-binary teen Kim on a journey of self discovery. Worn down by the constant digital noise of modern life, Kim must navigate the islands within 24 hours and take listen to the of their inhabitants. In a powerful full-circle moment, Kim eventually wakes up at home in bed, emphasising that they are the “last island,” while leaving it open to interpretation whether the entire journey was a profound dream. The script was written during the COVID-19 pandemic with contributions from over 400 people across 17 countries. Every character comes alive in a stunning mix of kaleidoscopic, psychedelically coloured visuals. Filled with cultural references, metaphoric easter eggs, and intricate details, the backgrounds feel like living characters in their own right and it’s easy to be mesmerised by the depth of each scene. A strong team of talented voice actors complements the powerful “found” sound bites used, reminding us that the knowledge we seek already exists if we choose to find it. The conversational flow and uniquely Australian accents of the dialogue bring such authenticity to this film, making it feel like one big long yarn, with different elders, mystics and advisors dropping in along the way. These shared experiences transcend time and are set in places where nature and humanity are interconnected in the deepest ways. Intended as a love letter to never stop imagining what’s possible, this is the closest thing to magic I’ve ever seen. It should be shown to every teenager in school. Such a creative gift!

SCORE:

Alex's Score 10/10

ELEANOR THE GREAT

After the passing of her best friend and roommate Bessie, 94 year old Eleanor Morgenstein (June Squibb) relocates from Florida to New York to move in with her estranged daughter and grandson. Cantankerous by nature and feeling lonely in her new city, she wanders into a support group for Holocaust survivors at a local Jewish Community Centre. Acting impulsively, she decides to share Bessie’s harrowing survival stories as her own, telling herself she’s keeping her friend’s memory alive by doing so. She forms an unlikely friendship with young journalism student Nina (Erin Kellyman) and her lies spiral out of control. When the truth is finally uncovered, the ethics of her deception are frustratingly glossed over with little consequence. I usually love everything June Squibb does and have always been a big fan of hers, but her overacting in this film ruined it for me. It seems as though olaying the character of Eleanor was a leap too far from who she is as a person and she was overcompensating to try and bridge the gap. Everything fell flat early on and never regained its momentum.

SCORE:

Alex's Score 4/10

SKETCH

In an attempt to process the recent death of her mother, 10 year old Amber (Bianca Belle) begins drawing dark monsters committing violent acts in her sketchbook. When her older brother Jack (Kue Lawrence) discovers a mysterious blue pond near their house, he realises it has the magical power to bring objects to life. After Amber’s sketchbook accidentally falls into the water, her cartoon creations manifest in the real world and begin a reign of terror. She teams up with Jack, school friend Bowman (Kalon Cox), her father Taylor Wyatt (Tony Hale), and her aunt Liz (D’Arcy Carden) to stop the morbid monsters before they destroy everything in their path. Despite Amber’s childlike creatures appearing somewhat benign on paper, they take on a malevolent nature when they come alive, hell bent on causing chaos and harm. The special effects cleverly maintain a hand drawn 3D vibe and the creatures authentically feel as though they were created from actual art supplies like paper, pipe cleaners, glitter, streamers, and everyone’s favourites, googly eyes. While the jump scares increase as the film progresses, other elements invoke a strong sense of nostalgia. For a movie aimed at kids, the clever plot has enough content to engage older viewers as well. Hale, in his first lead role, brings the adult humour and shares wonderful on screen chemistry with Carden. Heartfelt and creative with a cathartic message about dealing with, and expressing, grief.

SCORE:

Alex's Score 8/10

KIDNAPPED: ELIZABETH SMART

In June 2002, 14 year old Elizabeth Smart was abducted at knifepoint from her bedroom in Salt Lake City while her younger sister Mary Katherine watched on in horror. For nearly a year she was hidden in plain sight by cruel religious fanatic Brian David Mitchell and his wife Wanda Barzee. A massive police search and media frenzy followed her disappearance, with investigators initially focussing on her father as their main suspect, before intensely moving on to handyman Richard Ricci, despite evidence proving his innocence. In doing so they overlooked Mitchell as her actual kidnapper, even though he’d been identified by Mary Katherine. When police refused to release a sketch of him, the Smart family took matters into their own hands and did it themselves. The tunnel vision and incompetence of law enforcement involved in this case is frustratingly glossed over, seemingly without consequence. Miraculously, in March 2003 Elizabeth was recognised on the street in Sandy, Utah, leading to her rescue and the arrest and eventual conviction of her abductors. This 91 minute documentary hands the microphone to Elizabeth, ensuring she tells the story of her survival in her own words, while steering clear of exploitative tangents relating to her ordeal. She speaks candidly about her healing journey and ongoing work as a child safety activist through the Elizabeth Smart Foundation. Now married with three children, she also shares how she made a conscious decision to find happiness, something she continues to nurture every day. A powerful scene showing Elizabeth running through the mountainous area where she was once held captive serves as an inspiring metaphor for her reclaiming that space. A harrowing story marked by miraculous self-preservation.

SCORE:

Alex's Score 8.5/10

WE BURY THE DEAD

When America accidentally drops a chemical b*mb on Tasmania, it decimates most of the population. Ava Newman (Daisy Ridley) flies in from mainland Australia to join the body retrieval effort, driven by a desperate hope to locate missing husband Mitch (Matt Whelan). Working alongside the army and paired with ocker bogan Clay (Brenton Thwaites), she navigates the dystopian landscape while avoiding corpses who come back to life. Mark Coles Smith adds to the unsettling energy as a creepy, grief stricken soldier harbouring an ulterior motive. Filmed entirely in Albany, Western Australia, the cinematography crafts a dangerous world through vast aerial shots that make the characters feel isolated and small. The sickly crunch of the zombies grinding their teeth to the point of shattering is unnerving and creates a nails-on-a-blackboard sensation that made me squirm in my seat. Thanks to masterful special effects, the blood and grime covered zombies are disturbingly real and complement the heavy tension that infiltrates every scene. The emotional weight of Ava’s grief is as inescapable as the apocalypse itself and while the ending offers a glimmer of hope, the overall outlook is bleak. A fresh home-grown take on the zombie horror genre.

SCORE:

Alex, Matthew and Claire’s Score 8/10

SEND HELP

‘Survivor’ super fan Linda Liddle (Rachel McAdams) is a hardworking, unappreciated employee in the strategy and planning department of a major corporation. Her narcissistic new boss, Bradley Preston (Dylan O’Brien) overlooks her for a promised promotion and drags her on an overseas junket in the hope of offloading her to a remote branch. When their private jet crashes in the Gulf of Thailand, Linda and Bradley wash up on a deserted island. Much like 2022’s ‘Triangle of Sadness’, the currencies of the civilised world are quickly rendered worthless by the requirements of survival. The power dynamic shifts immediately as Linda’s elite bushcraft skills kick in and sexist Bradley finds himself relying on her to keep him alive. As the days go by, Linda settles into her groove, even wondering if she wants to be rescued, while Bradley remains desperate to be rid of her. This is a well paced action movie with a quirky underdog premise. I hoped to be entertained and expected things to get a little unhinged – and wasn’t disappointed on either count. The leads are convincing, with their characters experiencing a range of emotions as they navigate the island and each other. It features director Sam Raimi’s typical mix of terror and gore, though somewhat toned down, and includes a visceral scene involving a wild boar that’s only stomachable because the clunky CGI makes its movements look slightly surreal. Everything is rounded out by a decent twist at the end. A solid score for meeting expectations and maintaining my interest.

SCORE:

Alex and Cath’s Score 8/10

Vicki’s Score 9/10

THE SOUND OF FALLING

Inspired by the discovery of a 1920s photograph, this film spans four timelines – the 1910’s, 20’s, 80’s, and 2020’s. It follows four young women and their families living in a grand, though clearly cursed, German farmhouse. Plot wise it feels as though every scene was written on a scrap of paper, thrown into a bowl, and pulled out at random to determine the narrative order. This disjointed approach makes the story difficult to follow as it constantly leaps between eras and characters. Overall it’s relentlessly bleak. Several women fall victim to physical and s*xual abuse at the hands of creepy, predatory men who face no accountability. Two themes run through the film – eels and the word “warm.” Ive been put off hearing the latter for life after one particular scene featuring a gratuitous, purposeless close up of a male appendage on a woman’s face. And don’t even get me started on the mother whose expression of grief is to randomly retch. Shock factor seems to be the order of the day. The cinematography is equally frustrating – blurry, dark visuals are obviously an artistic choice, but the messy focus is irritating and the interior scenes are often too shadowy to make out what’s happening. Combined with multiple narrators, it’s a task to decipher who is speaking. By the end, only female characters die and nothing is resolved, despite a grueling 2 hours and 35 minute run time. There wasn’t even a dog! I am perplexed how this movie tied for the prestigious Cannes Jury Prize with a masterpiece like ‘Sirat’. The sound of falling asleep. Arduous!

SCORE:

Alex's Score 3/10

JUST A DASH

This is the loosest and most endearing cooking show ever to grace our screens. Led by world-class chef and entrepreneur Matty Matheson, the series thrives on chaos and the only pre-planned element is the food. While Matheson knows what he’s making, how he creates each dish is completely unpredictable. Everything happens on the fly and the mayhem is intentional. Often feeling like a mockumentary, the banter, slapstick comedy, and pranks are all unscripted. Matheson is boisterous and brilliant, playing a larger-than-life version of himself who remains grounded by his culinary skills and respect for good food. He’s joined on camera by his wife, his best mates, and the production crew, who serve as active members of the cast. A hilarious, unfiltered celebration of cooking that’s slapdash in the best possible way.

SCORE:

Alex's Score 9/10

IS THIS THING ON?

*CONTAINS SPOILERS* Alex Novak (Will Arnett) and Tess (Laura Dern), his wife of 20 years, decide to amicably separate while continuing to co-parent their two young sons. They maintain a civil relationship, often spending time together with their shared group of friends. One night Alex wanders into a Manhattan comedy club and performs a short stand-up set to avoid paying the cover charge. The exhilaration of being on stage ignites a newfound passion for live comedy, which he begins using as therapy to process his situation. Meanwhile Tess, a former Olympic-level volleyball player, returns to the sport and takes on a coaching role. A bit of time goes by and nothing much happens before Alex and Tess eventually find their way back to one another, deciding they are “better off being unhappy together” and realising the importance of maintaining their own interests outside of the family unit. Loosely based on the story of British comedian John Bishop, who stumbled into comedy during his divorce, this film’s strongest feature is its cast. Arnett successfully steps away from his funny jerk archetype, while Dern always excels in an emotionally dramatic role. Director Bradley Cooper plays Alex’s best mate Balls and steals every scene he’s in – he’s also the only character I found to be genuinely funny. Significant portions of the dialogue are ad-libbed, with Cooper ambitiously aiming for an unconstrained, loose vibe. This often misses the mark, particularly in the group conversations which feel try hard, and in the comedy routines that Arnett makes up on the fly. Tightening up the script would’ve improved the pacing and added much needed focus. There are also moments of confusing self-indulgence, like the irrelevant singalong of ‘Amazing Grace’ during a morning breakfast preparation – it comes across like an extended rehearsal that went awry and was caught on camera. The spontaneity seems contrived and what was the point? I really wanted to love this, but it was just mid.

SCORE:

Alex, Mich, Bron, Lee and Jason's Score 6.5/10

Saraj’s Score 6/10

PRIMATE

Lucy (Johnny Sequoyah) returns to her family’s stunning Hawaiian home for summer break and reconnects with Ben, a highly intelligent chimpanzee and former research subject of Lucy’s late mother. When Ben is bitten by a rabid mongoose he quickly transforms into a sadistic, face ripping predator, and Lucy and her friends soon become his prey. Lucy’s dad Adam is played by Oscar winner Troy Kotsur, who uses American Sign Language to communicate. He features in several tense, silent scenes that reflect his deafness and these stand out as the films best bits. The rest of this survival thriller is fairly formulaic, relying on heavy violence, wincing gore and characters who exist purely as collateral damage. The survivors mostly faff around and waste time, while making poor decisions. They seem intent on creating as much accidental noise as possible which constantly alerts Ben to their whereabouts. Ben is portrayed by movement actor Miguel Torres Umba and while he gives a decent physical performance 80% of the time, the remaining 20% feels unnatural. Shadows are frequently used to hide Ben’s face and to possibly prevent the monkey suit from looking too fake. I found myself laughing at the ridiculousness of the plot in the second half of the film, even though it’s not meant to be humorous. In the end I saw Ben as the real victim, having spent his whole life in a cage being forced to communicate on human terms. Exotic animals are not pets.

SCORE:

Alex's Score 6.5/10

Vickie’s Score 8/10

Cath’s Score 7.5/10

Sam’s Score 7/10

SOMEBODY TO LOVE

This Italian romantic comedy revolves around a first date between Piero (Edoardo Leo) and Lara (Pilar Fogliati). As they share dinner in Lara’s Rome apartment, their thoughts are portrayed by physical actors who influence their decisions and rule their emotions. These internal observers bicker, ponder, stress, celebrate, and concur as they wrestle for control over what the couple says and does. Every polite smile hides a frantic internal debate between logic, impulse, and the hope of romance – think ‘Inside Out’ but an unanimated version for adults. Well acted and fast paced, this film is a relatable, funny, and engaging look at the gap between who we are, what we truly think, and how we present ourselves to others.

SCORE:

Alex's Score 7.9/10

Christine’s Score 8/10

BLUE MOON

After watching the March 1943 premiere of the musical ‘Oklahoma!’, 47 year old Lorenz Hart (Ethan Hawke) heads across the street to Sardi’s restaurant in New York City. The show’s an instant hit and it dawns on Hart that his former writing partner Richard Rodgers (Andrew Scott) has found massive success without him. Hart holds court at the Sardi’s bar, talking ad nauseam to anyone who will listen, including the patient bartender Eddie (Bobby Cannavale). As the night goes on, he clings to the delusional hope of winning over his “muse” Elizabeth Weiland (Margaret Qualley), a beautiful 20 year old he’s infatuated with. Set entirely within the caricature-lined walls of the famous restaurant, this is a dialogue heavy film that relies on the cast to carry its weight, making it feel like a 100 minute play. Hawke gives the performance of his career and is absolutely unrecognisable as himself, despite not using any actual prosthetics. By shaving his head to create a realistic combover and wearing brown contact lenses, he dramatically alters his face and transforms into Hart. Featured in nearly every scene, he plays the talented but alcoholic lyricist with the desperate intensity of a man who craves love but constantly finds it beyond his reach. I believe he’s a definite contender for the Best Actor Oscar (his fifth nomination but first for Best Actor) and will certainly give Timothée Chalamet a run for his money. In a traditional plot sense, nothing really happens in this movie – it’s simply a glimpse into one night of Hart’s life, which was tragically cut short six months later. If you crave high octane entertainment, this isn’t for you. But if you enjoy biographical dramas based on musical history, you’ll be rewarded by this haunting and sad portrayal of creative genius.

SCORE:

Alex's Score 7.5/10

Jason’s Score 8/10

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