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

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

THE PRESIDENT’S CAKE

Filmed on location in Iraq and set in 1990, nine year old Lamia (Baneen Ahmad Nayyefh) is given the terrifying honour of baking a cake for Saddam Hussein’s mandatory birthday celebration. This is an impossible task, as eggs, flour, and sugar are scarce and expensive due to international sanctions. Driven by the awareness of what happens to those who fail the regime, Lamia leaves her home in the Mesopotamian Marshes with her pet rooster Hindi and ventures into the bustling city to begin a perilous search for ingredients. This film is anchored by a cast of non-professional actors who bring a raw, unpolished vulnerability to the screen. These are local people whose real life experiences with scarcity and survival under Saddam Husseins rule mirror the script. By using authentic Iraqi locations, viewers are granted a greater understanding of a country rarely seen beyond news war footage, revealing a society governed by a toxic mix of fear and brainwashed adulation. There is a devastating irony to Lamia’s mission. The amount of effort she expends on a perishable cake highlights how, under a dictator, even the most trivial task can become a matter of life and death. It was chilling to see that even under such immense oppression some individuals will still find ways to coerce, abuse, and manipulate others for their own means. The real archival footage of the final scene literally takes the cake. Haunting and powerful.

SCORE:

Alex's Score 9/10

MARTY SUPREME

Marty Mauser (Timothée Chalamet) is a gifted ping pong player living in New York City in the 1950’s. He wants to become greatest table tennis champion in the world but while the sport is a global phenomenon, it doesn’t have a profile in America. Marty sets out to change that, concocting elaborate ruses to obtain the money needed to fly to the world championships in Japan. He begins an affair with wealthy actress Kay Stone (Gwyneth Paltrow) and casts aside friends and family as soon as they can no longer fuel his all-or-nothing ambition. Loosely based on the real-life ping-pong hustler Marty Reisman, I expected this film to be about chasing your dreams, but instead it reflects squandered opportunities due relentless narcissism and bad behaviour. Marty talks a big game but fails to triumph. While Chalamets lead performance is sharp and charismatic, Marty’s gratingly cocky personality turns this movie into an endurance test that made me feel exhausted by the end. This might’ve been alleviated if the run time had been cut, leaving fewer minutes available for Marty to cause more chaos. I loved the acting, but I hated the character. His redemption arc feels like too little too late and aside from a few tears, there’s no actual proof of growth. The highlights though are the frenetic table tennis scenes, which are mind blowing to watch and are performed by Chalamet himself (against International Table Tennis Federation professionals), who spent close to seven years honing his skills. A gritty look at relentless obsession that doesn’t quite live up to the hype. Watch it for Chalamet, not Marty.

SCORE:

Alex's Score 7.5/10

Les’s Score 8/10

Amanda and Leigh’s Score 7/10

THE SECRET AGENT

Armando (Wagner Moura) is a former professor hiding out in the tropical city of Recife to escape a corrupt government official who has a vendetta against him. Living in an apartment building with other “refugees” who are also in hiding, he uses the alias name of Marcelo and intends to bide his time until he can obtain a fake passport and flee Brazil with his young son. When a hit is ordered against him, he realises he must move on sooner than expected. This film has fared well on the awards circuit, taking home Best Director and Best Actor honours for Moura at the 2025 Cannes Film Festival, and the acting from the entire cast is excellent … but it just didn’t land for me. The script is the weakest part. It’s riddled with plot holes and the story is difficult to follow due to the number of players involved. Several characters’ motivations are confusing and while it’s mostly set in the 1970’s, there’s a distracting subplot involving two university students listening to archival audio recordings in the present day. The ending abruptly jumps to Marcelo’s fate without explanation and the final scene featuring his adult son speaking with one of the university students feels disconnected, as decades of context has been skipped. Even the inclusion of the “hairy leg” urban legend (a metaphorical way for newspapers to report on real life police violence in the 70’s) turns the clever use of indirect messaging into something farcical. Filmed against the vibrant backdrop of Carnival, the the standard attire for men in this production is plenty of chest hair, high waisted trousers, large aviator sunglasses, and button-down shirts doing absolutely no buttoning.

SCORE:

Alex's Score 5.9/10

MERCY

Set in 2029, Detective Chris Raven (Chris Pratt) wakes up hungover and strapped to a chair in the “Mercy Court”, a futuristic justice system acting as judge, jury, and executioner. Accused of murdering his wife Nicole (Annabelle Wallis), Raven is given 90 minutes by AI entity Judge Maddox (Rebecca Ferguson) to prove his innocence and save his life. He is granted access to surveillance footage, private emails, and social media feeds, and must navigate the mountain of digital data to find the real killer before the clock runs out. Unfolding in real time, this film is a high speed game of cat and mouse that cleverly combines technology with innovative AI. Pratt and Ferguson are mostly restricted to being faces on the screen and I wondered why the writers didn’t render an avatar for the AI judge to fully remove the human element. A constant visible countdown for the 90 minute deadline would’ve ramped up the intensity – instead it appears infrequently as a background prop. While this feels similar in pace and theme to other thrillers (cue ‘Minority Report’) it’s moderate on the predictability scale and I didn’t pick every twist. The inclusion of a final scene skipping to “6 months later” would’ve nicely rounded out the ending. A solid concept that needed slightly stronger cohesiveness to take it to the next level. The air motorcycles were cool though!

SCORE:

Alex's Score 7/10

ADDITION

*CONTAINS SPOILERS* Grace Lisa Vandenburg (Teresa Palmer) is a mathematician living in Melbourne who suffers from anxiety and arithmomania, the uncontrollable urge to count everything. From the number of poppy seeds on her cake to the bristles on her toothbrush, Grace finds comfort in her obsessive compulsion, which began as a coping mechanism decades earlier after the death of her young brother. She shares her apartment with an imaginary friend in form of her idol, the late inventor Nikola Tesla, who also had OCD and arithmomania. When Grace begins a relationship with nice-guy Seamus (Joe Dempsie) she realises she must embrace therapy and medication to finally confront her trauma. The way this film captures the constant stress and overwhelm of anxiety is superb, though I wish it’d been its sole focus and the love interest storyline was ditched – sorry Seamus. At first he seems oblivious to Graces rituals, which irked me as it felt like he wasn’t paying attention. Then once everything is divulged, Graces shift towards change feels sudden, as if Seamus kissed the princess and she woke up (thanks for this analogy @sgsw1996!). There are also areas of the story which aren’t fleshed out enough, like the circumstances of her brother’s death and why it shattered Grace, yet left her sister seemingly unscathed. The absence of any male characters other than Seamus and Tesla is strange and goes unexplained. Grace’s father and brother in law don’t rate a mention and even the male psychiatrist she’s scheduled to see is replaced by a woman at the last minute. Movies that mirror the human condition can be useful tools for connection, bridging the gap between lived experience and outside observation, but this one this needed more grit and less rom com.

SCORE:

Alex's Score 6/10

Duncan’s Score 6/10

PONIES

When their husbands die in a plane crash while working for the CIA in Moscow, Bea (Emilia Clarke) and Twila (Haley Lu Richardson) put aside their grief and stay in the USSR as new undercover operatives. They reply on being “PONIES” (persons of no interest), an intelligence acronym referring to people the KGB typically overlook, like the spouses of embassy staff and women. Set in 1977, the two women infiltrate KGB circles and get caught up in a Cold War web as they attempt uncover the truth about their husbands’ deaths. A fabulous pairing of opposites, Bea and Twila’s friendship deepens as their work becomes more dangerous. Bea is methodical and cautious by nature and speaks fluent Russian – Clarke worked extensively with dialect coaches to deliver her lines with an authentic accent. Twila on the other hand, is a bolshy, fearless American who stands out like a sore thumb. Richardson brings a free spirited vibe to the screen similar to that of actress Natasha Lyonne, making her a brilliant choice for Twila. This series does well to capture the paranoia of the era with authentic staging, accurate technology (listening devices are abundant) and a vibrant colour palette that contrasts against the drabness of the city. A funky soundtrack featuring 70’s hits from artists like David Bowie, Fleetwood Mac, Billy Hoel, ELO and Heart balances the mood of the tenser scenes – Boney M’s ‘Rasputin’ even gets a run! While this show starts strong with succinct pacing and enough complexity to stay interesting without being too confusing, the wheels get wobbly in the last two episodes. They feel rushed and it becomes difficult to track the story due to the number of double agents double-agenting. The cliffhanger ending is frustrating and after a nearly 8 hour time investment I expected some degree of closure. That said, I’d watch a second series in hope it gives me more answers and less convolution.

SCORE:

Alex's Score 7.5/10

Amanda’s Score 7.5/10

THE RIP

Matt Damon and Ben Affleck return to the screen together as Lieutenant Dane Dumars and his second in command J.D. Byrne, two Miami cops from the elite Tactical Narcotics Team. Still reeling from the murder of their captain, Dumars receives a tip about a local stash house hiding cartel money. Expecting to find around $150,000 they are shocked to discover more than $20 million in cash hidden behind an attic wall. Police protocol requires them to count the money on site before moving it and the team (including Steven Yeun, Teyana Taylor, and Sasha Calle) become sitting ducks, trapped in a room, stressing about what’s going to happen next. This pressure cooker environment causes their trust to fracture and they begin to suspect one another of planning to steal (“rip”) the money. Inspired by a real life Miami-Dade raid in 2016, where officers discovered over $24 million stashed in Home Depot buckets, this film is gritty and intense. I lost track of the chaotic plot a few times and predicted some of the twists in advance but the acting was top shelf. Damon and Affleck’s 45 year friendship gives them a natural ease and believability as best mates. The pacing is steady enough to keep you watching but lags in areas of heavy dialogue. While it doesn’t have the emotional depth of ‘Good Will Hunting’ it’s action packed enough to maintain interest … but you’ll watch it Friday and forget it by Saturday.

SCORE:

Alex's Score 7.5/10

Amanda’s Score 7/10

ONE LAST ADVENTURE: THE MAKING OF STRANGER THINGS 5

This two hour documentary was released to mark the end of the ‘Stranger Things’ era. It’s a fly on the wall look at the intense creative process, stressful logistical delays and the pressure of a writing process so tight that the series creators, the Duffer Brothers, were still finalising the closing pages of season five while cameras were already rolling on other episodes. Covering everything from the early seasons to the grueling 237 day production of the last installment, this is a fascinating no holds barred look at how the show was pulled together over the last decade. It highlights all the moving parts that had to function as planned and more importantly, the show must go on attitude required when they didn’t. The camaraderie and mutual respect between the cast and crew clearly fueled the massive team effort needed to transform an 1980’s homage into a global cultural phenomenon. A love letter to the fans.

SCORE:

Alex's Score 9/10

Amanda’s Score 8/10

RICKY GERVAIS: MORTALITY

This hour long Ricky Gervais special recently won a Golden Globe for ‘Best Stand-up Comedy on Television.’ He promises this is his most honest and confessional show but he didn’t go deep at all and I didn’t learn more about him than I already knew. As a vocal defender of free speech, operating under the caveats that it mustn’t incite violence, defame, or cause targeted harassment, he’s always going to push the boundaries. His philosophy distinguishes between causing offence, which he believes should be protected, and causing harm, which he believes should not. In typical Gervais fashion there’s plenty in his latest show to ruffle feathers and if I listed the themes he discusses here, I’d likely get a week-long Instagram ban. Not all of his jokes land for me, particularly the cruder ones which just aren’t my jam regardless of who is delivering them. As a result I fluctuated between genuine and nervous laughter the whole way through. Despite this, I don’t believe the person who wrote, directed, and starred in ‘After Life’ lacks empathy or kindness – nor does the one who is vegan and staunchly supports animal welfare organisations. His arrogant on-stage persona is definitely brasher than his true self. My favourite moments are when Gervais cracks up, exposing the fact that even he knows he’s crossing a cringey, awkward line. Interestingly the actual show they filmed ran for 85 minutes, so I’d love to know what was cut. Regardless, Gervais remains on my list of the five famous people I’d invite to dinner – there would definitely be robust discussions.

SCORE:

Alex's Score 7/10

Amanda’s Score 7/10

THE CARMAN FAMILY DEATHS

When wealthy real estate developer John Chakalos was found shot dead in his home in 2013, his grandson Nathan Carman was the prime suspect. Three years later Nathan and his mother Linda left for a fishing trip from Rhode Island. Their boat disappeared and eight days later Nathan was rescued from a life raft. He claimed their vessel sank after an accident and Linda went overboard. She was never found and is presumed dead. Investigators discovered that the boat had been intentionally tampered with and Nathan was arrested in 2022 for Linda’s murder. Prosecutors believed his motive was to inherit the family’s $42 million dollar fortune but the case never reached trial, as Nathan committed su*cide in his jail cell just weeks before it was set to begin. Through recent interviews with family members, legal experts and police (and archival conversations with Nathan and Linda) this series shares the key pieces of evidence that police used to build their case. It also examines the psychological factors surrounding the defence’s argument that Nathan’s autism caused behaviours that were misinterpreted as signs of a cold-blooded killer. Nathan’s criminal charges were dismissed after his death and his grandfather’s murder remains unsolved. Despite this doco’s open-ended conclusion, I feel that the claims against Nathan were undeniable. Viewers who don’t see it as clearly may be unsatisfied by the lack of a neatly tied up resolution.

SCORE:

Alex's Score 7/10

OPUS

Ambitious writer Ariel (Ayo Edebiri) is contacted by long lost pop icon Alfred Moretti (John Malkovich) who’s been out of the limelight for decades. To celebrate the completion of his first album in 30 years, he invites Ariel and several fellow journalists to his remote desert compound for a private listening party. Clearly using the Church of Scientology as a blueprint, the estate is filled with hundreds of uniform-wearing, robotic disciples known as Levelists. As Moretti’s behaviour becomes increasingly controlling, Ariel realises he’s a cult-leading megalomaniac and uncovers the terrifying truth behind his vengeful intentions. The farcical plot highlights the ignorance of the visitors, who are so blinded by fame that they deny the dark deeds happening around them. It shares the same madness as ‘Midsommar’, where everyone is aware of the order of things except the new arrivals. Malkovich clearly delights in playing a singer worshiped by the whole world, but his character comes across as a man chasing the ghosts of his prime, whose talent is based on lots of hype and very little substance. I don’t know how he kept a straight face in some of the more cringey, ridiculous scenes. There are some experienced actors attached to this movie including Juliette Lewis, Rosario Dawson, Murray Bartlett (‘The White Lotus’ and ‘The Last Of Us’), Amber Midthunder (‘Prey’), Young Mazino (‘Beef’), and Tony Hale (‘Veep’ and ‘Arrested Development’) but the drab writing prohibited any of them from fully letting loose. The best part? The scorpion-sting of an ending which makes a statement about how quickly society excuses the transgressions of celebrities. Everything else feels like it’s been done before, only better.

SCORE:

Alex's Score 4/10

28 YEARS LATER: THE BONE TEMPLE

This sequel to ‘28 Years Later’ reintroduces Dr. Ian Kelson (Ralph Fiennes), a mysterious physician surviving in the ruins of post-apocalyptic Britain. He’s spent his time in isolation building a ‘Bone Temple’, a macabre memorial to those taken by the Rage Virus, while studying an evolved zombie named Samson (Chi Lewis-Parry) with scientific curiosity. His peace is shattered by the arrival of a sadistic, cult-like gang led by the cruel Sir Lord Jimmy Crystal (Jack O’Connell), who is searching for his father. Crystal arrives with Spike (Alfie Williams) in tow, having forced the boy into a fight to the death to earn his place in the gang. The group wear tracksuits, don bleach blonde wigs and are all called ‘Jimmy’ in a disturbing homage to disgraced UK media personality Jimmy Savile, showing how selective memories are cherry picked and held onto from times gone by. While this installment ramps up the gore, there is less zombie action than its prequel. Instead, the focus shifts to the dire threat humans pose to one another, even after global annihilation, and how survivors must navigate a violent new world order that blurs the lines between humanity and brutality. I was previously critical of Fiennes, feeling he was miscast in his role but I’ve eaten my opinion after seeing him unleash an unhinged, surreal performance on his unwanted guests, ninety minutes in. He is both hypnotic and horrifying in that moment, and at 63 years of age, he moves with the fluidity of a 25 year old. It’s early days but I’m calling it as one of the most memorable scenes of the year that will take a lot to beat. Moving on from the previous film’s reliance on iPhones, the frequent central framing, intricate prosthetic make up and a score layered with unconventional elements like orchestrated human moans and gasps, creates a bristling atmosphere. The 11th hour return of a character whose fate has been in limbo for over two decades will please long time fans and a massive stage is set for part three. Howzat!

SCORE:

Alex's Score 8/10

Amanda’s Score 8/10

MISSING: DEAD OR ALIVE – SEASON 2

This four episode docuseries follows the real time investigations of the Richland County Sheriff’s Department Missing Persons Unit in South Carolina as they search for people who have vanished under suspicious circumstances. Led by Sergeant Vicki Rains, this season covers two complex cases where the clock is ticking – the disappearance of a young man caught up in a criminal web and a woman last seen leaving a hotel early in the morning. The episodes mix fly-on-the-wall police work (the cadaver dog scouring a vehicle is tragically fascinating) with reenactments, while highlighting the emotional toll the cases take on both the families and the officers involved. This show avoids the gritty look typical of true crime documentaries and uses cinematic lighting and aerial shots to create a polished aesthetic. While the pacing is tight, four episodes covering only two cases is too brief. I grew invested in the dedication of Sergeant Rains and her teams and whilst it’s good to leave viewers wanting more, you also have to give them enough.

SCORE:

Alex's Score 8/10

SIRAT

Luis (Sergi López) heads into the barren Moroccan desert with his young son Esteban (Bruno Núñez Arjona) to search for his daughter who vanished five months earlier. Believing she may be at an illegal rave, they follow a group of nomadic, free-spirited partygoers in heavy-duty off-road trucks toward the next techno event. What begins as a well intentioned search for a loved one soon descends into a gruelling journey fueled by regretful decisions. This is a film you feel as much as see – the pulsating electronic music reverberates through you and every sound is so crisp and amplified that it creates an immersive, multi-sensory experience. It’s a movie that excels in every department, from acting and casting (real life ravers Richard ‘Bigui’ Bellamy, Stefania Gadda, Tonin Janvier, Joshua Liam Henderson and Jade Oukid play themselves), to cinematography, sound, script, and themes. The way it builds unease and maintains tension is testament to the skills of director Oliver Laxe, who makes sure viewers can’t settle into a comfortable rhythm. By the end I could practically taste the dust of the surreal, apocalyptic landscape. I had to sit for ten minutes after the credits rolled and wait for the psychological overload to dissipate in order to absorb what I’d just watched. I was left with the same shell shocked feeling I had after finishing ‘Warfare’ and ‘The Long Walk’. Go in blind to this and drop any expectations of where you think the story is going – I guarantee you won’t see what’s coming. An unforgettable masterpiece that demands a big screen experience for full, shattering effect.

SCORE:

Alex's Score 10/10

THE LEGEND OF OCHI

Yuri (Helena Zengel) has been taught from birth that the primate-like Ochis who live in the nearby mountains are murderous demons. When she finds a lost and injured baby Ochi, she is shocked to realise it’s actually a gentle, sentient being. Ignoring her village’s superstitions, she forms a unique bond with the baby Ochi and sets off on a journey across rugged terrain to reunite it with its mother before her father Maxim (Willem Dafoe) can hunt it down. This visually striking fable is well acted and follows a clear, linear plot. It carries sincere messages about breaking cycles of prejudice, doing the right thing, accepting differences, and being your true self. But what truly shines through is the masterful use of puppetry and animatronics over CGI. The baby Ochi comes to life thanks to five puppeteers who handled the body and two technicians who remotely controlled the facial expressions and mouth movements. This coordinated team effort results in the cutest cinematic creature I’ve ever seen. In all honesty, the rest of the film could’ve been total nonsense and I still would’ve watched it joyously just to catch a glimpse of this adorable creation. Thankfully the story more than holds its own. First time director Isaiah Saxon chose to mostly film with Bausch and Lomb Baltar lenses from the 1930’s, creating a vintage, dreamlike atmosphere for the fictional world of Carpathia. Over 200 hand-painted backdrops (a nearly extinct art form) add to its ethereal vividness. Every aspect of this production feels intentional and each scene is meticulously crafted, evoking a sense of nostalgia similar to cult classics like ‘Labyrinth’, ‘Gremlins’, and ‘The Dark Crystal’. Sincere and touching, watching this feels like a storybook coming to life. If you grew up on the practical magic movies of the 80s, you’ll love it. Truly something special.

SCORE:

Alex's Score 8.5/10

Amanda’s Score 8.5/10

HIS & HERS

In this six episode whodunnit, news anchor Anna Andrews (Tessa Thompson) returns to her hometown of Dahlonega, Georgia, to report on the brutal murder of a high school friend. Her estranged husband, Detective Jack Harper (Jon Bernthal), is assigned to the case, leading the two to clash as they investigate the crime while hiding their own dark secrets. When two more women from Anna’s school clique are found dead, old grudges are exposed. This series takes a slow burn approach to revealing the characters’ backstories, yet the pacing is consistent and the tension never lags. While the acting is satisfactory, Bernthal’s Harper wins the prize for the most irritating character, constantly yelling and running around half-cocked while behaving questionably, and at times illegally. That said, it wasn’t as far fetched as some of the other recent crime shows I’ve watched, even if the story isn’t quite in the realm of possibility. Each episode ends on a hook strong enough to make you want more and I was invested enough to binge most of it in one sitting. The finale closes everything out neatly but is a lot to unpack, with an unexpected red herring thrown in. Overlook the plot holes and you’ll enjoy it.

SCORE:

Alex's Score 7/10

Amanda’s Score 7.5/10

SONG SUNG BLUE

In this true story adaptation set in the 1980’s, Mike Sardina (Hugh Jackman) and Claire Stingl (Kate Hudson) fall in love at first sight at a carnival tribute show held during the Wisconsin State Fair. They team up to form ‘Lightning & Thunder’, a Neil Diamond tribute band that sees them finally chasing their musical dreams. Just as they hit the heights of local success, life throws a devastating and cruel curve ball their way that immediately changes everything. This movie is an emotional rollercoaster and twice the plot took a turn I didn’t expect. While the writing and acting are outstanding, it’s the phenomenal duets between Jackman and Hudson that left me mesmerised. They harmonise perfectly and because they sang everything live during filming, there’s an electric energy to their performances. I downloaded the soundtrack as soon as I got home from the cinema! Hudson is a scene-stealing stand out. She expertly navigates Claire’s trauma, skillfully switching from bubbly and joyful, to the depths of despair. Her vocals are superb too – she isn’t just playing a singer, she IS a singer. Jackman is equally charismatic as Mike, a genuinely good guy who is the glue holding his family together. This gem of a film took me on a journey I didn’t see coming and even as someone naive to the hits of Neil Diamond, I absolutely loved it. It’s a tale of enduring devotion where music becomes the ultimate salvation.

SCORE:

Alex, Amanda and Venessa’s Score 8.5/10

GOOLAGONG

This three part miniseries chronicles the life of Australian tennis legend Evonne Goolagong Cawley. Based on her 1993 biography ‘Home! The Evonne Goolagong Story’, it follows her journey from childhood in the small town of Barellan, New South Wales, to her triumphs on the global tennis stage. The story covers her fraught relationship with domineering coach Vic Edwards (Marton Csokas), how she met her husband of 50+ years, Roger Cawley (Felix Mallard), and the challenges she faced as a First Nations Wiradjuri woman. It also tackles the hurdles of her tennis era without losing the joyful spirit of its subject. With seven grand slam singles titles to her name and reaching the world No. 1 ranking in 1976, Goolagong was (and still is) beloved for her grace, humility and unwavering tenacity. With Goolagong and Cawley serving as associate producers and advisers, this series prioritises truth over dramatisation. The realness shines through alongside its masterful production and beautiful filming. WAPPA (Western Australian Academy of Performing Arts) graduate Lila McGuire captures every ounce of Goolagong and I couldn’t get over her uncanny physical resemblance to the sporting star. Some of the other actors looked nothing like their characters – particularly those representing Billie Jean King, Martina Navratilova and Chris Evert, but their roles were so minor it didn’t detract. A resplendent tribute to a national treasure.

SCORE:

Alex's Score 9/10

Amanda’s Score 9/10

ORWELL 2 + 2 = 5

Narrated by Damian Lewis from diaries and personal letters, this evocative documentary provides a first person perspective on the views of Eric Arthur Blair, the man behind the iconic pen name George Orwell. It explores how his experience as a policeman and time spent living in poverty shaped his distrust of authority and his commitment to the truth. It highlights how witnessing the rise of totalitarian regimes in Europe inspired his most famous works, ‘Animal Farm’ and ‘Nineteen Eighty Four.’ Using archival footage and clever graphics to show that very little has changed since the 1940’s it suggests that humanity never seems to learn from its past. While the political content is preaching to the converted in my case, powerful statements from ‘Nineteen Eighty Four’ like “The party cannot be overthrown from within” are timely reminders that the power resides with the people and that sometimes they need to exercise it. This film is an absolute case of ‘We didn’t start the fire’ but it carries the horrifying acknowledgement that we haven’t extinguished it either. Do humans solely exist to annihilate each other? Orwell remains just as relevant as a visionary today as he was eighty years ago. A comprehensive and haunting tap on the shoulder that complacency can eat us all … if we let it. This is heavy going but necessary viewing.

SCORE:

Alex's Score 8/10

CHRISTY

Polarising actress Sydney Sweeney stars as legendary professional boxer Christy Martin in this gritty biopic set in the 1990’s. Growing up in a small West Virginian town, Christy discovers a natural talent in the ring. Under the watchful eye of her trainer and future husband Jim Martin (Ben Foster), she becomes a global sensation known as ‘The Coal Miner’s Daughter.’ As Christy’s career grows, every aspect of her private life is controlled by Jim, as he isolates her from loved ones and becomes increasingly abusive. Despite being the global face of women’s boxing she is a prisoner in her own home and suffers under the resentment of having to hide her true sexual orientation. Jim becomes increasingly unhinged until Christy is pushed to the limits of survival. Each fight scene packs a realistic punch thanks to clever camera angles and swift choreography. Though it struggled commercially in its US cinema release, I feel that was unfairly due to the anti-Sweeney bandwagon. I’m no fan of hers off screen myself, and initially thought she might be too soft for this role, but she underwent an incredible physical transformation and did a remarkable job of portraying Christy. Foster was also excellent as the pathologically jealous Jim. Brutal and inspiring, don’t believe the bad reviews and give this a watch. Her story deserves to be seen.

SCORE:

Alex's Score 8/10

ANNIVERSARY

The celebratory mood of Ellen (Diane Lane) and Paul Turner’s (Kyle Chandler) 25th wedding anniversary party quickly sours when their son Josh (Dylan O’Brien) introduces his new girlfriend Liz (Phoebe Dynevor), the spokesperson for a radical organisation called ‘The Change’. Liz is immediately recognised by Ellen, a university professor, as a disgruntled former student who accused her of bullying before abruptly leaving town years earlier. The film jumps forward in time across a five year period, during which ‘The Change’ grows in political power and eventually takes over the American government, using surveillance, curfews, and imprisonment to control the population. Ellen and Paul’s once close family disintegrates under the stranglehold of tyranny as democracy collapses around them. Lane delivers a powerhouse performance as a mother fighting to keep her family together while her children are radicalised by a fascist regime. The cast is rounded out by Madeline Brewer, Zoey Deutche and McKenna Grace as the Turners’ daughters Anna, Cynthia and Birdie. Setting most of the action within the Turners’ home and backyard heightens their growing sense of isolation. With chilling parallels to real-world politics, the tension lies in the gradual ways neighbours turn on one another, misinformation becomes truth, laws are written on a whim, and one person calls the shots. A growing sense of dread culminates in the realisation that nobody is immune once authority takes hold. A cautionary tale about how easily a new normal can be enforced. Ominous.

SCORE:

Alex's Score 7.5/10

Amanda’s Score 7.5/10

MEMBERS ONLY: PALM BEACH

This vacuous reality show proves no amount of money can buy class. Cast members who constantly try to one-up each other are led by the self-proclaimed “queen” Hilary, who looks down on the entire group. Cut throat Taja plays the mean girl, ensuring rivals like Gale get ejected from parties. Rosalyn attempts to control everyone with her outdated rules, mostly focussing on fixing the trashy ‘Kim Kardashian’ dress style of Palm Beach newbie Ro-mina. DJ Tumbles is the misfit who’s aware that her tv colleagues scoff at her career and she’s desperate for a rebrand to help her climb the social ladder. These women wield status as a weapon, quickly shifting from a false sisterhood to blatant backstabbing at every opportunity. It’s ikk. A ghastly spectacle of egos that puts ‘The Real Housewives’ franchise to shame. Also how many times can you name drop Mar-a-Largo?

SCORE:

Alex's Score 2/10

DREAMS

Seventeen year old Oslo high-schooler Johanne (Ella Øverbye) develops an achingly intense crush on her new French teacher Johanna (Selome Emnetu). She strategically worms herself into her Johanna’s life under the guise of learning how to knit. Totally consumed by her sudden desire, she pours her heart out in a raw manuscript. When she shares her writing with her mother Kristin (Ane Dahl Torp) and grandmother Karin (Anne Marit Jacobsen) they are initially shocked at its explicit nature and the blurred lines of of the apparent student / teacher relationship. The emotionally charged storytelling causes them both to reflect on their on own long-gone teen infatuations. Karin, an established poet, sees potential in her granddaughter’s writing and begins to push for its publication as a book – despite the ethical implications of its content. As the film’s narrator, Johanne shares the bittersweet experience of her first (and possibly unrequited) love in a relatable way. She doesn’t quite understand the onset of her emotions but fully dives into them, making impulsive decisions solely based on her immediate needs. Feeling like a voyeur eavesdropping on her secret thoughts, the viewer navigates the ambiguity around her version of events, questioning if her recollection is the truth or a vivid fantasy. The cast are superb and the writing is infused with realness, warmth and a smattering of humour. The final chapter of Norwegian film maker Dag Johan Haugerud’s ‘Oslo Stories’ trilogy, this is an honest account of s*xual awakening and how a single perspective can blur the lines. Watched as part of the Perth Festival.

SCORE:

Alex's Score 8/10

THE CHORAL

In 1916, the choir of fictional Yorkshire village of Ramsden struggles to maintain its membership with many local men away at the Western Front. To save the choral, the board recruits a new no-nonsense choirmaster, Dr Henry Guthrie (Ralph Fiennes), who in turn auditions a group of high-spirited teenagers from different working class backgrounds. A private man, Guthrie hides his growing anxiety for his partner, a soldier back in Germany, while the rest of the town anxiously waits for news of loved ones and the arrival of the next conscription notices. Under Guthrie’s initially reluctant leadership, the group begins rehearsing an adapted version of ‘The Dream of Gerontius’ by composer Edward Elgar (Simon Russell Beale). The unlikely ensemble finds resilience and hope in singing and clings to their choral traditions as the of war looms large. With wonderful casting, meticulous period set design, and a resounding score, I enjoyed this far more than I expected. It’s exceptionally well produced with a witty, wistful script – the first original screenplay written in over 40 years from legendary British playwright Alan Bennett. While the overall tone is somber, it never feels bogged down. The horrors of the war are quietly and effectively conveyed through the tragedy of telegram delivery and the arrival of wounded men returning from the battlefield. There’s also a closeted homosexual plot line, which feels authentic to the lived experiences of gay men during that era but wasn’t explored fully. A charming celebration of how music can unite a community under the most dire circumstances.

SCORE:

Alex's Score 7.5/10

Steve’s Score 7/10

HAMNET

Twenty six year old Agnes (Jessie Buckley) is a wild hearted woman (referred to as a “forest witch” by locals) who possesses the gift of second sight. Most at home in the forest, she has a primal connection to nature and practices natural medicine. After falling pregnant, she marries 18 year old Latin tutor and writer, William Shakespeare (Paul Mescal). Pursuing his passion as a playwright sees William spending long periods of time away in London, leaving Agnes alone in Stratford-upon-Avon to raise their three children, Susanna, Hamnet and Judith. Tragedy strikes the family when 11 year told Hamnet dies of the plague, his sudden loss further fracturing the distant relationship between Agnes and William. If you’re anything like me and your eyes glaze over at the thought of anything to do with Shakespeare (cue memories of year 12 English Literature classes), fear not. This movie is mostly about the struggles and strengths of Agnes and the limelight is all Buckleys. It’s her most outstanding and commanding performance yet and she dominates every scene. The Shakespeare content finally arrives with 30 minutes to go, when Agnes sees William’s play ‘Hamlet’ (a name interchangeable with Hamnet) for the first time. This tribute to his son depicts a journey through unimaginable pain, culminating in a powerful scene of audience connection that will reach your core. While mostly consisting of historical fiction (there aren’t many records kept from the 16th century), this film is a beautifully crafted production that masterfully captures the gamut of the human experience.

SCORE:

Alex's Score 8/10

Saraj and Kate’s Score 8/10

RUN AWAY

CONTAINS SPOILERS! The lives of Simon Greene (James Nesbitt) and his wife Ingrid (Minnie Driver) unravel after their daughter Paige (Ellie de Lange) starts using drugs and runs away from home to be with her abusive boyfriend. Simon, a desperate, hot-headed father who’s prone to jumping to the worst conclusions, begins digging around in the seedy drug underworld in a frantic attempt to find her. He crosses paths with Elena Ravenscroft (the fabulous Ruth Jones), a recently widowed former police officer turned private investigator. Though unconventional@in her methods, Elena is committed to helping her clients and soon discovers that Paige is linked to one of her assigned missing persons cases. To enjoy this series you need to suspend belief. Twists are layered on top of twists, some of which only exist as content filler. The plot quickly becomes crowded, weaving in a religious cult, an adoption agency scam, two unconvincing cold-blooded killers, literally every character keeping a gazillion secrets, no one communicating properly, a shoot out, and Simon deciding how far he will go to rescue his daughter. The police procedural elements fall flat, with lead investigator Isaac Fagbenle (Alfred Enoch) frequently ignoring protocol and using a condescending tone every time he speaks. There’s also a lack of chemistry between him and his colleague / love interest DC Ruby Todd (Amy Gledhill). I enjoyed this series up until episode 6 when I started to lose track of who was who and spent more time wondering what was going on than understanding the narrative. The finale is the most frustrating, as several characters decide to purge their backstories which feels like lazy, rushed writing. Based on Harlan Coben’s novel of the same name, the 8 total episodes come across as a fever-dream mashup of every idea he ever had. Sometimes keeping it simple works best. Fun fact, this is the 12th Harlan Corben book adapted into an original Netflix series.

SCORE:

Alex's Score 6.5/10

Amanda’s Score 6.5/10

STRANGER THINGS – SEASONS 1 TO 5

CONTAINS SPOILERS! Being a newbie to the ‘Stranger Things’ franchise, I binged the entire show over the holiday break. Season 1? A beast. Hooked from the start. Season 2? A worthy successor. Season 3? About as coordinated as Rockin’ Robin’s running (Maya Hawke). Season 4? Long winded with monologues rivaling ‘Gladiator’, leaving me “mostly – halfway happy”. Season 5 though … nails it by seamlessly blending all dimensions with an appreciated dappling of memory laced throwback scenes. The finale drops in three volumes with chapters of varying lengths. Unlike some mouth breathers, the episode runtimes didn’t dampen my hype for the ultimate wrap up and the long overdue dusting off of the Upside Down. The storytelling pulled me in with a blend of ‘E.T.’ vibes and those book to life adventures like ‘The Never Ending Story’, all while the Dungeons & Dragons campaign edged toward its last move, backed with beats and vocals of mid 80’s bangers. The final boss fight is epic, though I craved more of that signature ‘Stranger Things’ nosebleed, superhero flair – air hangs and invisible force throws to match the powerful inter-dimensional arc of both Vecna (Jamie Campbell Bower) and Mind Flayer. The team effort to temper the bad chaos with minimally planned misfires kept the episodes rolling with pace. Winona Ryder’s portrayal of leather-jacket Joyce swinging her axe of kindness for Vecna’s finish was peak ‘Stranger Things’ energy. Easter eggs honoring fallen characters was a thoughtful touch and Dustin’s (Gaten Matarazzo) graduation nod to Eddie (Joseph Quinn) was class. What I loved most? The ultimate lesson in friendship, being unapologetically yourself, and never being a by-stander, even when life throws its biggest mind flayers your way. Do I think this is the end of El (Millie Bobby Brown) and the ‘Stranger Things’ story? Heck no.

SCORE:

Alex's Score 9/10

EVIL INFLUENCER: THE JODI HILDEBRANDT STORY

Former licensed therapist Jodie Hildebrandt and family vlogger Ruby Franke met through their local church and became friends. They collaborated together on a YouTube channel, an Instagram account and the ‘Moms of truth’ podcast, where they discussed extreme parenting measures based on strict discipline. Hildebrandt used her life coaching program to manipulate families, isolate spouses and brainwash vulnerable individuals under the guise of Mormon teachings. She encouraged Franke to separate from her husband Kevin and Franke eventually moved into Hildebrandt’s $5 million home with her four youngest children. In August 2023, Franke’s 12 year old son escaped to a neighbour’s house in a state of distress. He was found malnourished with duct tape on his wrists and ankles. Investigators soon discovered that Hildebrandt and Franke kept two of the children tied up for hours a day, starved them, and forced them to perform relentless exercises in the searing desert heat, to apparently “repent for their sins and purge evil spirits”. Both women were charged with six counts of aggravated child abuse and sentenced to 4 to 60 years in prison. What makes these crimes even harder to stomach is that Franke was abusing her kids in plan sight, but her followers only saw what they wanted to in her online content. Featuring bodycam footage, plus interviews with law enforcement officers, legal professionals, and Hildebrandt’s former clients, this documentary occasionally favours shock value over a deeper look into the failures that allowed this abuse to occur for years, despite many obvious red flags. An eye-opening look into the slippery slope of religious extremism.

SCORE:

Alex's Score 7/10

RUN

Set during the 1980’s and 90’s, this six part series follows the life of Australia’s most notorious bank robber Brenden Abbott (George Mason). Over two decades, Abbott held up more than 40 banks and successfully escaped from two different maximum security prisons. By blending factual history with fictionalised elements to enhance the narrative, the story’s main focus is on Abbott’s relentless cat-and-mouse game with the police, with sub plots depicting parts of his tumultuous childhood and the heavy toll a fugitive lifestyle took on his personal relationships. It aims to show the human side of a man who was most well known for his criminal acts, yet doesn’t shy away from the intense trauma he inflicted on his countless victims. Surprisingly, Abbott comes across as a lot less paranoid than you’d expect from someone who, at one stage, was on the top of the country’s most wanted list. Filmed entirely in Western Australia, mostly in Perth, Fremantle, and Collie, this series is well produced, with a slick aesthetic and impressive attention to detail. The entire cast is superb, particularly Robyn Malcolm (one of my fave actresses) who plays Abbott’s steadfast mother Theresa. As always, she delivers her performance with unflinching authenticity. An absorbing glimpse into the high stakes cost of a life defined by crime.

SCORE:

Alex's Score 8.5/10

Amanda’s Score 8.5/10

THE PLAGUE

Twelve year old Ben (Everett Blunck) is sent to an all boys live-in water polo camp for his 2003 summer break. He arrives for the second session and finds that several boys who stayed on from the first stint have already established a clique. Shy and socially anxious, Ben quickly realises that some of his new team mates are bullies who also over-sexualise everything. Their main target is Eli (Kenny Rasmussen), an introverted boy clearly on the spectrum. They relentlessly mock his skin condition, calling him “The Plague” and isolating him from the group. Their nameless coach (fabulously played by Joel Edgerton who is also a producer) intervenes when he catches the boys playing up, but adult supervision is otherwise non-existent. Edgertons time on screen is brief, totalling around 15 minutes, and he’s the only adult actor with a speaking role, heightening the fact that most of the boys behaviour goes unchecked. Desperate to fit in, Ben initially participates in the nastiness, before the tide turns and he becomes a target of the abuse himself. He learns a harsh lesson about conforming to peer pressure and the weight of toxic masculinity. This psychological drama isn’t a horror movie but it cleverly feels and sounds like one. Long lingering scenes of bodies flailing in the pool and empty indoor spaces with jarring music create an anxious atmosphere where you can feel the tension building and know it’s about to pop off. The casting is excellent, particularly the performances of Blunck and Rasmussen. Using the sport of water polo as the central metaphor is a nuanced choice – it’s known for the brutal, hidden physicality that occurs beneath the water’s surface, much like the social dynamics of the boys. This film leaves viewers asking “What is the plague?” Is it the boys themselves, the onset of puberty or their acts of cruelty? A hauntingly dark coming of age tale that’s brilliantly executed. Think ‘Lord of the flies’ but in the pool.

SCORE:

Alex's Score 8/10

Amanda’s Score 7.5/10

SATU: YEAR OF THE RABBIT

Seventeen year old Bo (Vanthiva Saysana) lives with her drunk, abusive father in Vientiane, Laos. She wants to study photojournalism in Vietnam and needs to submit a pictorial essay as part of her application. Desperate to escape her home life, she jumps on a moped and sets off to take photos across the country. When the fuel is siphoned from her bike she seeks help at Pha Tang Temple. There she meets a young orphan boy called Satu (Itthiphone Sonepho) who was taken in by the monks when his mother abandoned him on the monastery steps as a baby. Satu is keen to find his long lost mother and Bo agrees to help him, seeing it as an opportunity to document his story with her camera along the way. As they both follow their respective paths, they ultimately realise where they truly belong. Themes of friendship and courage shine through their journey, accompanied by an authentic portrayal of the Laotian people as generous, gentle, and kind, even to strangers. Strong and well developed characters ensure that Bo and Satu’s struggles resonate with viewers on a personal level. Rich in Buddhist and cultural references, the film marks the feature debut of British director Joshua Trigg. It is distributed by Wirra Distribution, Australia’s first Aboriginal owned film distribution company – a team that is clearly kicking goals right out of the gate. Visually the 16mm cinematography is an absolute knockout. From the warm colour palette and meticulous framing, to the lush green mountain ranges, every scene dreamily showcases the picturesque landscapes of Laos. It is one of the most beautifully crafted productions I have ever seen. A cinematic treasure and a visual feast.

SCORE:

Alex's Score 9/10

FEAR

Architect Martyn (Martin Compston) and genealogist Rebecca (Anglo Mohindra) move from London to Glasgow with their two young children, hoping for fresh start in their beautiful historical home. Their plans quickly unravel when Jan (Solly McLeod), their odd downstairs neighbour, starts to fixate on Rebecca and behaves inappropriately towards her. The situation escalates when Jan hacks the family’s smart devices and begins spying on them, before making false accusations of child abuse to the police. With the authorities unwilling to take action, the logical response would be for the family to sell up and move, but instead Martyn’s frustration grows until it culminates in a violent confrontation. This three part series offers a fairly realistic spin on the stalker narrative up until the end of the final episode, where the pacing becomes rushed and characters begin making confusing choices that lack proper context or motivation. None of the ensemble are likeable, especially Martin who’s a chronic liar and Rebecca who’s extremely dull. Had promise but the writing lost its way.

SCORE:

Alex's Score 6/10

Amanda’s Score 6/10

HARLEQUIN LIVE: ONE NIGHT ONLY

Filmed within the opulent Belasco Theatre in Los Angeles, Lady Gaga covers her 13 track jazz-pop album ‘Harlequin’ in its entirety. With the stage marvellously dressed as a gritty, disheveled apartment, Gaga performs as Harleen Quinzel, her character from ‘Joker: Folie à Deux’ to an invite only audience. Backed by a six piece band, this 51-minute concert feels like an intimate broadway production and makes a change from her arena extravaganzas. I’m not a jazz fan but Gaga could sing the phone book and still make it sound incredible. Little monsters will love this!

SCORE:

Alex's Score 7/10

HOT MILK

Rose (Fiona Shaw) has been paralysed for decades and is wheelchair bound. She heads to a Spanish health clinic with her adult daughter Sofia (Emma Mackey) in an attempt to find a cure for her mysterious and unexplained condition. Sofia has spent most of her life caring for Rose and is collapsing mentally under the weight of her responsibilities, a strain exacerbated by Rose’s constant complaining and curt demeanour. During their trip Sofia meets artsy German woman Ingrid (Vicky Krieps) and the two begin a tepid summer romance – tepid because Ingrid has several other lovers and due to the glaring lack of on screen chemistry between Mackey and Krieps. Rose’s physician Dr Gomez (Vincent Perez) is an odd man, asking her and Sophia unconventional questions that make me wonder if he’s a medical professional, a therapist, or a snake oil salesman. While the film is beautifully shot against a hazy Greek (not Spanish) backdrop, the plot is clunky and nothing much happens until the last five minutes. The ending was the only redeeming part, but it was unintentionally amusing and didn’t have any emotional resonance. Shaw and Mackey deliver the best performances they can with what they’ve been given, which isn’t much in this case. I’m awarding one point for each of their efforts and none for everything else. A snooze fest with wasted talent at the helm. Soured milk.

SCORE:

Alex's Score 2/10

Amanda’s Score 0/10

PARASITE – REWATCH

The Kim family, consisting of father Ki-taek (Song Kang-ho), mother Chung-sook (Chang Hyae-jin), son Ki-woo (Choi Woo-shik) and daughter Ki-jung (Park So-dam) live together in a cramped and dingy basement basement. Struggling to make ends meet, they fold pizza boxes for a measly wage. Their luck changes when Ki-woo cons his way into an English tutoring position for the daughter of the wealthy Park family. Sensing an opportunity to escape poverty, the Kims systematically manipulate their way into the Park household. Ki-taek replaces the chauffeur, Chung-sook ousts the housekeeper, and Ki-jung poses as an art therapist. While pretending to be unrelated, qualified professionals, the Kims begin to leech off the Parks’ affluent lifestyle, until an unexpected threat jeopardies their ruse. Strong on social commentary and with many metaphorical class divides, this film asks the question “Who is the parasite?” Is it the impoverished and opportunistic Kim family, or the wealthy Parks who rely on hired help? With superb acting, a stunning custom built set, swift pacing, an engaging story, and a few epic plot twists, this was a worthy winner of four Oscar’s in 2020 including Best Picture, Best Director, Best Original Screenplay, and Best International Feature Film. It also won the Palme d’Or at Cannes. A cautionary tale of how oppression can spill over into violent desperation. In Korean with English subtitles.

SCORE:

Alex's Score 9/10

Amanda’s Score 9/10

ALL THE EMPTY ROOMS

This documentary proves you can convey a profound message in a very short period of time. At just 35 minutes long, ‘All the empty rooms’ follows CBS News correspondent Steve Hartman and photographer Lou Bopp on a seven year mission to visit the families of children killed in American school shootings, focusing entirely on the untouched bedrooms left behind. These rooms deserve as shrines, frozen in time and preserved by grieving parents exactly as they were the day their children left for school. They are filled with unmade beds, favourite sneakers stacked neatly, and posters still hung on the walls. Through these spaces, Hartman exposes the lingering impact of gun violence and its painfully haunting consequences. While he acts as the storyteller he is careful never to become the story itself. His goal is to re-sensitive a public that has grown numb to what is now an almost daily occurrence. There’s also no mention of the perpetrators or associated politics, focussing solely on the losses left behind. A quiet, poignant piece that deserves to be made into a feature-length production.

SCORE:

Alex's Score 8.5/10

Amanda’s Score 9/10

HEATED RIVALRY

This six episode series follows a decade long secret romance between two ice hockey rivals – steadfast captain of the Montreal Metros, Shane Hollander (Hudson Williams), and cocky Boston Raiders star Ilya Rozanov (Connor Storrie). While the press fuels their on-ice animosity, they find a connection behind closed doors. Over the years, their clandestine hookups evolve into real love, forcing them to consider a future together without shattering their carefully constructed public images. Based on the ‘Game Changers’ books by Rachel Reid, the show was written and developed by gay screenwriter Jacob Tierney. He authentically depicts the isolation of closeted professional athletes, the exhaustion of living a double life, and the psychological toll of repressing one’s true self. In media interviews, Tierney has spoken extensively about the importance of basing queer stories on love and positive outcomes rather than tragedy and has definitely succeeded here. The relationship between Hollander and Rozanov feels genuine, thanks to electric on screen chemistry between Williams and Storrie. With a heavy emphasis on male eroticism, this is an unapologetic, explicit, and unflinching portrait of two people destined to be together. Has already been confirmed for a second season.

SCORE:

Alex's Score 9.5/10

Amanda’s Score 9/10

SHELL

CONTAINS SPOILERS! Elisabeth Moss and Kate Hudson face off as Samantha Lake and Zoe Shannon in this B-grade body horror. Sam is an aspiring actress who undergoes a radical anti-aging treatment developed by Zoe’s mysterious company ‘Shell.’ When Sam begins to suffer gruesome side effects and a fellow patient (Kaia Gerber, daughter of supermodel Cindy Crawford) goes missing, she realises her quest for eternal youth comes at a cost. There are a few attempts at satire to prove this film’s not taking itself too seriously and it starts out with promise … but the final thirty minutes descend into a ridiculous crossover between “The Fly” (budget crustacean version) and ‘The Substance’. Directed by Max Minghella, Moss’s ‘The Handmaid’s Tale’ co-star, the script was written in 2017, two years before ‘The Substance’ was even conceived. Unfortunately production delays meant ‘Shell’ was released after Coralie Fargeat’s masterpiece, relegating it to bridesmaid status. Irrespective of bad timing, ‘Shell’ is overshadowed by ‘The Substance’ on all levels. It lacks the story depth, special effects budget, and performances required to connect with viewers. Kate Hudson clearly relishes her role as the campy villain and Moss tries hard to be outraged as Sam, but both struggle to show any range thanks to the dull script. Their talents are wasted. After a short lived cinema run lasting less than a week, it unsurprisingly failed to gain any awards recognition or Oscar nominations. Corny, absurd, and forgettable.

SCORE:

Alex's Score 4.5/10

Amanda’s Score 4/10

GOODBYE JUNE

Matriarch June (Helen Mirren) is diagnosed with terminal cancer and is admitted to palliative care just before Christmas. Her four adult children reunite at her bedside, each one carrying years of unresolved baggage and resentment with them. June attempts to orchestrate their reconciliation, hoping to bring them all together before she passes. As Kate Winslet’s directorial debut, the film features an accomplished cast including Winslet herself, Toni Collette, Andrea Riseborough, Timothy Spall, Johnny Flynn, Stephen Merchant, and Jeremy Swift. While they give their absolute best, they are let down by the cliched writing of Winslet’s 21 year old son Joe Anders. The script has a smattering of humour but runs out of steam half way through, failing to capitalise on the calibre of its actors who would easily nail better material. Collette was also under used as hippy trippy Helen. If you have a stellar cast, let them shine. Several story elements push believability, like a nurse coincidentally called Angel, two sisters hugging out decades of fraught tension after a five minute conversation that starts with “I’ve wanted to circumcise your face for years”, to a messy nativity scene with hay thrown around a sterile hospital ward. The characters themselves lack imagination and are presented as stereotypical caricatures. There are moments of heart and warmth in this movie but it needed to go deeper. It’s missing the creative spark that a cast (and director) of this magnitude deserves.

SCORE:

Alex's Score 5.9/10

Amanda’s Score 6/10

AVATAR: FIRE AND ASH

Costing $400 million dollars to make there’s no denying this film, like its predecessors, is visually spectacular and technically masterful. James Cameron has once again succeeded in bringing the Na’vi people to life. Within 72 hours of its global cinema release it had already made back 75% of the production budget and is tipped to gross a billion dollars in revenue by early January. There’s no denying it’s a hit that will be viewed by the masses. That’s where the good news ends. My first issue with this instalment is the indulgent run time. I have a belief that if you can’t tell a story in under two hours, the filmmaker is abusing the good nature of their audience. At 3 hours 17 minutes this is just too long – a movie needs to be phenomenal in all aspects to maintain viewer interest for that period of time, and this fell short. It’s also a carbon copy of the last film with the same plot, same cast, same hero arc, same jeopardy, same creatures, same threats, same battles, same revenge, and same vibe – the only notable addition is a new villain called Varang, the psychotic leader of the Ash people, whose unhinged disciples remind me of the War Boys tribe from ‘Mad Max Fury Road’. Her character is so repulsive she detracts, not enhances. It’s been three years between ‘The Way of Water’ and ‘Fire and Ash’ yet they were filmed simultaneously, along with the first act of ‘Avatar 4’. This was partly done to maintain the ages of the child actors, but seeing a cast who had not aged a day made the gap between releases feel disconnected. Cameron also includes his favourite but overused line of “I see you” (first heard in 1997’s ‘Titanic’ and recycled in every film he’s done since then) and I’m convinced there is an orchestral number similar to “My heart will go on’. More same old. I had ‘Avatar’ fatigue before I went in to this screening and I have it even more now now. The initial concept was mesmerising and I unlike anything I’d seen before. Now it just feels repetitive and like it’s outstayed its welcome. Biggest disappointment of 2025.

SCORE:

Alex's Score 5/10

Amanda’s Score 5/10

PLURIBUS

After scientists decode a radio signal from deep space, they inadvertently release a lysogenic alien virus that uses humans as its host. It connects the nervous systems of infected people to form a collective hive-mind of shared experiences and memories, with the exception of thirteen naturally immune individuals, including romance novelist Carol Sturka (Rhea Seehorn). Set in Albuquerque, New Mexico, the series follows Carol as she processes the global loss of individuality and experiences the onset of profound loneliness, while searching for a way to reverse the infection. When she is assigned a hive-mind chaperone, Zosia (Karolina Wydra), she finally has the company she craves but realises it comes at the compromising cost of sincerity. Directed by Vince Gilligan, the mastermind behind hits ‘Breaking Bad’ and ‘Better Call Saul’, this series is the most watched in the history of Apple TV+. It’s one of the best shows to ever grace our screens. Gilligan wrote the role of Carol specifically for Seehorn and it’s easy to see why – she embodies her character with a perfect mix of cynicism, anger, and fierce independence, the latter contrasting with the collective conscious of the hive. I can’t imagine any other actor doing the part justice. From the impactful use of colour in each scene, to the minimalistic cinematography and impeccable set design, this entire production is epic in scope. The dialogue is precise and purposeful, stripped of unnecessary babble, and the pacing deliberately shifts between fast and slow to mirror Carol’s emotional experience. This is a story about the journey, not the destination. A brilliant study of the human condition and a refreshing take on the concept of outer space body snatchers.

SCORE:

Alex's Score 10/10

Amanda’s Score 9/10

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