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

DARE TO CARE

Photography has been a passion of Sherry Ringer’s for more than 50 years, ever since her father bought her a Box Brownie camera when she was 10. Since then she’s travelled the world, capturing all creatures great and small, from the populous to the vulnerable. In her first feature length production she shares the results of her life’s work through images and videos of feathered, furred, fanged and finned animals found in 21 different countries. Each animal’s vulnerability status is listed, bringing a strong educational element to her film. Carefully curated into three chapters: air, land, and sea, it’s clear that the ocean is where Sherry’s heart lies. The footage of humpback whales swimming freely off the coast of Hawaii is absolutely mesmerising. All of the video clips and photographs are beautiful, showcasing how Sherry views her subjects. Her driving motivation is to promote conservation and she powerfully emphasises that we need to preserve what we have left before it’s too late. Accompanied by an effective musical score, her images will leave you feeling a deep connection to the natural world, and a new found respect all who call it home. A labour of love crafted into lasting legacy.

SCORE:

Alex's Score 9/10

THIRD

Married couple Thomas (played by writer and director Alexander Parkinson) and Sandra (Coley Campany) have hit the doldrums. They’re sleeping in separate rooms and merely going through the motions of daily life together. When a handsome naked man named Ernesto (Norio Nishimura) mysteriously falls from the sky into their backyard swimming pool, their monotony fades. Ernesto initially struggles to remember anything other than his own name, but soon his early memories return. He ingratiates himself into the household by cooking meals and introducing Thomas and Sandra to c*caine. Sandra becomes enamoured with him and the two begin a passionate affair that eventually ensnares Thomas. The trio orders their illicit substances and household goods through “Smile”, an Amazon Alexa-style assistant that facilitates the delivery of everything directly to their door. Before long Thomas uncovers Ernesto’s true intentions and their ménage à trois bubble bursts. Filmed almost entirely in Thomas and Sandra’s home with only a handful of characters, the story moves at a quick pace across its eighty three minute run time. This debut feature from Parkinson delivers a thought provoking look at artificial intelligence and smart devices, showing how gadgets can be used to nefariously monitor our every move and influence our decision making. An intriguing technological gut punch.

SCORE:

Alex's Score 8/10

EMPATHY / EMPATHIE

Former police psychiatrist Dr Suzanne Bien-Aimé (played by series creator Florence Longpré) returns to work after taking two years off following a personal tragedy and subsequent emotional breakdown. She takes up a role at Mont-Royal Psychiatric Institute in Montreal and begins treating patients, accompanied by her security officer Mortimer Vaillant (Thomas Ngijol). This French-spoken ten part series explores the daily routines of the residents, portraying their mental health issues with care, sensitivity, and insight. It also follows Dr Bien-Aimé’s growth as she processes her trauma and slowly becomes open to experiencing joy again. Supported by a brilliant cast and strong script, the themes of hope and human connection are handled with warmth and relatability. The compelling final minutes of the finale perfectly set up the second season, which has already been commissioned. An endearing exploration of relationships with family, friends, colleagues, and oneself. Highly recommended!

SCORE:

Alex and Amanda’s Score 9/10

GONE

Music teacher Sarah Polly (Halle Bailey), wife of Michael Polly (David Morrissey), the headmaster of an elite private boys school, is found murdered in the woods near their on-campus home. Detective Sergeant Annie Cassidy (Eve Myles) is assigned to the case as a family liaison officer, while entangled in a dysfunctional relationship with her ex DI Craig Stanhope (Peter McDonald). Michael’s detached, terse demeanour does him no favours and he is initially the main suspect, until skeletons in Sarah’s closet are uncovered. His daughter Alana (Emma Appleton) is desperate for a connection with him, but he remains emotionally unavailable. The story keeps you guessing about who committed the crime before everything is suddenly, and rather too conveniently, revealed in the final episode. While I can’t fault the acting, and Morrissey is always convincing when he’s playing a character with a dark nature, some of the police procedural elements are highly questionable and would jeopardise a case if they were conducted in real life – a surprising flaw given the series creator consulted with a former Detective Superintendent to cover the procedural elements of the series. Not quite up to par compared to other British crime dramas.

SCORE:

Alex's Score 6.9/10

Amanda’s Score 7/0

& SONS

Acclaimed author Andrew Dyer (Bill Nighy) lives in an eclectic manor with his housekeeper Gerde (Anna Geislerová) and youngest son Andy (Noah Jupe). Now an elderly recluse in the grip of alcoholism, Andrew has not left his home for over two decades. After the death of a former friend, he summons his two eldest, estranged sons,, filmmaker Jamie (George MacKay) and screenwriter Richard (Johnny Flynn), to meet with him in an attempt to purge a secret he’s held for twenty years. They have little patience for Andrew’s addiction issues and declining mental state. His clearing of conscience has a damaging impact on Richard, Jamie, and his former wife Isabel (Imelda Staunton). While the cast boasts some accomplished British names, former child actor Jupe anchors the film through his portrayal of Andy. Essentially a story about an unlikable narcissist, the plot is slow and confusing with several gaps, and as a result it failed to maintain my interest. There’s a lack of backstory and character development for Richard and Jamie, making their anger towards Andrew feel disproportionate as a result. While Andrew’s bombshell secret is shocking, it requires a suspension of logic to believe someone would destroy their own family the way he did. Droll and sluggish.

SCORE:

Alex and Mel’s Score 5/10

Cheryl’s Score 9/10

Lydia’s Score 8/10

Kelly’s Score 6.7/10

Janice’s Score 6/10

Chelsey’s Score 4.5/10

Mon’s Score 4/10

Nola’s Score 3/10

OUTBACK TERROR: THE FALCONIO MURDER

In 2001 British backpacker Peter Falconio was murdered by Bradley Murdoch on a remote stretch of the Stuart Highway in the Northern Territory. His girlfriend Joanne Lees incredibly avoided abduction by hiding for four hours in the scrub before flagging down a truck driver and raising the alarm. In this two part documentary, geoforensic specialist Dr Mark Harrison MBE and former FBI profiler Kathy Canning-Mello analyse the behaviour of Murdoch before, during, and after the crime, while examining environmental factors to determine where he might’ve hidden Falconio’s body. The two experts occasionally adopt an overly excitable, sensationalist tone that feels out of touch with the tragedy, though they do offer valuable information about potential search locations. Lees has her story relayed through archival interviews and court transcripts, as she doesn’t participate directly. Unfortunately Falconio’s body still hasn’t been located and Murdoch died in 2025 without revealing the location – this leaves the case without a resolution. I felt a sense of futility by the end of this series as nothing has changed as a result of it.

SCORE:

Alex's Score 7.5/10

THE END OF OAK STREET

Greg (Ewan McGregor) and his wife Denise (Anne Hathaway) live on Oak Street with their teenagers Audrey (Maisy Stella) and Brian (Christian Convery) and their blue heeler dog Starbuck. After a cosmic event, which they initially assume is a severe lightning storm, the family wakes up to discover their suburb has been taken over by exotic plants and hungry roaming dinosaurs. Their once safe, quiet community is now a prehistoric hunting ground, forcing them to fight for survival as they struggle to comprehend what’s happening. Once the action kicks in, the story unfolds rapidly, with ample suspense and jump scares to keep you engaged. All four leads give strong performances and authentically convey their growing terror and desperation, with Hathaway being the stand out. Her character believably goes from unhappy housewife to fierce, gun toting protector. Set in 1982, this film has a retro, nostalgic feel to it thanks to the music, colour palette, and props used. To heighten the anxiety, intriguing split diopter “in your face” camera angles are used to focus inches away from the face of one character while others appear smaller in the background. The dinosaurs themselves are realistic in design and movement, with animatronics used for the smaller creatures – a technique many filmmakers are incorporating more often to give actors tangible, physical threats to react to. The run time of 99 minutes was perfect. I loved everything about this movie and would watch it again. An excellent creature feature.

SCORE:

Alex and Saraj’s Score 9/10

Simon’s Score 7.5/10

Amanda, Zoe and Dave’s Score 7/10

ONE NIGHT ONLY

Set in New York City, a countrywide law known as “The Mandate” bans s*x before marriage for 364 days of the year. On the remaining day the ban is lifted for a 12 hour window – all the unbetrothed go crazy and condoms become the most valuable commodity. Pizza store owner Owen (Callum Turner) gets dumped by his girlfriend when she decides to pursue another romantic option for the night. Heartbroken he heads out on the town hoping to drown his sorrows with a fling. He crosses paths with jingle singer Allie (Monica Barbaro) who’s single and searching for a genuine connection with a nice guy rather than a hookup. The two have a series of sliding door moments across Manhattan together before realising that what they are looking for is right in front of them. This solid rom com has several sweet moments, good chemistry between the leads, and a playful tone despite its predictable plot. It requires belief to be suspended regarding the unpopular mandate but doesn’t get bogged down by the conservative politics. Lighthearted and fun, plus the bonus of Molly Ringwald cameoing as Owen’s mother Linda.

SCORE:

Alex's Score 7.9/10

THE ASSISTANT

Told across one day, Jane (Julia Garner) is five weeks into her job as an assistant for a film industry executive in New York. Her tasks are mostly menial and repetitive, and her colleagues are indifferent towards her. When she tires of the toxic work environment and her boss’s sexual exploitation of young women, she makes a complaint to the head of HR, Wilcock (Matthew Macfadyen). He dismisses her concerns and she faces her own moral dilemma relating to her boss’s predatory behaviour. Garner captures her character in an understated, pared-back manner. Her growing anxiety is heightened by the absence of any music, filled instead with off-screen voices, muffled phone calls, and office background noise. The camera follows Jane closely, often from directly above or right in front of her face. Lingering shots of her walking down hallways, standing at the photocopier, and working at her desk emphasise the monotony of her routine. You do not see or hear her boss clearly – he’s faceless, which ironically makes his presence feel even more dominating. The bleak office sets, decked out in dull greys and flat blue tones, lack warmth and are uninspiring. Do not expect a big crescendo of justice at the end. Instead the final scene cleverness reflects the futility often experienced by women trapped in a power imbalance with an abusive employer. On the back of the #MeToo movement, this film is not fiction. Intentional and poignant.

SCORE:

Alex's Score 8/10

THE IDAHO MURDERS: COLLEGE NIGHTMARE

In November 2022, the brutal quadruple homicide of university students Kaylee Goncalves, Madison Mogen, Xana Kernodle, and Ethan Chapin sent shockwaves through Moscow, Idaho. The four flatmates were popular young adults who had bright futures ahead of them. Through interviews with friends and family members, police bodycam footage, and crime scene records, this well crafted documentary series meticulously pieces together the final hours of the victims lives and the subsequent investigation. It details how officers eliminated several early suspects, before piecing together evidence that led them to criminology graduate Bryan Kohberger. The three episodes culminate with Kohberger’s plea agreement to avoid the death penalty. Instead he trades a guilty plea to four counts of first degree murder for four consecutive life sentences without parole. The absence of a clear motive still painfully impacts the loved ones of Kaylee, Xana, Madison, and Ethan. A senseless crime masterfully portrayed.

SCORE:

Alex's Score 8.5/10

THE MAN WILL BURN

This four part documentary series explores the history and evolution of Burning Man at Black Rock City, Nevada. It details how the festival was cancelled in 2020 and 2021 due to the pandemic – the first time in its forty year history. In its place, dedicated group of participants decided to stage a “Free Burn” gathering, returning the event to its corporate free, grassroots beginnings. The official management team took notice of this and since 2023 they’ve shifted their focus back to the core artistic experience for the 80,000 attendees who attend each year. Event founders, founders, artists and attendees speak about the stresses of extreme weather, land use permit issues, navigating safety logistics, power struggles among the management team, and the tension caused by billionaires who believe that their financial support automatically gives them a share of the control. An eye opening look at navigating the madness of this iconic social experiment and what goes into ensuring the man will burn.

SCORE:

Alex's Score 8.5/10

THE KILLINGS AT PARISH STATION

Four scientists are gruesomely murdered at Parrish Station, an isolated research facility. The sole survivor Dr Kate Reynolds (Alex Malone) is rushed to hospital in a catatonic state and starts behaving weirdly when she eventually wakes up. Lead detective Millie Farah (Kat Hoyos and Doris Younane) realises that these deaths are a copycat of four unsolved murders that occurred at the station thirty seven years earlier. She recruits the original, now former, detective of that case Georgia Cooke (Mia Wasikowska and Heather Mitchell), signing her out of the psychiatric facility where she has lived since her career ended prematurely. Cooke is forced to confront her past traumas as she helps to investigate the new case. This series sounds intriguing on paper, but the plot soon becomes convoluted with the constant flashbacks between 1987 and the present day, and it gets absurd when occult elements are introduced. It’s also easy to predict who the perpetrator is. I lost interest early and had to force myself to watch until the end. I’m all for suspending reality but when a story does not make any sense, it becomes impossible to stay invested. While the acting is okay, certain character choices do not always land – like the constant swearing from the elder Cooke. The visually striking environmental scenes are impressive, giving a sense of sparseness and futility to the remote location. More far fetched than mysterious.

SCORE:

Alex's Score 5/10

DEAR LIFE

Lillian Vandenberg (Brooke Satchwell) is a grieving woman whose fiancé was killed in a violent incident at a hospital. Following his death, the recipients of his donated organs begin reaching out to her. This inspires her to track them down, which takes her on a journey of vulnerability. While this series boasts a premise with a lot of heart, the acting lets it down. Satchwell is great in the lead role, as is Eleanor Matsuura as her best friend Mary, but many of the remaining cast deliver average performances. With only a few characters doing the heavy lifting, any sense of drama is stalled, and some of the reunions lack a believable connection. This is such a shame because the series has a positive, encouraging view of organ donation that needs to be shared. Hit and miss, despite being able to see what it was trying to achieve.

SCORE:

Alex's Score 5.5/10

THE ODYSSEY

My second viewing of this masterpiece confirms how glad I am that I saw it in IMAX at eventinnaloo the first time. Although IMAX isn’t available everywhere, waiting for a ticket is completely worth it to do the cinematography and sound justice. Seeing it again on a non-IMAX screen just isn’t the same. It’s still a 10/10 for the film though.

SCORE:

Alex's Score 10/10

THE LAST HOUSE

After a torrential rainstorm, Jason Delgado (Wagner Moura), his wife Ann (Greta Lee) and their children Graham (Noah Alexander Sosnowski) and Ruth (Riley Chung) find every exit in their house sealed shut. Trapped in their own home, they soon realise all of their neighbours have suffered the same fate. Jason initially attempts to smash out windows and bash through walls before he realises it’s futile and gives up. It’s then revealed that water is their captor and weird aqua monsters are roaming around outside. The family quickly (and weirdly) resign themselves to the fact that they are trapped and that being inside 24/7 is their new normal. Time passes quickly and soon five years have gone by, with the family surviving by snaring animals via their chimney and growing food in the floorboards. Things get even more crazy plot wise and the story soon becomes completely unfathomable. I was engaged for the first forty five minutes, but soon had more questions than answers. By the end I was frustrated. I think the whole film is a metaphor for the planet being a prisoner to climate change and how we need to take care of it before Mother Nature turns on us, but I could be giving it too much credit and it’s actually just about some crazy water. If there was a deeper meaning, it should’ve been expressed in a clearer, more succinct way that made sense. I also didn’t like the animal scenes or the noises that came with them. The cast are decent, but they don’t have a substantial script to work from. This drowns in its own absurdity.

SCORE:

Alex's Score 5/10

RICKY GERVAIS: ALLEY CATS

Ricky Gervais’s latest project is an animated series featuring street smart felines who roam their neighbourhood and live in a derelict building. Gervais voices lead tomcat Gus and is joined by a group of misfits including Ponce (Tom Basden), Puke (David Earl), Fang (Andrew Brooke), Olive (Diane Morgan), and Kitten (Jo Hartley). This is not a cute cartoon for children though. It’s risque and filled with profanity, but there are moments of sweet sentimentality. If you look away from the screen and only listen to the audio, the constant banter and pot stirring makes you feel like you’re a fly on the wall during a catch up between Gervais and his real life mates. Several of his friends from hit shows like ‘After Life’ and ‘Derek’ voice the characters. While Gervais writes to shock, he also has an uncanny knack for sharing what matters to him – in this case that’s navigating death, looking after each other, and friends being the family you choose. I just wish he’d dialled back the crassness and let more of the good stuff in. The characters of Olive, Ponce, and Kitten don’t participate in the vulgarity and provide welcome relief from it. With just six episodes, all under twenty minutes in duration, this is easy to binge in one go.

SCORE:

Alex's Score 6.9/10

DEEP WATER

A plane filled with 257 passengers is flying from Los Angeles to Shanghai over the Pacific Ocean. Those on board include a middle aged man who’s angry about a refused upgrade, an obnoxious child, and a couple sneaking off to join the Mile High Club in the bathroom. When a fire breaks out in the cargo hold and both engines explode, pilot Rich (Ben Kingsley) is forced to attempt a water landing, eventually ditching onto a partially submerged reef. A handful of survivors, including co-pilot Ben (Aaron Eckhart), are stranded in the wreckage surrounded by sharks. It’s easy to predict who will make it and who won’t. While the premise is totally implausible, this could’ve been a nail biting thriller had the overall execution been better. Fake looking water scenes give away that they were filmed using large tanks and green screens, and the CGI sharks are tacky. The character development is light on, alongside wooden, over the top acting. Avoid watching this on a plane, as the crash is jarringly realistic and is the only memorable part of the entire 106 minutes.

SCORE:

Alex's Score 4/10

IN PURSUIT OF GIANTS 5

 In 2022, esteemed Kiwi photographers Richard Linton, Tony Stewart, Rebecca Kempton, Chris Helliwell, Richard Wood, Rachael Smith, Gerard Emery, and Glen Howey set out to create an annual documentary about the world around them under the banner of In Pursuit of Giants. For their fifth film release they spent nine months planning a unique project to push them outside their comfort zones and support their LGBTQIA+ friends and family members – they would transform into drag queens and kings and perform in a special show at the famous Family Bar in Auckland. With expert guidance from three accomplished and fabulous drag mentors, SPANKIE JACKZON (winner of Drag Race: Down Under Season 2), Amanduh La Hoare and Kola Gin, they all meet up for an intense week of rehearsals. This film tracks their six day baptism-of-fire journey as they learn choreography, practice how to lip sync, and discover the physical effort required to wear prosthetic chest plates and bodysuits. The entire team undergoes a physical metamorphosis and their epic performance feels as though they were born for the stage. Within ten minutes of this documentary starting, I knew what my score was going to be, and when the credits rolled nearly three hours later it hadn’t changed. What makes this so special is the way everyone pushes through their fears and works tirelessly to do their drag mothers proud. It has so much heart from start to finish and is filled with genuine moments of fun, joy, and connection between a wonderful group of good friends. They took their goal seriously and as Spankie points out, no one “caricatured drag … they embodied it”. Very rarely do I watch something that emotionally floors me in the best possible way, but this did. Shown as a one-off screening to an enthralled full house, by the end everyone was on their feet. We all wigged out. Superb!

 

SCORE:

Alex's Score 10/10

SUPER TROOPERS 3

The immature, coffee addicted officers from Spurbury Station, Vermont are back. The paper-thin plot sees Officer Rodney Farva (Kevin Heffernan) get engaged the sister of Senior Trooper Arcot “Thorny” Ramathorn (Jay Chandrasekhar) which causes conflict between the crew … plus theres a silly side thread about two local louts. To make up for the lack of story, this film is stuffed with ridiculous situations and crass dialogue. Prior to filming, crowdfunding backers and fans of the comedy troupe behind the production (Broken Lizard) were asked to vote on the inclusion of certain jokes and storylines, which explains why the outcome is so juvenile. Remember what happened in 2016 when a UK based research company asked the public to name a $382 million dollar ship and the majority wanted to call it “Boaty McBoatface”? I guess at least that was funny, but I didn’t laugh once in this movie. I definitely don’t fit the target demographic. It wasn’t even a good time passer as the entertainment factor rated a zero. Points though for the bonus scene in the end credits which raised a smile and rounded out one of the ongoing gags. Grating and frustrating.

SCORE:

Alex's Score 1.5/10

ICE CREAM MAN

A creepy ice cream man (Ari Millen) curb crawls along the streets of Bayleen Bay in his vintage truck. After the local children gorge themselves on his sugary wares, they turn into homicidal maniacs, slaughtering adults in gruesome ways. Lactose-intolerant teen Jared (Charlie Zeltzer) is unaffected and teams up with his friends and older sister to try to stop the carnage. Written and directed by Eli Roth (who also plays Officer Marty), this slasher is a mix of horror and comedy. One minute you’ll be squirming, the next laughing – either heartily or nervously. The cinematography is this movie’s strongest aspect. The vibrant colour palette of saturated pinks, electric blues, mint greens, and rich yellows reminds me of the sprinkles atop the ice creams, and later, smeared on the infected children’s faces. The visceral images of exposed innards, hacked limbs, and blood splatter graphically contrast against the idyllic set design of Bayleen Bay. It presents as a picturesque safe haven, yet chaos is unfolding all over town. I even enjoyed the abrupt ending, which felt appropriate given the supernatural and fantasy elements. This is an unhinged kill fest which doesn’t let up for 86 minutes. Sure, some elements are cheesy and imperfect, but it’s amusing and entertaining if you don’t expect an intellectual viewing experience. I’ll never look at an ice cream truck the same way again … or ice cream for that matter.

SCORE:

Alex's Score 7/10

Kerryn’s Score 8/10

Chelsea and Stefan’s Score 6.5/10

Cheryl and Nat’s Score 6/10

Isaac’s Score 3.5/10

Jim’s Score 3/10

THE BLOCK: SEASON 22

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

SCORE:

Alex's Score 8/10

INFINITE ICON: A VISUAL MEMOIR

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

SCORE:

Alex's Score 7/10

CAPE FEAR

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

SCORE:

Alex's Score 3/10

Amanda’s Score 4/10

BELIEVE ME

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

SCORE:

Alex and Amanda’s Score 8/10

A TOXIC LOVE STORY

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

SCORE:

Alex's Score 7.9/10

TELL EVERYONE

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

SCORE:

Liz’s Score 8/10

Thanks to Liz for reviewing on behalf of The Popcorn Panel

SPIDER-MAN: BRAND NEW DAY

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

SCORE:

Alex's Score 7/10

Shanaaz and Razia’s Score 8/10

Simon’s Score 7.5/10

Dave’s Score 6/10

Saraj’s Score 5/10

THE BIRTHDAY TRIP

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

SCORE:

Alex's Score 6/10

TEENAGE S*X AND DEATH AT CAMP MIASMA

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

SCORE:

Alex's Score 7.5/10

Kelly and Jet’s Score 9/10

Cheryl’s Score 8.5/10

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

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

Dave’s Score 6.5/10

Angel’s Score 6.2/10

Mark’s Score 4/10

Tracy’s Score 2/10

HOME (‘HEIM’)

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

SCORE:

Alex's Score 6.5/10

Janette’s Score 6/10

TREASURE & DIRT

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

SCORE:

Alex and Amanda’s Score 9/10

MAXIMUM PLEASURE GURANTEED

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

SCORE:

Alex's Score 3.5/10

Amanda’s Score 2/10

ANN DROID

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

SCORE:

Alex, Amanda and Kelly’s Score 9/10

Steve’s Score 7/10

HOLY DAYS

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

SCORE:

Alex's Score 7.5/10

Sallys Score 10/10

Chris’s Score 9.5/10

Sharon’s Score 9/10

Deborah’s Score 8.5/10

Saraj’s Score 8/10

Janette’s Score 4/10

KNIFE: THE ATTEMPTED MURDER OF SALMAN RUSHDIE

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

SCORE:

Alex's Score 9/10

SUPERNATURE

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

SCORE:

Alex's Score 8/10

HEN

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

SCORE:

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

Caroline and Layla’s Score 9/10

Mon’s Score 8/10

Jason’s Score 5/10

MOCKBUSTER

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

SCORE:

Alex's Score 4/10

Leon’s Score 2/10

LITTLE BROTHER

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

SCORE:

Alex's Score 4/10

ANIMAL FARM

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

SCORE:

Alex's Score 5.5/10

HEARTSTOPPER FOREVER

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

SCORE:

Alex's Score 4.5/10

Amanda’s Score 4/10

THE LADY

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

SCORE:

Alex's Score 7/10

Sally’s Score 7.5/10

SHIPWRECKED: NIGHTMARE AT SEA

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

SCORE:

Alex and Amanda’s Score 8/10

THE ODYSSEY

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

SCORE:

Alex's Score 10/10

Amanda’s Score 9/10

THE WIZARD OF THE KREMLIN

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

SCORE:

Nicola’s Score 6/10

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

Serena’s Score 5.5/10

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

Janine and Kelly’s Score 3/10

Duncan’s Score 2.5/10

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

Amber and Virginie’s Score 1/10

A LIFE ILLUMINATED

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

SCORE:

Alex's Score 8/10

SILENCED

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

SCORE:

Alex, Amanda and Saraj’s Score 10/10

Kelly and Lila’s Score 9/10

POST TRUTH

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

SCORE:

Alex and Serena’s Score 6/10

ACROPOLIS CATS & OTHER WONDROUS ANIMALS

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

SCORE:

Alex's Score 8/10

EVIL DEAD BURN

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

SCORE:

Alex's Score 7/10

Alex M’s Score 8/10

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