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

EBENEZER

Ebenezer Scrooge (Johnny Depp) is a crabby old miser who treats everyone around him with disdain and hates Christmas. Set in 1800’s London, this retelling of ‘A Christmas Carol’ by Charles Dickens follows the same supernatural story where Scrooge is visited by the Ghosts of Christmas (Past, Present, and Yet to Come) who force him to see the error of his ways. Sixty three year old Depp is decent as the grumpy old man, beneath heavy make up and prosthetics which took 3.5 hours to apply. Slow to start, the pacing picks up when the ghosts arrive, but the script feels light in places. The ending arrives abruptly and in doing so, doesn’t deliver much of a payoff. Yes there’s a redemption arc where Scrooge helps out two already privileged families and invites a beggar in for a cup of tea, but I wanted to see his attitude change lead to more action. Has bones but needs extra meat.

SCORE:

Alex's Score 7/10

Nat, Lily and Shirley’s Score 9/10

Jill and Helen’s Score 8.9/10

Georges Score 8.5/10

Stefan and Jen’s Score 8/10

Rosie’s Score 7.9/10

Eve’s Score 6.5/10

Kerryn’s Score 5.5/10

YOU CAN SEE EVERYTHING

Thirty four days before Theranos CEO Elizabeth Holmes begins her 10 year prison sentence, she invites filmmakers Nathan Fielder and Lance Oppenheim to make a documentary about her. Nathan moves in with Elizabeth, her husband Billy Evans, and their two young kids, which gives him unprecedented access to the convicted fraudster. Instead of remaining on the sidelines he becomes a participant in his own work, frequently appearing on camera. Fielder’s interview style is to ask questions with few words then intensely observe his subjects, and his trademark awkwardness seems is, to some, disarming. He either blends into the shadows or lurks like a peeping Tom, always listening and watching. Very close filming of participants faces gives this documentary a dramatic, unnerving, and overly intimate feel. Taking three years to complete, the first half is intriguing and once Holmes goes to jail it goes bonkers. Don’t let the nearly three hour runtime put you off – it will breeze by and you won’t feel the need to check your watch. Fielder’s goal is to make you ask where the truth lies, who it lies with, and who is fooling who. Yet his own integrity is never questioned – we just trust him. Is Holmes a naive victim or a calculating criminal? Go watch this and get back to me. It’s another home run from this creative genius.

SCORE:

Alex, Matt, Isabella, Cait and Tracey’s Score 10/10

Saraj’s Score 9/10

Alex, Deb and Janette’s Score 8.5/10

THE LOST CHILDREN OF TUAM

When Catherine Corless (Monica Dolan) began studying history at an evening class in 2010, she needed to choose a subject for a written assignment. She decided to investigate the former mother and baby home run by the Bon Secours nuns in Tuam, Galway.  As she sifted through public archives and cross referenced information, she realised there were death certificates for nearly 800 children (ranging in age from hours old to 8 years) but no corresponding burial records. Her relentless digging eventually revealed that the children were secretly buried in an old septic tank which now lies underneath a playground. After years of pushing for the victims to be given proper, respectful funerals, she gained international media attention and the government eventually agreed to commence an excavation. Dolan is exceptional as Catherine Corless, capturing her determination and grace. Based on a harrowing true story, this film exposes the cruelty inflicted by the nuns, and is a tribute to one woman’s tenacity. Moving and unfathomable.

 

SCORE:

Alex's Score 8.5/10

EXTRA GEOGRAPHY

Fifteen year old best friends Minna (Galaxie Clear) and Flic (Marni Duggan) attend an exclusive English girls’ boarding school. Inseparable and both very bright, they decide to undertake a summer project to explore what it feels like to fall in love. They select their unassuming geography teacher Miss Delavigne (Alice Englert) as the target of their experiment and begin reading classic romance novels as research. Their plans hit a snag when they audition for ‘A Midsummer Night’s Dream’ with boys from a neighbouring school. Teenage hormones, rivalry and jealousy fracture their codependent bond and have disastrous consequences for the unsuspecting Miss Delavigne. Filmed on location at Gilling Castle in North Yorkshire, England, the movie makes fantastic use of its grand grounds and impeccably maintained facade. In their first acting roles, Duggan and Clear are magnetic as the lead duo, giving intense performances that feel honest and real. There are also many light and funny moments thanks to the strong writing. An angst ridden teen girl drama.


SCORE:

Alex's Score 7/10

ONCE UPON A TIME IN A CINEMA

Earl Clancy (Colin Morgan) inherited a single screen cinema from his father and now manages it. He works constantly to keep the tired, dated venue afloat. Managing the daily demands of the business leaves him little time for anything else, including his teenage daughter Kate (Clara Crichton), who frequently complains about how she never sees him. The pressure on Earl reaches boiling point during a packed screening of Richard Gere’s 1983 film ‘Breathless’. His younger brother Gerald (Calam Lynch) arrives and brings along a prospective buyer to inspect the cinema. What follows is drama after drama as Earl frantically tries to keep the film rolling on one of the worst nights of working his life. The story cleverly plays out across 90 minutes of real time, structured into five acts that correspond with the five film reels Earl must manually swap in and out of the projector. Fast pacing and the growing tension of Earl being pulled in all directions easily holds viewer attention. All of the cast are wonderful especially Morgan as stressed out Earl. This production is a nostalgic and engaging ode to the shared experience of going to the cinema.

SCORE:

Alex and Janette’s Score 7.5/10

Simon’s Score 7/10

Lees Score 6/10

Brons Score 5.5/10

THE REHEARSAL: SERIES TWO

Created by and starring comedian Nathan Fielder, this six part documentary series focuses on critical gaps in airline safety. After analysing dozens of black box transcripts from fatal plane crashes, Fielder identifies a pattern where first officers were too intimidated to challenge their captain’s decisions. Keen to delve into the psychology of this, and driven by his fascination with social dynamics, Fielder replicates part of the Houston Airport terminal and fills it with actors. He then brings in real people, including a first officer, and observes their behaviour as they participate in different scenarios. Fielder’s studies culminate in a staggering stunt where he pushes his own boundaries to prove his main hypothesis. This man is an absolute genius! He thinks outside the box and his points of view are very intriguing. I can’t wait to see what he does in ‘You Can See Everything. Mind blowing, awkward, and brilliant.

SCORE:

Alex's Score 9/10

Amanda’s Score 8.5/10

THE DEBUT

Mona Friedman (Julianne Moore) is a mousy New Jersey housewife who feels invisible to her husband and two teenage children. She auditions for a small part in a local musical, landing the role by default when another cast member withdraws. Mona begins rehearsals with brusque director Jerry Blankenbuehler (Paul Giamatti) and is immediately intimidated by him. Desperate to shine on stage, she soon realises her skills need work, and believing it will help her improve, she dives headfirst into method acting, taking it to the extreme. Written and directed by Jesse Eisenberg, this film sees Moore run the gamut of emotions as Mona. Her character undergoes the most growth and it’s intriguing how Moore transform her from a shy underdog into an empowered woman who’s finally in control of her life. She shares a scene early on with Giamatti that’s Oscar-worthy alone, but Moore’s entire performance puts her in strong contention for her second Best Actress Academy Award. All other aspects of this film, including the casting, script, set design and direction, are top notch too. Despite being a serious drama in theme, there are enough light and fun moments to make it uplifting. Eisenberg is a gifted filmmaker and has created something brilliant. Put it on your must watch list.

SCORE:

Alex's Score 9.5/10

FATHERLAND

Nobel Prize winning author Thomas Mann (Hanns Zischler) returns to Germany in 1949 with his daughter Erika (Sandra Hüller). She acts as his translator and driver as he attends a series of events and receives an award. Her brother Klaus (August Diehl) is due to meet them along the way, but fails to show up. They travel across the country in an immaculate black 1948 Buick Super, which glistens on screen in stark contrast to areas ravaged by the war. This film has a beautiful visual style, with its black and white tone and wide angle framing. The plot however, failed to grab or maintain my attention. Running at just 82 minutes, the story should breeze by, but instead it’s slow, weighed down by frequent speeches and dialogue that overstays its welcome. Rather than investigating the dynamics of Erika and Klaus’s real life queer experiences, the script chooses a relatively bland time frame where nothing much happens. Zischler and Hüller do the best they can with what they are given, but there’s not enough substance for them to sink their teeth into – and I say that regrettably as I’m a HUGE Hüller fan. A slow burn that fails to ignite.

SCORE:

Alex, Janette, Anna, Wayne, and Leon’s Score 3/10

Tanja’s Score 9.5/10

Bron and Izbel’s Score 8/10

Deb’s Score 7.5/10

Lee’s Score 7/10

Sue and Cec’s Score 6/10

Suzanne, Ant, Suzan, Jill and Jodi’s Score 5/10

Lydia’s Score 4/10

Debbie’s Score 3.5/10

Bryan’s Score 2/10

HARD AS PUCK

Dan Perrett is the founder of para ice hockey team the Garden Island Pirates. He struggles to keep the team from folding due to a shortage of members and a lack of funds for ice rink hire, new sleds, and protective clothing. Star player Rosa-Lee Principe and teammate Belinda Green try out for the national team, keen to make the cut for the first ever Women’s World Championships in Slovakia. Politics mars the group dynamic and without anyone to play against, President Mike Frances begins to feel the stress. Belinda and her partner Cliff Nutt step up and try to hold things together as the drama mounts. This compelling documentary is uniquely captured from the ice, giving viewers an “on the rink” look at the fast paced action. With a synchronised drum beat in the score, this isn’t a sport for the faint hearted – the wall slams and crashes are brutal. Director Isaac Elliott says he didn’t want to make a film about how hard it is to live with a disability and instead chose to focus on common issues faced by many sporting clubs, like personality clashes, membership numbers, constant fundraising requirements, and the chasing of dreams. I’ve never barracked so hard for a team to succeed. A tribute to grit and tenacity, with the movie poster of the year.

SCORE:

Alex's Score 8/10

THE SHARDS

Set in 1981, a group of rich high school seniors at Buckley School in Los Angeles are shocked when a serial killer known as ‘The Trawler’ begins torturing and murdering their peers. Bret Easton Ellis (Igby Rigney), who narrates, grows increasingly suspicious that suave new student Robert Mallory (Homer Gere) is the killer. Bret’s girlfriend Debbie (Hayes Warner) and best friends Susan (Kaia Gerber) and Terry (Wes Bentley) refuse to see his point of view, despite Robert’s behaviour becoming more erratic. This nine episode series is adapted from the 2023 novel by ‘American Psycho’ author Bret Easton Ellis, who the character of Bret is loosely based. Ryan Murphy is an executive producer and in keeping with his typical style, the costuming and sets are glossy and lavish. The stand out feature though, is the phenomenal 1980’s soundtrack packed with familiar hits. They amplify the big scenes, but are so frequent that they also play beneath casual moments of conversation. The fee for the music licensing alone must’ve been huge! The whodunnit plot is engaging, though the story gets a bit fanciful, including odd moments in episode 8 where several cast members switch into full Shakespearean garb. It’s also irritating watching actors in their mid-20s playing 18 year olds who speak like worldly, middle aged adults. Ending on a cliffhanger would usually irk me, but in this case, it sets up a second season I can’t wait to see. A package of pulse pounding needle drops wrapped in style.

SCORE:

Alex's Score 7.9/10

Amanda’s Score 7.6/10

BELIEVE IN MAGIC: THE MOTHER OF ALL CONS

Jean O’Brien and her 16 year old daughter Megan had their lives turned upside down in 2012 after Megan was diagnosed with a terminal brain tumour. To raise funds for Megan’s costly treatments and grant wishes to other sick children, Jean launched a charity called Believe in Magic. When the charity was supported by boy band One Direction, and Louis Tomlinson hosted the annual Cinderella Ball in 2015, it attracted hundreds of thousands of dollars in donations. Jean revelled in throwing lavish events and rubbing shoulders with the rich and famous, claiming it was all for the greater good. Supporters began asking questions about where the money was going and whether Megan was actually even ill, which lead to a trail of deceit and accusations of Munchausen syndrome by proxy. Meg’s culpability was also questioned, with family and friends presenting their opposing opinions in this documentary. The unscrupulous lengths some people will go to for money is always astounding and, in this case, reprehensible. Production wise, this three part series exposes a shocking story that needs to be told, but the pacing drags and it could’ve been condensed into two punchier episodes.

SCORE:

Alex's Score 7/10

Amanda’s Score 7.5/10

DUST FALL

Set in the fictional town of North Gap, Queensland, Detective Sergeant Tig Pollard (Anna Torv) investigates the drink spiking and s*xual assault of a young woman in a cane field. As Pollard pieces together the evidence, DNA results show that three perpetrators were involved, linking the crime to a cold case years before. The investigation intensifies when an unknown vigilante begins murdering the prime suspects. Based on the novel ‘The Unbelieved’ by Vikki Petraitis, the series avoids too many of the small town character caricatures typical in crime dramas, though the communication between Pollard’s boss Detective Senior Sergeant Bernadette Quinn (Ling Cooper Tang) and her officers is unrealistically terse and clearly meant to add combative jeopardy. The plot takes a few far fetched turns but remains engaging enough to keep you guessing.

SCORE:

Alex's Score 6/10

Amanda’s Score 6.5/10

WELCOME TO DERRY: A STORY OF DERRY

Three Indigenous teenagers Neekani (Kiawentiio), Kino (Isabel DeRoy-Olson), and Maneese (Michael Podemski-Bedard) enter the forbidden Western Woods in Maine. They come face to face with an ancient shape shifter named the “Kollu” (and later, “It” and “Pennywise”) who tries to kill them. Native American warrior Mitig (Zahn McClarnon) comes to their rescue, brandishing a shard from the Kollu’s crash site. Afterwards Kino smokes a plant root and communicates with universe creator Maturin the Turtle, who reveals how to contain the Kollu. Following the directions of her vision, Kino and her friends bury 13 stones along the edge of the woods and light fires at each location, activating an invisible boundary. This gives the entity enough space to live, sleep, and hunt, but prevents it from crossing the perimeter. Centuries later the town of Derry is unknowingly built directly on top. This half hour prequel to Stephen King’s ‘Welcome to Derry’ lays the foundation for what’s to come, though 30% of the backstory was already covered in the main series. It builds excitement for the next instalment, which takes place in 1935 and involves a violent massacre and the origins of Pennywise the clown (played by Bill Skarsgard) – due out in late 2027 or early 2028.

SCORE:

Alex's Score 7.9/10

Amanda’s Score 8.5/10

CRYSTAL LAKE

In 1971 Pamela Voorhees (Linda Cardellini) and her son Jason (Callum Vinson / Jonathan Tison) move to a small town to escape her abusive husband. Jason is bullied by the other kids over his facial differences and tragically drowns in Camp Crystal Lake while trying to retrieve a volleyball thrown in by one of his tormentors. His body isn’t recovered, leaving a grieving Pam to desperately hope he’s still alive. When two men arrive in town and attack Pam, she becomes enraged and kills them both, setting her on a murderous path. Meanwhile Levon Brooks (William Catlett), the local Chief of Police, has his hands full with a growing body count in the woods. Cardellini is excellent and superbly portrays Pam’s fiercely protective, unhinged energy. An origin story for the ‘Friday the 13th’ film franchise, slasher fans will enjoy the over the top gore and graphic violence, which is often ridiculous but still makes you wince. There are a few weak points, like Pam’s inconsistent logic and an obvious outdoor backdrop set in the final episode where wind blown actors stand in front of still leaves, but this series has proven to be a massive drawcard. 1.7 billion minutes watched in its first two weeks proves that audiences are still hooked on the story of the vengeful hockey masked killer. A campy, bloody prequel.

SCORE:

Alex's Score 6.5/10

Amanda’s Score 7/10

EVEREST: THE OTHER SIDE

Extreme skiers Jim Morrison and his partner Hilaree Nelson dreamt of skiing down the notorious North Face of Mount Everest. Before they could make it a reality, Hilaree was tragically killed in an avalanche on Mount Manaslu. Devastated but determined to honour her memory, Jim put together a team of trusted friends (including filmmaker and climber Jimmy Chin) and Sherpas to undertake the Everest expedition. Filled with constant jeopardy as perilous conditions caused setback after setback, Jim remained stoic in his mission. The drone footage in this documentary is some of the most phenomenal and breathtaking ever captured of this inhospitable monolith, offering an unprecedented perspective of its perilous summit. I was perplexed by the disregard for life and risks forced on the support crew for one man’s tunnel visioned agenda, but I understand that elite athletes accept the high stakes. Visually stunning and filled with heart stopping moments, this is epic on the big screen.

SCORE:

Alex's Score 6/10

Janette’s Score 10/10

PRIMETIME

Chris Hansen (Robert Pattinson) hosts a new TV series called ‘To Catch a Predator’ for Dateline NBC. He uses adult decoys (including Daniel Plumb, played by Skyler Gisondo) to lure predators into houses rigged with cameras. Once inside, he ambushes them, before handing them over to the police. When its popularity and ratings grow, Hansen is offered a primetime slot. Encouraged by his producer Andie Bender (Merritt Wever), the tone of the series soon begins to shift from one of public safety, to sensationalism for entertainment’s sake. Hansen’s behaviour becomes erratic and he spirals when his marital transgressions are exposed. The subject matter of this film is heavy and confronting, especially when the explicit online chat logs are read out, which is frequently. Pattinson brings a dark, intense energy to Hansen, while Wever holds her own as the person pulling the strings. Loosely based on true events, this is an unsettling and at times, strange story. The performances are the best bits. Twisted!

SCORE:

Alex and Charli’s Score 7/10

Janette’s Score 7.5/10

Dave’s Score 6.5/10

Debbie’s Score 4/10

Tracy’s Score 3/10

SERIAL KILLERS ANONYMOUS

Created by Suzanne Webcke and Lucinda Bopf, this 14 part YouTube series revolves around a support group for serial killers. Filmed in Queensland with a local cast and crew, each episode runs under two minutes and is easy to binge. There are several recurring characters, including Beverly (Melanie Hayward), the convener from a mysterious organisation called “The Agency” (Suzanne), lesbian couple Alicia (Lucinda) and Phil (Lauren McLay), plus Kimmy (Jazz Zhao), and Jesse (Isaac Priest). Set up like an Alcoholics Anonymous meeting, this dark comedy relies on sharp dialogue and physically expressive reactions. Uniquely filmed in vertical format for viewing on mobile devices and platforms like Instagram, when an impulse gets the better of a group member and someone is killed, blood spatter is cleverly represented by confetti. Fast paced, creative, and uniquely funny, this would make a fantastic TV series. I wanted more. Netflix Australia & NZ take note!

SCORE:

Alex's Score 9/10

WILD HORSE NINE

Set in 1973, two Santiago based CIA agents Chris Carlisle (John Malkovich) and Lee Chesterfield (Sam Rockwell) head to Easter Island for a work sanctioned holiday to see the “big heads”. It’s a place Chris has always wanted to visit and bureau chief MJ (Steve Buscemi) gives his permission for them to go, with an ulterior motive in mind. Their getaway quickly becomes filled with drama as government secrets are revealed and boundaries are tested. Filmed over eight weeks on Rapa Nui, the minimalist cinematography frequently frames the massive Moai statues against the sky, emphasising these silent sentinels watching over their island home. The most outstanding part of this film though is the clever writing by director Martin McDonagh, who also wrote and directed ‘Three Billboards Outside Ebbing, Missouri’. Packed with piercing wit, sharp banter and poignant observations (and lots of profanity), it’s award worthy. The leads are perfectly cast, with their characters having a love / hate relationship and constantly pushing each other’s buttons. Malkovich is flawless as eccentric, unfiltered Chris, delivering every line in his trademark, hypnotically slow tone that holds your attention. He uses few words but says a lot, and his observations about life are intriguing and thought provoking. There are many moments of genuine (mostly dark) comedy, but the laughs never cross over into farcical territory and the tone stays stable throughout. The script cleverly mixes actual events with conspiracy theories, leaving you to decide what may or may not be true. This is what you get when you have strong material, accomplished actors and excellent direction. Brilliant!

SCORE:

Alex's Score 9.5/10

Janette, Jason and Saraj’s Score 9/10

Amanda’s Score 8.5/10

KLARA AND THE SUN

Outdated robot, Klara (Jenna Ortega), is purchased by Chrissie (Amy Adams) as an artificial friend for her teenage daughter Josie (Mia Tharia). Chrissie is a highly strung interior designer who forced Josie to undergo a genetic enhancement procedure known as “lifting”, which boosted her intelligence but left her with life threatening side effects. When Klara arrives at their home, she needs to calibrate to the new environment while learning everything about the world from scratch, much to the annoyance of impatient housekeeper Melania (Rachel House). Sweet and innocent Klara soon becomes convinced that the sun has miraculous powers and can heal her beloved Josie. Ortega brings an endearing quality to Klara through her wide eyed, childlike wonder, but it’s House who steals every scene. Her dry wit and sarcasm create some of the funniest moments. Directed by Taika Waititi, this film is beautifully shot and gently explores the irreplaceable nature of human connection. A ray of light.

SCORE:

Alex's Score 8.5/10

Jodie, Deirdre and Marija’s Score 10/10

Duncan’s Score 9.5/10

Tony’s Score 9/10

Sue’s Score 8/10

Paul, Treliza and Eve’s Score 7/10

Guy’s Score 6.5/10

Izbel’s Score 6/10

Rick’s Score 5/10

CLAYFACE

Matt Hagen (Tom Rhys Harries) is a handsome Hollywood actor, recently nominated for an Academy Award. He makes an error in judgement and takes home the girlfriend of mob boss Markos Szabo (David Dencik). As payback, Szabo and his henchmen slice up Hagen’s face, destroying his good looks and ending his career. Hagen is pariahed by fans, dumped by his agent, and moves out of his lavish apartment into a cockroach infested hovel. After six failed surgeries, he becomes desperate for a miracle fix and seeks out an experimental treatment offered by scientist Dr Caitlin Corr (Naomi Ackie). He undergoes a series of procedures to rebuild his skin, bone and cells, but experiences severe side effects which cause his face to melt off when he shows intense emotions. On the plus side, he develops the ability to shape shift and mimic anyone he encounters. Armed with this new superpower, Hagen goes on a violent rampage, taking revenge on everyone who ruined his life. Harries does a solid job balancing Hagen’s vanity with his tragic downfall. As the first body horror film in the DC Universe, the special effects deliver gruesome close ups of injuries and graphic surgical procedures which aren’t for the faint hearted. With nods to ‘The Substance’ and ‘The Wizard of Oz’, this is a decent origin story for the comic book villain.

SCORE:

Alex's Score 7.5/10

BUDGET BATTLERS

Hosted by Jess Eva (a former contestant on ‘The Block’ with ex-partner Norm Hogan) this series is exactly what reality television should be. Jess and her team of down-to-earth tradie mates renovate spaces for deserving Australians struggling on low incomes. They work within a strict budget of under $10,000 per makeover. The first three episodes of this six-part season help single mother of four, Serena, Brenda and her daughter, who care for Brenda’s infirm husband Chris, and charity organisation Wishlist, who provides affordable housing for hospital patients and their families. What makes this show so brilliant is its lack of manufactured drama. It’s simply about kind-hearted people doing great work. The genuine joy the recipients express when they see the life changing renno results is touching, while the handy-home-hacks can be completed by anyone keen to save some money in these tough economic times. Heartfelt, wholesome and real.

SCORE:

Alex's Score 8/10

BAD APPLES

Maria Spencer (Saoirse Ronan) is an overwhelmed primary school teacher struggling to manage a student called Danny (Eddie Waller). He’s a violent, disruptive boy who terrorises his classmates and impacts their ability to learn. When he goes missing, Maria realises the remaining kids thrive in his absence. Another student, Pauline (Nia Brown), is obsessed with Maria and desperate for her validation. She forces her way into Maria’s life, causing dangerous repercussions for the stressed out teacher. The performances are excellent, especially Brown, who is unsettling as the manipulative and conniving Pauline. I don’t want to give away too much, but you’ll need to overlook a few glaring plot holes to enjoy the story. That said, this film intriguingly asks the question – is it acceptable to do something wrong if it’s for the greater good? Suspenseful and bonkers satire.

SCORE:

Alex's Score 7.5/10

Janette’s Score 8/10

FALLEN ANGELS

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

SCORE:

Alex and Sally’s Score 6/10

Janette’s Score 5/10

THE POLICEWOMAN

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

SCORE:

Alex's Score 9/10

THE DOLL

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

SCORE:

Alex and Janette’s Score 3/10

Leon and Saraj’s Score 6/10

SLO PITCH

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

SCORE:

Alex and Amanda’s Score 9.5/10

PRESSURE

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

SCORE:

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

Lydia’s Score 10/10

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

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

Izbel’s Score 7/10

WICKER

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

SCORE:

Alex, Saraj and Isabella’s Score 9/10

Amanda’s Score 8.5/10

WILDWOOD

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

SCORE:

Alex, Ben and Gills Score 10/10

THE MAKING OF MARIE ANTOINETTE

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

SCORE:

Alex's Score 8/10

ANIMALS

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

SCORE:

Alex's Score 1/10

Amanda’s Score 2/10

STEAL THIS STORY, PLEASE!

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

SCORE:

Alex's Score 9/10

WHALEFALL

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

SCORE:

Alex's Score 5/10

Jason’s Score 7/10

Janette’s Score 7.5/10

BELOW

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

SCORE:

Alex's Score 5.5/10

CARRIE

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

SCORE:

Alex and Amanda’s Score 8.5/10

I WOULD RATHER DIE

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

SCORE:

Alex's Score 7.5/10

EAST OF EDEN

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

SCORE:

Alex's Score 6.9/10

Amanda’s Score 7/10

SAND ROADS

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

SCORE:

Alex, Bron and Lee’s Score 7/10

Cath, Maree and Tracey’s Score 6/10

Vicki and Janette’s Score 5/10

STREET FIGHTER

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

SCORE:

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

Lydia’s Score 10/10

Amanda’s Score 8.5/10

Simon’s Score 7.5/10

Fiona, Zoe and Stefan’s Score 7/10

Ian’s Score 6/10

Leon’s Score 5/10

Damien’s Score 4/10

OTHER MOMMY

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

SCORE:

Alex's Score 3/10

Wills Score 6.5/10

David’s Score 5/10

Sonya’s Score 4.5/10

Jason’s Score 2/10

STITCH HEAD

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

SCORE:

Alex's Score 7/10

HOLY CANNOLI

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

SCORE:

Alex and Janette’s Score 5.5/10

Bron and Lee’s Score 7.5/10

TED LASSO: SERIES 4

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

SCORE:

Alex and Amanda’s Score 6.5/10

LIFE IS LIFE

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

SCORE:

Alex's Score 7.5/10

ZOMBUCHA

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

SCORE:

Alex's Score 7.5/10

THE SOCIAL RECKONING

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

SCORE:

Alex and Alex’s Score 7/10

Natalie’s Score 9/10

Stefan’s Score 8.5/10

Rebecca’s Score 6.5/10

Fiona’s Score 6/10

Duncan’s Score 4/10

PICKPOCKETS

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

SCORE:

Alex's Score 8/10

PARAMEDICS

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

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

SCORE:

Alex's Score 9/10

THE WIDOWER: TIL DEATH DO US PART

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

SCORE:

Alex's Score 8/10

THE GREATER GOOD

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

SCORE:

Alex and Janette’s Score 5/10

Bronny’s Score 8.5/10

Lee’s Score 8/10

Serena’s Score 6.5/10

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