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

ANNIVERSARY

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

SCORE:

Alex's Score 7.5/10

Amanda’s Score 7.5/10

MEMBERS ONLY: PALM BEACH

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 Rosalyn attempts to control everyone with her outdated rules, mostly focussing on fixing the trashy ‘Kim Kardashian’ dress style of Palm Beach newbie Ro-mina.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

SCORE:

Alex's Score 2/10

DREAMS

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

SCORE:

Alex's Score 8/10

THE CHORAL

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

SCORE:

Alex's Score 7.5/10

Steve’s Score 7/10

HAMNET

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

SCORE:

Alex's Score 8/10

Saraj and Kate’s Score 8/10

RUN AWAY

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

SCORE:

Alex's Score 6.5/10

Amanda’s Score 6.5/10

STRANGER THINGS – SEASONS 1 TO 5

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

SCORE:

Alex's Score 9/10

EVIL INFLUENCER: THE JODI HILDEBRANDT STORY

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

SCORE:

Alex's Score 7/10

RUN

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

SCORE:

Alex's Score 8.5/10

Amanda’s Score 8.5/10

THE PLAGUE

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

SCORE:

Alex's Score 8/10

Amanda’s Score 7.5/10

SATU: YEAR OF THE RABBIT

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

SCORE:

Alex's Score 9/10

FEAR

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

SCORE:

Alex's Score 6/10

Amanda’s Score 6/10

HARLEQUIN LIVE: ONE NIGHT ONLY

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

SCORE:

Alex's Score 7/10

HOT MILK

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

SCORE:

Alex's Score 2/10

Amanda’s Score 0/10

PARASITE – REWATCH

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

SCORE:

Alex's Score 9/10

Amanda’s Score 9/10

ALL THE EMPTY ROOMS

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

SCORE:

Alex's Score 8.5/10

Amanda’s Score 9/10

HEATED RIVALRY

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

SCORE:

Alex's Score 9.5/10

Amanda’s Score 9/10

SHELL

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

SCORE:

Alex's Score 4.5/10

Amanda’s Score 4/10

GOODBYE JUNE

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

SCORE:

Alex's Score 5.9/10

Amanda’s Score 6/10

AVATAR: FIRE AND ASH

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

SCORE:

Alex's Score 5/10

Amanda’s Score 5/10

PLURIBUS

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

SCORE:

Alex's Score 10/10

Amanda’s Score 9/10

IT WAS JUST AN ACCIDENT

Mechanic Vajid (Vahid Mobasserri) kidnaps a man he believes to be Eghbal (Ebrahim Azizi), a prison officer who tortured him for his political activism years prior. To determine if he has the right person, Vajid assembles a group of fellow former prisoners who have been trying to move on with their lives, including wedding photographer Shiva (Marian Afshari) and bride-to-be Golrokh (Hadis Pakbaten). As the group struggles to agree on the man’s identity, they argue over their next move, grappling with their shared trauma as painful memories of Eghbals abuse resurface. I felt like the themes of this film were its strongest part – the moral conflict of seeking revenge, questioning when a victim crosses the line and becomes as bad as their abuser and weighing up the cost of retribution versus forgiveness. The plot drags on in places, with overextended scenes that have little payoff, and it’s initially difficult to know where the story is heading. Of interest is the fact that Iranian director Jafar Panahi shot and edited this movie in secret in Tehran, with everyone involved taking a huge risk to bring it to fruition. This required hiring lesser-known actors, which explains why the performances are adequate but not memorable. Thought-provoking but feels like a bit of a trawl. Was awarded the Palme d’Or at the Cannes Film Festival in 2025.

SCORE:

Alex and Amanda's Score 6.5/10

Steve’s Score 6/10

Kelly and Duncan’s Score 5.5/10

Tony’s Score 3/10

ANACONDA

Childhood mates Doug (Jack Black) and Griff (Paul Rudd) decide to make a reboot of the iconic movie ‘Anaconda’. They rope in their lifelong friends Kenny (Steve Zahn) and Claire (Thandiwe Newton) and head deep into the Amazon rainforest to film their low budget movie. Picking up snake wrangler Santiago (Selton Mello) along the way, they hire a live- aboard boat, skippered by literal snake-in-the-grass Ana (Daniela Melchior). Everything goes horribly wrong when an actual gigantic anaconda appears and decides to make them its next meal. What a thrilling ride this movie is! Hilariously zany from the outset, it does not stop with the mayhem and gags. Jack Black always plays Jack Black, but here he does it well, letting rip with his exuberant physical comedy and impeccable timing. Rudd also excels and Mello as Santiago plays my favourite character thanks to his bond with his rescue snake. The jungle has never looked better – or more formidable with a 100 metre long anaconda stalking through it. Loved that no live animals were used and every creature was CGI. There are so many genuinely funny moments and the numerous references to Sony pictures are gold. Cameos from OG Anaconda stars Ice Cube and JLo will delight fans. Zany madness that is entertaining and delivers ample amusement.

SCORE:

Alex's Score 8.5/10

Amanda’s Score 8/10

Duncan’s Score 7.5/10

Fiona’s Score 7/10

THE DEATH CAP MURDERS

In 2023, Erin Patterson hosted a family lunch in Leongatha, Victoria (population approx 5800) that resulted in the poisoning death of three guests. She fed them foraged death cap mushrooms (Amanita phalloides) and her shocking crime ignited a media frenzy, making headlines all over the world. This three part documentary series reconstructs the events of the fatal meal and the aftermath that put a quiet rural town in the international spotlight. Featuring interviews with investigators, toxicologists, and those closest to the case, this series traces how police painstakingly pieced together a tonne of circumstantial evidence, and the legal proceedings that followed as prosecutors fought for justice – which was delivered when Patterson was found guilty of all charges and sentenced to life in prison. I found the attitudes of two of the crime reporters to be in bad taste – they seemed to treat the tragedy as entertainment, relishing every new development with glee. Ironically, this reflected the way the tabloids voraciously consumed this story for months on end. An edit to condense the content into a succinct 90 minutes would’ve prevented the overextended feeling of the three episodes. By the final credits you’ll be left with a heavy heart for the victims of such a vindictive and malice-driven act.

SCORE:

Alex's Score 7/10

Amanda’s Score 7.5/10

THOUGHTS AND PRAYERS

This sobering documentary focuses on the $3 billion active-sho*ter-preparedness industry in America, a sector that has flourished over the last decade. It highlights how school safety has become a massive commercial market, featuring products like bulletproof backpacks, desks that transform into shields, and AI driven firearm detection systems. It also features a range of simulation training programs for both staff and students, which cover weapons response and escape protocols. For millions of children, active sho*ter drills are now a routine part of their school year. Bret Champion, Superintendent of Medford Schools in Oregon, suggests this heavy focus on response, rather than prevention, is the only way to “Work with what we currently have.” The flip side is that these products and services thrive in the absence of gun reform or any effort to address the root causes of gun violence. A powerful reminder of the human cost behind the headlines.

SCORE:

Alex's Score 7.5/10

Amanda’s Score 7.5/10

SEAN COMBS: THE RECKONING

This four part documentary chronicles Sean ‘Diddy’ Combs transformation from an ambitious talent director into a seemingly untouchable billionaire, while exposing the depths of his alleged abuse, drug use, violence and s*xual misconduct. Through revealing interviews with his friends and former associates, plus harrowing archival clips, this series includes never before seen footage of Diddy in the days leading up to his arrest in September 2024, captured by a videographer as part of a personal project. It also highlights his 2025 trial, where he was convicted on two transportation to commit prostitution charges but was acquitted of racketeering. Directed by his long time critic 50 Cent, this well researched and shocking expose examines how Diddy wielded his star power with impunity. It exposes a man consumed by a god complex, fuelled by the chilling belief that his cultural influence and wealth placed him above the law. An emotionally heavy watch that will leave you questioning how such abhorrent (and known) behaviour continued in plain sight for three decades. Hopefully this is the end of his depraved empire.

SCORE:

Alex's Score 8.5/10

NO OTHER CHOICE

After 25 years of loyal service at Solar Paper, Yoo Man-soo (Lee Byung-hun) is distraught by his sudden layoff. Unable to find work, his financial situation becomes dire and he risks losing the family home. Desperation sets in and Man-soo decides that his best course of action is to ensure employment at a rival firm, Moon Paper, by systematically eliminating his competition. He drafts a hit-list of three rival candidates, but as an amateur executioner his attempts at clean assassinations quickly turn into farcical disasters. This film excels visually – the cinematography and quirky camera angles are highlights. While the performances are also strong, other aspects didn’t meet my expectations. The pacing drags in the middle and a tighter edit would’ve helped to maintain the momentum. Despite being a dark comedy, most of the humour failed to land for me – though I seemed to be in the minority, as the rest of the cinema frequently laughed out loud. While it’s not in the same league as its South Korean counterpart (and Oscar winner) ‘Parasite’, it has a fresh concept that is executed with reasonable skill.

SCORE:

Alex, Kelly, Maree, and Jason’s Score 7/10

Simon’s Score 8/10

Steve, Kim, Lisa’s Score 7.5/10

THE HOUSEMAID

Millie (Sydney Sweeney) is initially thrilled to take on the role of live-in housemaid for a wealthy couple, Nina (Amanda Seyfried) and Andrew (Brandon Sklenar). Her joy soon sours when she becomes the primary target of Nina’s erratic mind games, while Andrew appears to endure the chaos with the patience of a saint. It doesn’t take long for domesticity to dissolve in this twist-heavy psychological thriller. Right when you think you have the plot all figured out, it throws you another curve ball. It’s a career best performance from Seyfried as the deranged trophy wife. Sweeney and Sklenar are also excellent, embodying the extremes of their characters. Props to the casting director for getting it so right! Based on the best selling book by Freida McFadden and directed by Paul Feig of ‘Bridesmaids’ fame, this is an unnerving yet satisfying romp that peels back the layers of a seemingly perfect life.

SCORE:

Alex's Score 8/10

Amanda’s Score 8/10

IT: WELCOME TO DERRY

As a voracious reader of everything Stephen King has ever written and a huge fan of the ‘IT’ miniseries and subsequent two films, this series was the cherry on top. A prequel to ‘IT: Chapter one’, ‘IT: WELCOME TO DERRY’ begins in 1962 with the disappearance of local boy Matty Clements. Months later, Major Leroy Hanlon (Johan Adepo), his wife Charlotte (Taylour Paige) and their son Will (Blake Cameron James) move to Derry, Maine, a picturesque and seemingly quiet town. A group of teens, Lilly (Clara Stack), Ronnie (Amanda Christine), Marge (Matilda Lawler) and Richie (Arian S. Cartaya) begin to have terrifying visions of a monstrous shape-shifting clown called Pennywise (Bill Skarsgård). Every 27 years Pennywise awakens and goes on a killing spree, mostly targeting children to feast on. With his grotesque appearance, bulbous head and eerie voice, he gains power from the hate and fear of others, and the racial tensions in Derry make it his perfect hunting ground. U.S. military base commander General Francis Shaw (James Remar) has a naive understanding of how sewer-dwelling Pennywise functions but is secretly trying to capture him to use him as a weapon to end the Cold War. He orders Dick Hallorann (Chris Chalk) a psychic character who is also in ‘The Shining’, and Hanlon, whose past brain injury from combat has left him unable to feel fear, to locate him. This series delves into the origins of amateur entertainer Bob Grey’s transformation from a devoted father to an evil entity. The entire cast are phenomenal, particularly the child actors and of course Skarsgård who embodies Pennywise with every fibre of his being. While the momentum builds, you’ll need to wait until episode five for him to fully appear, but when he does it is oh so bittersweet. His scenes are the most visceral and you won’t forget his wet, slobbery mouth in a hurry. Rumoured to have cost $80 million US dollars in total to make, the elaborate sets, time period details and visual effects give it a cinematic, big-screen feel. Graphic, brutal and chilling, this is a superb addition to the Stephen King universe.

SCORE:

Alex's Score 9/10

Amanda’s Score 8.5/10

DJ AHMET

CONTAINS SPOILERS! Fifteen year old Ahmet (Arif Jakup) lives with his strict father (Aksel Mehmet) and little brother Naim (Agush Agushev) in a small North Macedonian village. Following their mother’s recent passing, a traumatised Naim has refused to speak. When his father pulls him out of school, he demands that Ahmet tend the family’s flock of sheep and look after Naim full time. Although music is now forbidden in their home, Ahmet plays Naim modern songs on his phone whenever he can. One night Ahmet stumbles across a rave party held in the forest and hears dance music for first time. While there, he catches a glimpse of his fifteen-year-old neighbour Aya (Dora Akan Zlatanova) who has been reluctantly brought back from Germany for an arranged marriage. Bonding over their shared love of music, they quickly begin a secret romance. Ahmet understands Ayas desire for freedom and in an act of love he rebels against the conservative elders of their community so that she can live without constraint. The dramatic elements of this film are beautifully blended with moments of laugh-out-loud comedy, particularly in its humorous portrayal of the clash between tradition and modern technology. What makes this entire production even more remarkable is its mostly amateur cast, including the exceptional leads. Chosen from more than 3,000 local children who auditioned, Jakup and Agushev are incredible. Their natural ease in front of the camera results in performances that show a depth far beyond their years. The film’s rich score combines Macedonian melodies with electronic dance beats, emphasising the contrast between Ahmet’s reality and his dreams. Heartfelt, uplifting and charming, this story is a delight for the soul. Check it out as part of the Perth Festival.

SCORE:

Alex's Score 9/10

KOKUHO

Covering four decades, this film begins in Nagasaki in the 1960’s, where 15 year old Kikuo Tachibana (Ryo Yoshizawa) witnesses the brutal murder of his father. Now an orphan, his talent as a performer catches the attention of renowned kabuki master Hanjiro Hanai (Ken Watanabe) and he begins rigorous training as an onnagata – male actor who plays female roles. He practices alongside Hanjiro’s biological son Shunsuke (Ryusei Yokohama) the presumed heir to the family legacy. As the years pass, Kikuo and Shunsuke develop a complex relationship filled with both brotherly bonds and rivalry, blurring the lines between professional loyalty and personal jealousy. While Kikuo has natural talent and relentless ambition, the less dedicated Shunsuke prefers to fall back on his father’s reputation. The two develop a complicated relationship which ebbs and flows over the years – they are part brothers, part rivals, blurring the lines between professional loyalty and persona jealousy. True to the artistry of Japanese aesthetics, this film is a visual masterpiece, featuring stunning panoramic cinematography. The kabuki performances are mesmerising and combined with the wonderful costumes and meticulous make-up this is a rich cultural immersion for viewers. Be warned though – it’s long and I always question if anything needs run for more than two hours. The best way to cope with the 3+ hour duration is to sit back and let yourself be carried away by the story. Yoshizawa and Yokohama are superb in carrying the film, showcasing their acting range and immense talents. An anguished look at one man’s sacrifices to create a lasting legacy.

SCORE:

Alex's Score 7.5/10

Leon’s Score 4/10

ELLA MCKAY

CONTAINS SPOILERS! Lieutenant Governor Ella McKay (Emma Mackey) moves up into the role of Governor, after her predecessor takes a cabinet position. When a reporter threatens to expose her lunchtime trysts with husband Ryan (Jack Lowden) in a state-owned apartment, which constitutes misuse of property, she tries to tackle it head on. At the same tim her estranged, cheating father Eddie (Woody Harrison) reappears after a 16 year absence, and she discovers her brother Casey (Spike Fearn) has a crippling agoraphobic social anxiety. Juggling her growing professional and personal issues proves overwhelming for Ella and leads to her losing her new job after just three days. Jamie Lee Curtis plays Helen, her well meaning and protective aunt and she was my favourite character. Mackey and Fearn did the best they could with the material and both have promising careers. Other cast members seemed to overact (Lowden), were miscast (Kumail Nanjiani as Officer Nash) or were under-utilised (Harrelson). The plot is average and the whole movie is pretty run of the mill. It doesn’t know if it’s a comedy or drama but fails at both. Not remarkable, not terrible, just ok. Oh and if the narrator sounds familiar, that’s Julie Kavner – voice actor for Marge Simpson, Marge’s mother Jacqueline Bouvier, and sisters Patty and Selma Bouvier.

SCORE:

Alex, Janette and De-Ann’s Score’s 5/10

THE HISTORY OF SOUND

Set in the early 1900’s, young Kentucky singer Lionel Worthing (Paul Mescal) and charismatic composer David David White (Josh O’Connor) meet at a music conservatory in Boston. They bond over their mutual love of folk music and their connection soon grows into a romantic relationship. When David is conscripted into World War One, it briefly separates the two men, but on his return he invites Lionel to join him on a walking trip across Maine to record local folk songs. After spending weeks together collecting musical stories and melodies, they part ways again and eventually lose touch as they drift off in different directions. Lionel is a quiet man who never questions who he is and the role isn’t much of a stray from the usual introverted characters Mescal portrays. He has wonderful chemistry with O’Connor, and they both excel at conveying their forbidden love through small nuances. With reflective narration from an elderly Lionel (Chris Cooper), this movie is firstly about the depth of true love and secondly about the way music connects people. The story unfolds slowly through time jumps and there are periods of sweet monotony as life moves forward mundanely. A minimalist colour palate is used throughout for the sets and costumes – reflective of the era and adding to the melancholic tone. A poetic and artistic turn-of-the-century ‘Brokeback Mountain’.

SCORE:

Alex's Score 8/10

MALICE

CONTAINS SPOILERS! This six-episode psychological thriller follows Adam Healey (Jack Whitehall), a charming male nanny who nefariously ingratiates his way into the employment of wealthy venture capitalist Jamie Tanner (David Duchovny), his fashion designer wife Nat (Carice van Houten) and their three children. As Adam manipulates their lives, he orchestrates a series of damaging incidents that impact them all. Despite their world crumbling down around them, the Tanners are oblivious to the fact that these events only started when Adam arrived on the scene. Highly manipulative in nature and seeking revenge on Tanner for a reason that’s divulged in episode six, it’s evident early on that he’s a psychopath. Filmed in Greece and London, the houses featured on screen are sublime (think expansive beach-front retreats and luxurious mansions), while the cinematography on the Island of Paros captures its alluring vibe and will make you want to visit. Each actor delivers a solid performance and Whitehall does an excellent job in portraying his duplicitous, detestable character. The plot leaves a lot to be desired though and falls short with several implausible scenarios, while the ending will frustrate viewers with its unresolved justice. Looks shiny but lacks believability.

SCORE:

Alex's Score 6/10

Amanda’s Score 6.7/10

DOWN CEMETERY ROAD

Artist Sarah Trafford (Ruth Wilson) becomes a nosey neighbour when a child goes missing after a house explosion in a nearby residential street. She teams up with gruff private eye Zoe Boehm (Emma Thompson), who comes dressed in black boots paired with a trench coat, to track down the child. Together they unravel a kidnapping caper orchestrated by a politician but carried out by a team of bad-guys who are mostly black men. Hmmm. Trafford spends the entire series huffing, puffing, panicking and faffing around, while her compete opposite Boehm is a blunt-mannered tough-nut who aims to outwit everyone with her acid tongue. Some action kicks off along the way but the eight episodes are mostly filled questionable decision making, unlawful behaviour from nurses and police, and odd comedic moments mixed in with the drama. A scene at the end of episode seven involving a beach and land mines, which is meant to be tense, made me laugh out loud instead. Not even talented British actresses Thompson and Wilson can save this show from its writing – not sure if that’s the fault of the original book it was adapted from or the screenplay itself? I can move past the plot nonsense but I don’t understand why Trafford walked away from her home and career to obsessively search for a kid she has no connection to – and to constantly put her life on the line by doing so. Her motivation was never explained and it makes the whole premise feel disconnected right from the beginning. The final showdown offered some redemption. Started with a bang and ended with a whimper.

SCORE:

Alex's Score 6.5/10

Amanda’s Score 6.5/10

THE ABANDONS

Fiona Nolan (Lena Headey), a fearless Irish immigrant and matriarch to a chosen family of orphans and misfits, owns a cattle ranch in fictional Jasper Hollow. Valuable silver deposits on her land are sought after by wealthy tyrant Constance Van Ness (Gillian Anderson), a widow who is expanding her late husband’s mining enterprises. When Van Ness’s arrogant and entitled son sexually assaults Nolan’s adopted daughter, he ignites a chain of events that results in an epic showdown between the two women. Set in Washington State in 1854, I loved everything about this western series – the representation of strong female characters, the acting, the writing, the stunts, the horse riding, the sets, the costumes, the colour treatment, the plot, and even the lighting. Every element contributed to a polished and well considered production and Netflix clearly threw a tonne of money at it. Headey excels as the guarded and battle-ready Nolan, while Anderson plays the villain role to perfection. The scenes where these foes face off against each other are palpable and their animosity hangs heavily in the air as their power struggle escalates. The cinematography is filled with grand vistas that juxtapose the ruthless violence, gunfights and lawlessness that take place in front of them. ITIOFD I picked up questionable CGI on a few occasions, but overlooked these blips given the quality of everything else. Don’t ride off into the sunset on this one. Binge it – then cross your fingers for a second season.

SCORE:

Alex's Score 9/10

Amanda’s Score 9/10

ALL’S FAIR

Dina Standish (Glenn Close), Liberty Ronson (Naomi Watts), Emerald Greene (Niecy Nash), and Allura Grant (Kim Kardashian) are fierce divorce lawyers whose firm aims to empower their female clients. Standish serves as the matriarch of the group, holding everything together with her calm and measured demeanour. Greene and Ronson are both quick witted and have a strong work ethic. Kardashian basically plays a parody of herself and is clearly in on the joke. She doesn’t suck in this role anywhere near as badly as people on the internet are making out. Rival lawyer Carrington Lane (Sarah Paulson) is trouble from the get go and has a mouth so dirty it makes a sewer seem clean. Her caustic barbs frequently cross the line and initially it felt like too much … but as the series progressed I realised her vulgarity was tied in to her character’s psychopathic nature. She’s a TV villain who rivals the likes of Cersei Lannister, Aunty Lydia and Joan Ferguson. I can only imagine the fun Paulson had delivering such vitriolic, mic-dropping lines. With a stellar all-female main cast, the guest stars are also impressive and include Teyana Taylor, Jessica Simpson, Jennifer Jason Leigh, Brooke Shields, and Elizabeth Berkley Lauren. The mega mansions, flashy cars, fancy food, impeccable fashion, huge hats and perfectly styled hair are intentionally over the top. It’s as if ‘Mad Men’ and ‘Suits’ had a baby. Everything is meant to be extra and not taken too seriously. Enjoy it for what it is – glitz and glamour with a dash of camp. More please! Was recently renewed for a second season.

SCORE:

Alex's Score 7.5/10

Amanda’s Score 7/10

THE CHAIR COMPANY

Tim Robinson is Ron Trosper, a man whose life unravels after a faulty chair collapses beneath him during an important work announcement. Fueled by anger and embarrassment, he starts investigating the chair company, Tecca, only to uncover a bizarre conspiracy with far-reaching implications. This is a cringey, frenetic dark comedy that spins around in different directions, reflective of Trosper’s erratic energy. Strange characters appear and weird situations unfold as he falls further down a rabbit hole of paranoia and obsession. The more the lines between reality and fantasy blur, the messier Trosper’s involvement becomes. Robinson is the perfect choice to play neurotic Trosper, believably maintaining his character’s consistent awkwardness. It’s hard to imagine anyone else in the role. 1980’s heartthrob Lou Diamond Phillips is also excellent as his boss, Jeff Levjman. I found the initial episodes to be the funniest, often laughing out loud, but the finale didn’t close everything out enough for my liking – though it did align with the show’s perpetual weirdness. I’m keen to rewatch the whole series again to catch any nuances I might’ve missed the first time. A surreal mystery that will be enjoyed by Robinson’s admirers, while everyone else might find it to be an acquired taste.

SCORE:

Alex's Score 7.5/10

Amanda’s Score 7/10

THE SPONGEBOB MOVIE: SEARCH FOR SQUAREPANTS

SpongeBob SquarePants (Tom Kenny) returns in a feature-length swashbuckling adventure alongside his best friend Patrick Star (Bill Fagerbakke). Together they journey deep into the ocean where SpongeBob tries to prove his bravery by confronting a ghostly pirate known as ‘The Flying Dutchman’ (Mark Hamill). In true SpongeBob style, his naivety results in a whirlwind of trouble and chaos. The fast paced animation is outstanding, transporting viewers into a vibrant underwater realm filled with quirky creatures. A small portion of the film crosses over into the real world and the animated characters interact with live action. Themes of loyalty, being yourself, and having a positive outlook will remind fans why SpongeBob is the world’s most beloved sea sponge. With its simple, silly humour, that’s never mean spirited, adults will find enjoyment in clever innuendos that children won’t register, like SpongeBob frequently dropping a brick out of his pants. I’m pretty sure Patrick Star was wearing a jock strap at one stage too. This franchise has endured for 26 years and movies like this promise its continued success for many more. A delightful family-friendly romp that will appeal to kids and big guys (and gals!)

SCORE:

Alex, Kyleigh and Emilee’s Score 8/10

Lenny’s Score (6 years old) 10/10

FACKHAM HALL

Pickpocket Eric Noone (Ben Radcliffe) takes a hall boy job at Fackham Hall (say it fast as one word), the opulent residence of the esteemed Davenport family. He falls for Rose Davenport (Katherine Waterston) and the two long to be together. Their romance faces a significant hurdle – Rose is betrothed to her arrogant cousin Archibald (Tom Felton) who is next in line to inherit the Davenport fortune. This film, co-written by comedian Jimmy Carr (who also takes on the role of the bumbling vicar) cleverly parodies British period dramas. With a similar vibe to the recent ‘The Naked Gun’ film, it’s packed with innuendo, double entendres, and satire. It won’t be to everyone’s taste but those who know what they’re in for will love it. The story is straightforward and the cast has excellent comedic timing. The jokes come thick and fast and thanks to a sharp script, almost all of them hit their mark. I watched this film in the cinema with a jovial Friday night crowd, eager for entertainment … and they certainly got it, bursting into laughter from the very first scene. Ridiculously fun with a side of camp, it’s a jolly good time, old chap!

SCORE:

Alex's Score 7.9/10

FIVE NIGHTS AT FREDDYS 2

When ‘Five Nights at Freddy’s’ became the highest-grossing horror film of 2023, a sequel was inevitable – there was no way the powers that be would pass up the opportunity to leverage off of its success. Sadly this installment feels like a blatant money grab, with a weak plot and a frustrating, unresolved ending. Yep a third movie is on the way and it seems just as unnecessary as this one. Josh Hutchinson, McKenna Grace and the rest of the cast are mediocre and one dimensional, but I’ll be kind and say it’s due to a lack of material to work with. This films only redeeming quality is the impressive design of the iconic animatronics, with their molded plastic bodies and expressive, toy-like features. Beyond that, it fails to deliver any excitement or genuine scares and doesn’t honour the video game or the fans. A dull and silly letdown.

SCORE:

Alex's Score 4/10

RENTAL FAMILY

Beloved actor Brendan Fraser is Phillip Vanderploeg, a struggling American actor living in Japan. Employed by a rental family agency, he takes on the roles of a friend, family member, or business associate for paying clients. He crosses a boundary when he becomes emotionally invested in two of his assignments, leading him to question the ethics of deceiving others by pretending to be someone he’s not. This scenario exposes a sad reality for some individuals, where meaningful human connections can only be obtained by paying for them, and it highlights the loneliness epidemic currently affecting Japan. The story has moments of melancholy but is mostly warm and uplifting, never getting bogged down with heaviness. It hits just the right note of sentimentality. Fraser’s casting is superb and his fluency in Japanese (which he learnt specifically for this part) adds authenticity to his performance. His gentle and charming nature perfectly embodies Vanderploeg and it is a treat to see him in a lead role, back on the big screen. One of my favourite scenes features Vanderploeg giving a piggyback to his pseudo-daughter Mia (Shannon Mahina Gorman) through a busy marketplace. The pure joy in such a simple moment will bring a smile to your face. This delightful, heartfelt film shows that nothing can truly replace genuine relationships. I’m calling it early – it’s the best feel-good watch of the holiday season.

SCORE:

Alex's Score 9/10

Steve’s Score 8/10

SENTIMENTAL VALUE

Sisters Nora (Renate Reinsve) and Agnes (Inga Ibsdotter Fanning) are estranged from their film director father Gustav (Stellan Skarsgård). Following their mother’s passing, they reluctantly reconnect at her wake. Gustav offers Nora the lead role in his new film which delves into their family history, but she declines the opportunity. He then turns to American actress Rachel Kemp (Elle Fanning), the industry’s latest IT-girl, to take on the role. Gustav plans to shoot the movie in the family’s Oslo home, a character in its own right, with a rich history of being passed down through generations and witnessing births, deaths, and everything in between. Nora’s reconciliation with her father brings old resentments to the surface. With outstanding performances from the entire cast, the complex relationship between Gustav and Nora gradually unfolds, revealing the causes of their deeply entrenched trauma through multiple time jumps. A complex and emotional study of a fraught father daughter relationship.

SCORE:

Alex's Score 7.5/10

ETERNITY

Joan (Elizabeth Olsen) dies from cancer and finds herself at a commercial afterlife holding ground, akin to an expo, called ‘The Junction’, a place where everyone arrives after death. She learns she has seven days to choose where to spend eternity and who she wants to spend it with. The forever options are endless and are pitched to newcomers by competitive Afterlife Coordinators (A.C.s) who serve as sales agents, except there’s no money involved. Choices include Casino World, Beach World, Paris World, Nude World, Men-Free World, Smokers World (with the slogan “You Can’t Die Twice!”) and many more. Joan is reunited with her husband of 65 years, Larry (Miles Teller), who passed away just days before her. But she also discovers her first husband, Luke (Callum Turner), who died in the Korean War 67 years earlier, has been waiting for her in limbo for all that time. Faced with the enormous decision of who will be by her side for eternity, Joan is torn between a life filled with memories with her longest love of the chance to explore what could have been with her first love. Billed as a romantic comedy, this film leans more toward drama. The only really funny character is A.C. Anna (DaVine Joy Randolph) who delivers some hilarious lines. The writing is sharp and punchy, featuring unexpected plot twists, while the grand sets give scale to the staggering number of people arriving at ‘The Junction’ each day. With a profound core that never overwhelms, this is a highly thought-provoking film with a fresh concept – and a unique perspective on what happens after we die.

SCORE:

Alex's Score 8/10

Jason’s Score 7/10

ZOOTOPIA 2

Rabbit Judy Hopps (Ginnifer Goodwin) and fox Nick Wilde (Jason Bateman) are back, investigating a new mystery nine years after the franchises initial release. When Gary De’Snake (Ke Huy Quan) arrives in Zootopia, residents are shocked, as no snake has been seen in the city for over a century. He’s on a quest to find an old journal which is proof of a conspiracy against reptiles that has been covered up for decades, and Judy and Nick step in and help him. The laughs are solid, the action is non stop and the animation is fabulous. Loved the characters of the quokka (Dr Fuzzby voiced by Quinta Brunson) and sloth (Flash Slothmore voiced by Raymond S Persi) and was impressed with the motion of De’Snake’s tail and body, which is very fluid and realistic. With a who’s who of Hollywood on the cast list (seriously, Google it and check out the talent!), there’s also a rousing dance number performed by Gazelle, A.K.A Shakira. While some of the film’s themes, such as historical erasure, may be missed by younger viewers, the messages of belonging, bravery, and overcoming differences will resonate with audiences of all ages. A fast paced, fun and entertaining sequel that’s tearing it up at the box office. Take the kids!

SCORE:

Alex's Score 7.5/10

David's Score 7/10

URCHIN

Mike (Frank Dillane) is a homeless drug user in London who ends up in prison after assaulting a good Samaritan. After an eight month incarceration he leaves jail clean and is determined to rebuild his life. He finds temporary stability working as a chef in a hotel kitchen and residing in a small room at a hostel. The dramatic transformation in his appearance and demeanour, from an unkempt struggling addict to a functional, sober individual, shows how far he’s come. Despite his second chance, Mike’s recovery efforts are soon undermined by his familiar self-destructive habits, which lead him back into addiction. This film gives a confronting insight into the struggles faced by those trapped in the cycle of substance abuse, highlighting how easily they can relapse and fall through the cracks in the system. There are a few ethereal scenes to do with drains, a picturesque cave and psychedelic patterns, which are meteors for different emotions Mike is experiencing. The ghost of an older woman, possibly his birth mother, also makes an appearance. Dillane demonstrates his broad acting range in the way he portrays Mike’s emotional and physical metamorphoses. A mention must be made of Harris Dickinson who plays Mike’s friend Nathan, who also wrote the screenplay and directed. Not everyone gets a happy ending, despite being given the opportunity to have one or how much others want them to succeed. A bleak and honest portrayal of an addict’s full-circle journey.

SCORE:

Alex's Score 7/10

Kate’s Score 7.5/10

Leon’s Score 7/10

PRIME MINISTER

In 2017, thirty seven year old Jacinda Ardern reluctantly stepped up as the leader of the New Zealand Labour Party, just eight weeks before the federal election. When she won, she immediately set to work on a 100 day plan to fulfill her promises. She was also pregnant and became the second woman leader in history to give birth while in office. Over the next five years, she guided her beloved country through some of its darkest moments, including the Christchurch Mosque massacre (which claimed 51 lives) the Whakaari White Island volcanic eruption (resulting in 22 deaths), and the COVID-19 pandemic. This intimate documentary combines public moments with private home videos captured by her supportive partner Clarke Gayford. It includes her triumphs and struggles, highlighting the pressure of her prominent political position and the toll it took. In a tumultuous, divided world, Ardern emerged as a beacon of stability and common sense, leading with empathy and kindness. I expected to be bored watching this, as politics isn’t the most exciting subject matter. Instead I was throughly engaged by this profoundly human story about a woman striving to do her best in challenging circumstances.

SCORE:

Alex's Score 10/10

I AM MARTIN PARR

Martin Parr is an acclaimed British photographer. You might not know his name, but chances are you will know some of his images. He took his first photograph in 1964 when his father posed on a frozen creek. This sparked his creative curiosity, which was nurtured by his grandfather, a passionate film photographer. His early body of work featured black and white portraits of working class citizens, but in the 1980’s he transitioned to vibrant full colour photography, capturing life as it is rather than how he interprets it or wishes it to be. His distinct documentary style features a mix of portraits and environmental scenes, often using flash to create bold contrast and a surreal quality. He focuses on quirky human interactions and the absurdities of modern life, and has an uncanny ability to blend in to his surroundings and photograph discreetly, despite carrying a large camera around. An esteemed member of Magnum Photos, this 68 minute long documentary shares Parr’s images, archival materials, and a variety of peer interviews, providing a glimpse into his creative process and inspirations as he travels to various locations where he has captured some of his most memorable shots. Beyond his iconic portfolio, Parr is committed to supporting other documentary photographers in the UK – and this will be his lasting legacy. An inspirational study of a master in his field.

SCORE:

Alex's Score 7.5/10

DRAGONFLY

After a recent fall, elderly widower Elsie (Brenda Blethyn) spends her days sitting in her small unit, waiting for various carers to arrive and assist her with tasks like showering, cleaning, and meal prep. It’s a revolving door of agency workers, all stretched thin with too many clients, hired by her son John (Jason Watkins) who lives two hours away. When her 35 year old neighbour Colleen (Andrea Riseborough) offers to do some shopping for her, Elsie gratefully accepts the kind gesture. Colleen is an odd, awkward loner, whose only company seems to be her loyal American Pit Bull, Sabre. She hints at a troubled past and has impulse control issues, frequently exploding into expletive-laden rages. The two women form an unlikely friendship and it’s not long before Colleen is using Elsie’s credit card and knows her PIN number. Elsie gets agitated when one of her carers doesn’t know her name and tells John she no longer wants the outside assistance. Colleen steps in and offers to help, claiming she has nothing better to do and insisting she doesn’t want to be paid. John is suspicions of her intentions and when he asks about her source of income, she gives a vague response which makes him uneasy. He worries about his vulnerable mother and feels resentful about the decisions she is making without consulting him. Both Blethyn and Riseborough are faultless, each portraying their characters with physical and emotional nuances that make them feel real. Written during the COVID pandemic, most scenes take place within the confines of their homes. Long lingering shots of empty spaces emphasise the overall feeling of isolation. The story unfolds at a deliberate pace, gradually building in discomfort and tension. You can feel that something significant is about to happen and you know it won’t be good. Just when you think you have the film’s direction all figured out and are expecting the revelation of elder abuse, the relationship between Elsie and Colleen takes a dramatic turn that catches you off guard. I found the final haunting scene to be the most impactful of all. Clever and shocking.

SCORE:

Alex's Score 8/10

THE DEATH OF BUNNY MONRO

Bunny Munro (Matt Smith) is a s*x-addicted door-to-door salesman whose wife Libby takes her life. Left to care for their young son Bunny Junior (Rafael Mathé), he decides to take him on a road trip across Southern England. It’s clear that Bunny has never looked after his own child before, preferring bed-hopping to fatherhood – he doesn’t even know if Bunny Jr is “seven years old or maybe ten.” Bunny Jr deals with his grief by having imaginary conversations with his mother, while Bunny Sr becomes increasingly reckless, drowning his sorrows in alcohol and pursuing s*xual conquests. He’s a deeply flawed individual with zero redeeming qualities. As he spirals further into guilt and despair, his behaviour becomes more erratic, exposing Bunny Jr to situations a child should never have to face. The sins of the father run deep in this adaptation of singer Nick Cave’s novel (Cave is also an executive producer along with Smith.) I despised the sleazy, narcissistic character of Bunny Sr. and hoped for a redemption arc where he would wake up to himself and prioritise his sweet son over his selfish desires. As the episodes progressed, it became clear that there was only one resolution that could give Bunny Jr the stability he needed … and when that resolution arrived I wasn’t mad about it. Despite Smith doing a phenomenal job of portraying Bunny Sr, it’s hard to shake off his filth when you get to the series end. A sad story about a father’s impact on his child’s life and a little boy who deserved better.

SCORE:

Alex's Score 5.5/10

Amanda’s Score 5/10

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