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

MY BROTHER’S BAND

When world-renowned conductor Thibaut (Benjamin Lavernhe) is diagnosed with leukaemia, his search for a bone marrow donor uncovers a life-changing secret – he’s adopted. He meets his estranged brother Jimmy (Pierre Lottin) a cafeteria worker who plays the trombone in a community band. Jimmy generously donates his marrow and saves Thibaut’s life. Despite their contrasting upbringings, the brothers bond over a shared passion for music. As they spend more time together the disparity in opportunities afforded to Thibaut becomes evident to them both and they have to bridge the gap created by decades of separation. Music features heavily throughout this film and builds to a crescendo, like an orchestral score, in the final moving scene. Interestingly the professional musicians featured are always serious and austere, while the community band members are jovial and enthusiastic, highlighting how work and play can evoke different vibes even when the task at hand is the same. The script is tight, peppered with emotional moments and a few solid laughs, and the performances are beautiful. A touching exploration of the ties that bind and how similarities often outweigh differences. French with English subtitles.

SCORE:

Alex's Score 8/10

Duncan’s Score 7/10

THE MASTERMIND

Unemployed carpenter J.B. Mooney (Josh O’Connor) wants to get rich quick. He plans an art heist and ropes in two dodgy associates to help him steal four Arthur Dove paintings from a Massachusetts gallery. When one of the thieves is arrested and names J.B. as the brains behind the crime, he comes under police scrutiny and his relationship with his wife Terri (Alana Haim) and two young sons becomes strained. Fearing arrest J.B. goes on the run, causing turmoil for his family and friends as he desperately attempts to delay the inevitable. JB is anything but a mastermind. Once he has the paintings in his possession he makes a series of poor decisions, driven by his selfishness and lack of foresight. Set in the 1970s and filmed with a colour treatment that reflects that era, the cinematography features wide, lingering shots – a stylistic choice I actually liked, which mostly contributed to my overall score. The screechy jazz soundtrack is jarring and obnoxious and clashes with the slow pacing. This is a laborious film which drags on aimlessly. There were a few mild laughs, mostly at J.B.’s expense, but none are strong enough to inject any life into the plot. A hard slog.

SCORE:

Alex's Score 5.9/10

RECKLESS

On their way home from a wedding, estranged siblings June (Tasmania Walton) and Charlie (Hunter Page-Lockard) accidentally hit and kill an elderly man. Fearing repercussions due to their First Nations heritage, they make an impulsive choice to cover up the crime. Chaos unfolds when the victim’s niece grows suspicious, a neighbour claims to have security camera footage of the hit-and-run, and a group of menacing thugs pressure June financially while threatening her loved ones. Compounding their issues, June and Charlie’s personal lives are in turmoil. Charlie’s young daughter is set to move to Sydney with her mother and June is in constant conflict with her wife. As their guilt mounts so does the tension between them, until it spills out into every area of their lives. Set against the stunning backdrop of Fremantle, Western Australia, the city has never looked better and will delight locals as they spot dozens of iconic locations. Featuring an outstanding cast with a strong representation of First Nations actors, Walton shines as June. Her behaviour becomes increasingly unhinged as she gradually loses control, and her anger culminates in a violent and bloody act. Her sharp dialogue, delivered with perfect vitriol, makes her a stand out. The story weaves in cultural threads, exploring family ties and perspectives from an Indigenous viewpoint, resulting in an engaging dark comedy x thriller. With its tight pacing, succinct script, and concise four episode duration, this is an easy mini series to binge. A quality home grown production that shows a how a single bad decision can have devastating consequences.

SCORE:

Alex's Score 8/10

Amanda’s Score 8/10

NUREMBERG

U.S. Army psychiatrist Douglas Kelley (Rami Malek) is tasked with evaluating imprisoned N*zi leaders, including Hermann Göring (Russell Crowe), the second in command to Hitl*r. Chief prosecutor Robert H. Jackson (Michael Shannon) asks him to glean information that could be used in their upcoming trials, to ensure that they are brought to justice for the Hol*caust. Kelley soon earns Göring‘s trust and the two spend many hours together discussing their lives, politics, and eventually Göring‘s legal defence strategy. With a talent-laden supporting cast including Richard E. Grant (Sir David Maxwell-Fyfe), John Slattery (Colonel Burton C Andrus), Leo Woodall (Sergeant Howie Triest) and Colin Hanks (Dr Gustave Gilbert), this is sure to be an Oscar contender. Crowe gives a phenomenal performance as the sinister Göring, and his German accent adequately serves his character. The trial scenes incorporate real footage of the defendants and the courtroom, showcasing the meticulous attention to detail in set design, costuming, and casting. A short film is also presented as evidence, featuring harrowing footage filmed by Allied forces in 1945 during the liberation of over 1,200 concentration camps. Its material is extremely graphic and needs a content warning, as some viewers in the cinema burst into tears. This hard hitting and emotionally charged story, based on true events, exposes the reprehensible acts committed by the SS and serves as a chilling reminder of the consequences that arise when authoritarianism takes root. As Sergeant Triest warns Kelley “Want to know why this happened here? Because people let it happen. They didn’t stand up until it was too late.” Let’s hope we heed the chilling and sombre lessons of history.

SCORE:

Alex's Score 9/10

Amanda’s Score 9/10

JAY KELLY

George Clooney is Jay Kelly, a charismatic Hollywood icon who has just finished filming his latest movie. When his 18 year old daughter, Daisy (Grace Edwards) plans a holiday to Europe with friends, he impulsively decides to tag along, emotionally unprepared for her to leave for college. Coinciding with his trip is a tribute award for his stellar career, being held in Tuscany. Accompanied by his entourage of manager Ron Sukenick (Adam Sandler) and publicist Liz (Laura Dern), plus a stylist, makeup artist, and bodyguard, Jay enjoys mingling with travellers on a train from France to Italy. This makes him realise he lacks genuine human interactions, asking Ron and Liz “How can I play people when I don’t see people and touch people?” As the journey rolls on, members of his entourage gradually split, leaving only Ron by his side. Jay starts to realise that the sacrifices he made for fame took a toll on all of his important relationships. His career has turned him into an insecure man with a need for public adoration and it’s clear that he is most afraid of being left alone with himself. His journey of self-reflection is aided by flashbacks highlighting pivotal moments that shaped who he is. The entire cast gives stellar performances. Clooney skilfully reveals Jay’s epiphany that those who appear to love him most are the ones who hardly know him. Sandler steps away from his usual comedic typecast, depicting Ron with sensitivity as a man worn down from years of continually prioritising Jay above all else. Food for thought on what constitutes real success, this film serves as a reminder that genuine connections are the hallmarks of a life well-lived.

SCORE:

Alex's Score 8/10

LURKER

When up and coming pop singer Oliver (Archie Madekwe) walks into the clothing store where Matthew (Theodore Pelegrín) works, it sparks an encounter that will change their lives. Known for always being surrounded by a posse, Oliver invites Matthew to join him at his next concert. Enamoured by the attention, Matthew tries hard to fit in and pushes to become part of Oliver’s entourage. In an effort to make himself indispensable, he cleans and tidies Oliver’s bachelor pad and inserts himself into the role of his personal videographer, despite having no talent or skill behind the camera. Matthew begins to see Oliver as his new family and revels in his identity being entwined with a celebrity, but soon realises he’s easily replaceable in the eyes of his superstar bestie. His constant need for validation and inclusion raises red flags and he becomes more and more obsessed with his position in Oliver’s life. This is a cautionary tale about unhealthy boundaries and abusive power dynamics between fans and the famous. Pellerin is a stand out on screen, in the way he brings unsettling and creepy nuances to every scene. A thought provoking film where you end up questioning who is using who.

SCORE:

Alex's Score 7.5/10

DEAD OF WINTER

In the thick of winter, grieving widow Barb (Emma Thompson) drives to a remote northern Minnesota lake to scatter her husband’s ashes. Caught in a blizzard with no phone reception, she gets lost and stops at a cabin, where she asks ‘Camo Jacket’ (Marc Menchaca) for directions. While there, she sees a young woman (Leah played by Laurel Marsden) being held hostage in the basement, and Barb promises her she won’t leave. When the man’s hostile wife, ‘Purple Lady’ (Judy Greer), arrives Barb realises she’s the only one who can rescue Leah from the armed and dangerous couple. I didn’t have Emma Thompson as the hero of a violent thriller on my 2025 bingo card … and should’ve seen that as a sign to steer clear. Thompson adopts a Midwestern American accent and sounds like she’s overacting. As Barb, she constantly huffs and puffs, which becomes irksome, but her character is surprisingly resourceful, like a desperate female MacGyver, making the best of whatever she has on hand to survive. Greer and Menchaca lack chemistry as a married couple and the absence of their actual character names feels disconnected. We know little about them as they aren’t given a backstory, unlike Barb whose pivotal life moments are unveiled through multiple flashbacks. Camo Jackets redemption arc is implausible and too rushed. For a film that wants to be taken seriously, its entire premise lacks believability. Visually though, the landscape is mesmerising, with its snow-covered trees and picturesque frozen lake – these were the only elements that held my interest.

SCORE:

Alex's Score 5/10

Magdalene’s Score 7.5/10

Amanda, Glenn and Simona‘s Score 7/10

MISTRESS DISPELLER

Mistress dispelling is a relatively new yet rapidly growing professional service in China aimed at helping wives discreetly end their husbands’ affairs without confrontation. This fly-on-the-wall documentary follows Wang Zhenxi, a dispeller hired by the aggrieved Mrs. Li. Zhenxi infiltrates the lives of Mr. Li and his mistress, Fei Fei to find cracks in their relationship and save Mrs. Li’s marriage. Her methods are calculating and sometimes morally ambiguous. Using her psychology qualification, she skillfully juggles everyone’s emotions, yet remains loyal to her client. The film’s remarkable use of long wide-shot takes and intimate, unscripted scenes enhances its depth and authenticity. Director Elizabeth Lo revealed online that she initially told Mr. Li and Fei Fei she was making a film about modern love in China. When the projects true intent was revealed, she re-sought their consent to use the footage. This doco cleverly presents the parties involved in an empathetic, non-judgmental way. That being said, I was firmly on Team Mrs. Li – she is the prize in this story and deserves better than her bored husband.

SCORE:

Alex's Score 7.9/10

SISU: ROAD TO REVENGE

Set in 1946, former commando Aatami Korpi (Jorma Tommila) returns to his family home in Soviet-occupied Karelia. The house is abandoned, as his wife and two young sons were previously murdered by sadistic SS officer Igor Draganov. Korpi dismantles the building and loads it onto his trusty truck, planning to rebuild it in Finland. As he embarks on his journey toward the border, he is confronted by Draganov, who has been hired by the Red Army to hunt him down. What follows is a relentless, chaotic chase as Korpi and his loyal Bedlington Terrier Ukku (Simba) fight to survive. Draganov and his henchmen attack them from trucks, jeeps, motorbikes, and planes as the two men play a violent game with deadly consequences. Korpi is a strong, silent protagonist who doesn’t speak, and the other characters have minimal dialogue. The focus is entirely on the action! Expect explosions and crashes but suspend belief – most are not only physically impossible to survive but also far-fetched. I laughed more than I expected to but this isn’t a comedy. Don’t bother searching for logic amid the ridiculous plot holes, just sit back and be entertained. With no female characters, this film is a BDE fuelled zone filled with testosterone. Brutally graphic and dastardly violent, its only saving grace is the final scene that made me ease up on the eye-rolling. Oh and Ukku DOES NOT die, so they got the memo – never kill the dog!

SCORE:

Alex's Score 5/10

COME SEE ME IN THE GOOD LIGHT

Poet laureate Andrea Gibson bares their soul in this profound documentary made after their incurable ovarian cancer diagnosis. Along with their partner Megan Falley and three adorable dogs, they navigate the challenges of a terminal illness by choosing to focus on love, joy, and resilience. Gibson speaks with stirring honesty about facing the inevitable, sharing that the gift of presence outweighs the fear of the future – an insightful perspective most of us can only aspire to. There are many moments of laughter as Gibson and Falley engage in heartfelt conversations, finding solace together in the cherished pleasures of family and home. This raw and honest doco is an emotional rollercoaster. One moment I was crying, the next laughing … and at times it completely undid me. No words of mine can do justice to Gibson’s extraordinary life. A blessing to so many with their powerful poetry and genuine heart, they are someone you wish had the pleasure of knowing personally. By watching this film you’ll feel a little bit like you did. A must see.

SCORE:

Alex's Score 10/10

Amanda’s Score 10/10

THE BEAST IN ME

CONTAINS SPOILERS! Claire Danes and her trademark lip quiver lead this thriller as Aggie Wiggs, a neurotic author mourning her young son’s death. Rumoured wife killer Nile Jarvis (Matthew Rhys) moves into her neighbourhood and Aggie becomes fixated on him. When Jarvis asks her to make him the subject of her next book she jumps at the chance, ignoring her intuition. Aggie thinks she’s cleverly playing both sides, feeding information about Jarvis to the FBI, while acting like his friend. Little does she know that she’s poking the bear, or more aptly, the beast. Even Blind Freddy can see that Jarvis is a psychopath. His privilege knows no limits and his well-connected family of heavies operates with influence. The acting, script, lighting, and set design of this series are all superb. The plot is engaging and has some solid twists. Danes and Rhys share a genuinely creepy chemistry and their cat-and-mouse dynamic drives 90% of the story. Rhys excels as the deadly businessman – you won’t forget how he eats chicken in a hurry. My one frustration is the infuriating character of Aggie. Admittedly, she’s a broken woman, fraught with anxiety. Her darting eyes and wavering voice make it feel like she’s always on the edge of a nervous breakdown. Her choices are often irrational and risky, like taking a walk through the woods with a suspected murder. She’s also bumblingly gullible and self-serving, which leads her into danger. By the time she realises she’s out of her depth, it may already be too late. Aggie’s adorable white fluffy dog Steve deserves a special mention. He was named by her son and is one of the last connections she has to him. And he does NOT die! Phew! Intense and brooding, with some Aggie induced irritation thrown in.

SCORE:

Alex's Score 7.5/10

Amanda’s Score 7.5/10

WICKED FOR GOOD

Commencing a few years on from the events of the first film, Elphaba (Cynthia Erivo) is now known as the “Wicked Witch of the West” and lives in exile. Meanwhile her estranged friend Glinda (Adriana Grande) has become a revered symbol of goodness in Oz, but she’s heavily influenced by agenda-laden bad-guys Madame Morrible (Michelle Yeoh) and the Wizard (Jeff Goldblum). The story includes a love triangle, a tornado, a bubble coach, enslaved animals, a tyrannical governor, and the arrival of Dorothy (my least favourite character which is no mean feat given she doesn’t speak or show her face), along with her motley crew … plus Elphaba’s continuing fight for animal rights and attempts to expose the Wizard’s corruption. The first hour and a half moves slowly and none of the songs quite match the pizzazz of ‘Wicked’. In the last 45 minutes there’s a gain in momentum, though in contrast to the beginning, some plot threads feel rushed. All of the group dance sequences are dazzling, with lively choreography set against whimsical pink and green backdrops that will delight fans. This is where ‘Wicked for good’ really shines. The finale closes out with an extended version of “For Good”, Glinda and Elphaba’s poignant duet, where they sing their lungs out while reflecting on their friendship. Ok, confession time – I’m not into musicals (eek!) but this film is spectacular to watch on the big screen. Even if the overall content didn’t grab me, it will make a stack of coin and bring joy to those who have been counting down the days until its release.

SCORE:

Alex's Score 6/10

Amanda’s Score 7/10

THE THING WITH FEATHERS

After Dad (Benedict Cumberbatch) discovers his wife dead on the kitchen floor, he spirals into a pit of anguished despair. With two young sons (Henry and Richard Boxall) to care for, their house descends into chaos and he becomes unable to function for an entire year. A skilled artist, Dad begins to repetitively draw a massive black crow (voiced by David Thewlis), who he manifests into existence as a powerful metaphor for his gut-wrenching grief. In a brutal internal battle, Crow begins to torment, beat, taunt, and punish him. Soon it becomes difficult to determine where Dad ends and Crow begins. When Dad finally tells the Crow to leave, the creature warns that what will come next might be even worse – and he’s not wrong. Cumberbatch delivers an intense, career best performance, showcasing his emotional depth. The cinematography aesthetic is dark and melancholic, emphasising a constant sense of foreboding, while the violent moments are accompanied by piercing sound. This confronting blend of fantasy and horror will strongly resonate with anyone who has experienced the loss of a loved one. A heavy hitter.

SCORE:

Alex's Score 8/10

YURLU | COUNTRY

Maitland Parker was a proud Banjima Elder who spent nearly 40 years working as a ranger in Karijini National Park. More than 46,500 hectares of his ancestral homeland in Western Australia were polluted by remnants of the Wittenoom asbestos mine – the largest environmental contamination in the southern hemisphere. Referred to as “poison country,” the mine left behind millions of tonnes of deadly blue asbestos fibres, still present today in the air, soil, and waterways. Visiting Wittenoom is now illegal, as even brief exposure to the waste can cause severe health issues. This ban has devastated local Aboriginal people, including Parker, who was diagnosed with mesothelioma and forbidden from accessing his traditional lands. As he battled the disease, he challenged government inaction and corporate greed, advocating for a cleanup and healing of the area for future generations. Parker tragically died from his illness in 2024. His legacy lives on through the Banjima people, who continue the litigation and negotiations that he began. More than 200 class-action claims against mining company CSR have been paid out, but these barely scratch the surface of the more than 2,000 people who have died from asbestos-related diseases directly linked to Wittenoom. This exceptionally produced documentary juxtaposes stunning visuals of the region’s ancient beauty with confronting aerial images of the volcanic-like tailing piles. Archival footage from 1984 of ‘Australian Blue Asbestos’ founder and original mine owner Lang Hancock declaring Indigenous Australians “… should be sterilised to breed themselves out in coming years” is a revolting example of entrenched racism and shows what little regard for he had for his Aboriginal employees. Powerful and gut-wrenching, this documentary should be mandatory viewing in schools and for every member of parliament. It is a must see, that demands discussion and action.

SCORE:

Alex, Chris, Sharon and Cath’s Score 10/10

ALL HER FAULT

In every parents worst nightmare, uber rich mother Marissa Irvine (Sarah Snook) arrives to pick up her six year old son Milo (Duke McLeod) from a supposed playdate and discovers that the woman at the house has never heard of him. He’s meant to be with Jenny Kaminski (Dakota Fanning) but when she confirms she never arranged a playdate, it becomes evident that Milo has been abducted. As blame kicks in and fingers are pointed, Marissa and Jenny form an unlikely friendship. Suspicion falls on everyone closest to them, including Marissa’s husband Peter (Jake Lacy). As secrets, lies and betrayals are uncovered, they soon shatter the seemingly perfect lives of both women. Snook is superb as guilt ridden Marissa who authentically conveys the societal expectations and pressures of motherhood. With most of the series filmed across Australia and Chicago, the houses featured are stunning – absolute real estate p*rn, particularly Marissa and Peter’s opulent multi-million dollar, Hamptons style mansion. A tighter edit would’ve benefited to sharpen the plot and reduce the number of episodes. Certain aspects of the story are a bit of a stretch, especially the police investigation thread. The ending is mediocre and I wondered if the characters would’ve been perceived (and treated) differently if they’d been in a lower income bracket. A moderate watch.

SCORE:

Alex's Score 6.5/10

Amanda’s Score 6/10

KEEPER

Medical doctor Malcolm (Rossif Surherland) takes his girlfriend Liz (Tatiana Maslay) to his family’s remote cabin in the woods to celebrate their first anniversary – a cliched setting for a horror movie. What’s meant to be a romantic getaway turns sinister when Malcolm is called back to work in the city, leaving Liz alone. She begins to feel a disturbing presence and has creepy visions, as the cabin gradually reveals its dark past. The intriguing opening sequence was my favorite part of the film and foreshadows what is to come. A steady buildup of atmospheric dread is sustained throughout, thanks to eerie orchestral music and unsettling cinematography. The only other characters on screen apart from Liz and Malcolm, are Malcolm’s imposing, brash cousin Darren (Birkett Turton) and his foreign girlfriend Minka (Eden Weiss) who live next door. By the time the suspense spills over into the big reveal, there’s only ten minutes remaining, making everything feel rushed and like too little too late. A few questionable special effects are used and the ending is disappointing and doesn’t make sense. Directed by Osgood Perkins, the overall terror comes from the psychological tension affecting Liz and Malcolm’s relationship, than from any physical threats meant to frighten us.

SCORE:

Alex's Score 4.5/10

NOW YOU SEE ME : NOW YOU DON’T

After nearly a decade out of the limelight, the ‘Four Horsemen’ magicians (Jesse Eisenberg as J. Daniel Atlas, Woody Harrelson as Merritt McKinney, Dave Franco as Jack Wilder, and Isla Fischer as Henley Reeves) reunite for a new challenge. They are joined by a trio of Gen Z magicians (Justice Smith as Charlie, Dominic Sessa as Bosco, and Adriana Greenblatt as June) who are thrilled to work alongside their idols. Together they plot to steal the world’s largest diamond, ‘The Heart,’ owned by corrupt businesswoman Veronika Vanderberg (Rosamund Pike). Combining their talents, the seven illusionists confuse their adversaries and execute the heist. Ok, that’s the good stuff out the way. Beyond this, the plot is flimsy and incorporates too many twists and turns which makes the run time drag – when viewers start looking at their watches instead of the screen, boredom is setting in. Given there’s been a nine year gap between films, assuming current audiences will understand the references to previous franchise characters, back stories and in-jokes is a mistake. The performances are annoyingly over-acted and are only surpassed in cringe by Pike’s caricatured South African accent. Lastly for a movie about magic, there is very little on display – most of what appears is post-production CGI and special effects. Had high hopes but this was such a disappointment.

SCORE:

Alex's Score 5/10

Chloe’s Score 7/10

Amanda and Saraj’s Score 6/10

Andii’s Score 5/10

LAST BREATH

In 2012, saturation diver Chris Lemons (Finn Fole) was working on undersea gas lines at the bottom of the North Sea. When the support ship’s dynamic positioning system failed, it caused the vessel to drift off course, away from the Lemon who was tethered below. This put immense stress on his umbilical cable (lifeline), which eventually snapped as the movement of the waves grew too strong. Trapped 100 meters below the surface with only minutes of oxygen remaining, he faced a life-threatening ordeal. His crew mates Duncan Allcock (Woody Harrelson) and David Yuasa (Simu Liu) were suddenly involved in a dangerous race against time to save him. This film offers an intense portrayal of the dangers of deep-sea diving and the desperate fight for survival in a seemingly impossible situation. Based on a true story, the underwater environment is realistically recreated and the emotional reactions from Lemons colleagues heightens the tension. The acting, character development and plot are all passable – the outcome is miraculous. A decent thriller that will leave you gasping for air.

SCORE:

Alex's Score 7/10

BOOTS

Teenage best friends Cameron Cole (Miles Heizer) and Ray McAffey (Liam Oh) enlist in the Marines. Set in 1990, when military service was still illegal for gay individuals, the boys soon question their decision. They discover that boot camp is a gruelling training regime, designed to push them to their limits with relentless drills, sleep deprivation, and drill sergeants who employ harsh tactics, including name calling and dehumanisation. Cole, who is gay and in the closet, struggles to hide his true identity in this hostile environment, fearing punishment if he does. He’s in a constant fight for survival, not just against the physical demands of his training but also the emotional toll of suppressing who he really is. Based on the true story of Marine veteran Greg Cope White, this was initially a slow burn for me, partly because of Cole’s distracting internal dialogues with a body double who appears sporadically. But on the recommendation of a friend I stuck it out. The series reveals more depth as it progresses, delving into themes of identity, courage, and personal growth. It explores the experiences of LGBTQ+ individuals at a time when acceptance was scarce, and sheds a light on their struggles and sacrifices. Intense raw emotion.

SCORE:

Alex's Score 7.5/10

ALIEN EARTH

This sci-fi series is a prequel to the Alien movies. Set on Earth in 2120, humans, cyborgs, hybrids, and synthetics all coexist and five powerful corporations rule the world. Boy Kavalier (Samuel Blenkin), the unscrupulous and greedy CEO of Prodigy Corporation, develops a program that regenerates terminally ill children into human-synthetic hybrids. Twelve year old Wendy (Sydney Chandler) becomes the first to undergo the procedure and she wakes up in an adult body with enhanced physical strength but retains the cognitive abilities and emotions of a child. When a spaceship from a rival corporation crashes in Prodigy controlled city, New Siam, a Xenomorph is released. Boy Kavalier sends a team of new synthetic-hybrids into the wreckage to steal alien species from the ship, aiming to exploit them for his own gain. Meanwhile the murderous Xenomorph is on the loose and must be stopped. There’s no argument that this highly anticipated show has striking visuals, epic sets, and extensive special effects, but having inexperienced kids looking like adults and making childish decisions gets frustrating. Some of the casting is also a let down. Plot-wise it drags after the few episodes and certain storylines don’t go anywhere, making them a waste of screen time. Overall it seems targeted more towards teens and doesn’t have the suspense or appeal of the original movie franchise. Has just been renewed for season two so let’s hope it improves.

SCORE:

Alex's Score 5.5/10

RUNNING MAN

Ben Richards (Glen Powell) is a man pushed to the brink when he’s unable to afford medicine for his sick baby daughter. Desperate for some quick cash, he signs up for a brutal television show called ‘Running Man’ where he must survive for 30 days while being tracked by professional hunters, mercenaries, and the general public. The prize for winning is 1 billion dollars but the penalty for being captured is immediate execution, which is filmed live and broadcast to millions of bloodthirsty viewers. To quote the tag line from ‘Survivor’, Richards must “Outwit, outlast, and outplay” the relentless assassins on his tail, in a game of cat and mouse that’s rigged against him at every turn. Based on the 1982 novel by Richard Bachman (Stephen King’s pseudonym) the story is set in a dystopian 2025, where the gap between rich and poor is colossal and the television station is controlled by the government. Powell plays angry and resentful Richards well, but my favourite performance is Coleman Domingo’s charismatic, big-voiced show host Bobby Thompson. Other supporting cast include Joshua Brolin, William H Macy, Michael Cera and Sandra Dickinson, who has the funniest lines. Memorable moments are the plot twists that challenge fact from fiction, and the scary manipulation of reality through AI, an unsettling warning of what the future could hold. This film is a nonstop thrill ride that explores how we are influenced by the media, exposes the bottomless corruption of some global corporations, and highlights how the oppressed will eventually push back and rise up.

SCORE:

Alex's Score 8/10

Amanda’s Score 7.5/10

Kate’s Score 8/10

THE GOLDEN SPURTLE

Sometimes I watch a film without knowing anything about it and with little initial interest, only to be pleasantly surprised – as was the case with ‘The Golden Spurtle’. This Australian made documentary focuses on the annual world porridge championships held in the small Scottish town of Carrbridge. Under the guidance of Charlie Miller, who is facilitating the event for the last time, participants from around the globe gather at makeshift workstations to mix oats, water, and salt together in the hope of being awarded the coveted golden spurtle title. I don’t eat porridge, like porridge, or even think about porridge, but this film isn’t actually about the breakfast comfort food … it’s about the people – locals, contestants, and past winners – and the joy they feel in being a part of something so unique. They never make light of the competition but they do have an awful lot of fun with it. There’s such a lovely flow in the way this is filmed and it’s seeped in genuine humour and quirkiness. The interviews are so perfect in tone and content I wondered for a minute if this was a scripted mockumentary. It’s not. Honest and engaging, it’s a delightful reminder that the simplest of traditions can bring immense happiness. Just don’t forget to stir clockwise, or you might let the devil in!

SCORE:

Alex's Score 9/10

CHAD POWERS

Glen Powell is in almost everything right now and I nearly skipped this series as a protest against his on-screen over saturation (cue similar feeligns about Nicole Kidman and Pail Mescal). Despite being a bit cringe, I stuck with the first few episodes as they were a nice, short 30 minutes each and it was an easy watch … but I soon became invested in the story of disgraced college football star Russ Holliday (Glenn Powell) who makes a comeback years later under the alias name of Chad Powers. Desperate to play again he uses movie grade prosthetics to change his appearance, speaks in a higher pitched voice, and joins struggling team the South Georgia Catfish. Chad soon becomes a coach favourite and role model to the other players, but finds himself conflicted by the genuine relationships he’s formed and the deception he’s upheld. He also struggles knowing Chad is who he wants to be but Russ is who he is. While this series goes for humour over substance in the beginning, right when the heart of it kicks in, it all comes to an abrupt end. It feels like Hulu was testing the waters with just six episodes, giving viewers a taste but not going all out into fully fledged content. I’m a fan now though and would definitely watch season two if it gets renewed – and the unofficial word is it will be green lit and announced soon.

SCORE:

Alex's Score 8/10

ANEMONE

Ray Stoker (Daniel Day-Lewis) is a recluse living in a remote cabin set deep within a northern England forest (which makes for some pretty drone shots.) His exile is self-imposed, after a traumatic PTSD inducing incident during his military service more than 20 years earlier. He is forced to confront his past when his estranged brother Jem (Sean Bean) arrives unexpectedly to seek his help with his violent son Brian (Samuel Bottomly). The brothers must deal with their past conflicts, difficult family relationships and the legacy of generational trauma. Directed by Ronan Day-Lewis (who is a co-writer along with his father Daniel Day-Lewis) this film features long, awkward periods without dialogue, and when the characters do speak, it’s often in monologues. While the performances from the leads are excellent, the slow pacing causes the story to drag, and by the end the plot runs out of steam. It’s also not believable, particularly Ray’s transformation as a man who suddenly bares his soul and changes his tune after two decades of vitriolic solitude. Self indulgent, implausible, melodramatic monotony.

SCORE:

Alex's Score 4.9/10

I SWEAR

In 1984, thirteen year old John Davidson (Scott Ellis Watson and Robert Aramayo) was diagnosed with Tourette syndrome, which caused involuntary movements, loud verbal outbursts and obsessive compulsive behaviours. Initially his family members and teachers thought he was “playing the fool”, and he faced punishment both at home and at school as a result. He found strong support in caring individuals such as his friend’s mother Dottie Achenbach (Maxine Peake) who took him in, and Tommy Trotter (Peter Mullan) who gave him his first job as a caretaker at Langlee Community Centre in Galashiels, Scotland, where he continues to work today. This biopic chronicles John’s frustrating four-decade struggle with being misunderstood and ostracised. It traces his journey from alienation, to becoming a known ambassador for Tourette’s awareness. His advocacy efforts led to receiving an MBE from Queen Elizabeth II in 2019, and in 2023 he participated in a nerve stimulation trial at the University of Nottingham, which showed remarkable results for 59% of participants. This compassionate and authentic drama masterfully blends moments of humour with darker times from John’s life. Heartbreaking, heartwarming and full of heart.

SCORE:

Alex's Score 9.5/10

Fiona, Bob and Saraj’s Score 10/10

Amanda’s Score 9/10

Simon’s Score 8.5/10

PREDATOR: BADLANDS

I am a massive fan of the original ‘Predator’ film and the Predator himself is my favourite sci fi alien of all time – like “I even have the action figure” favourite. So I really didn’t want to get my hopes up for this latest franchise instalment incase of disappointment … but I needn’t have worried. Director Dan Trachtenberg smashes it out of the park and has created something brilliant. Dek the Predator (Dimitrius Schuster-Koloamatangi) of the Yautja tribe travels to the planet Genna to hunt an apex monster called the Kalisk, in order to prove his worth to his clan. Genna is a hostile and lethal environment, filled with dangerous flora and fauna. There he meets Thia (Elle Fanning), a damaged synthetic android, and the two form an unlikely alliance during his mission. From the very first sequence, the throaty music and spectacular panoramic visuals reminiscent of ‘Dune: Part 2’ command your attention … and things don’t let up. This movie has it all – a plot that’s easy to follow, mesmerising special effects, a rich orchestral soundtrack, compelling characters, epic battle scenes and otherworldly sets. It introduces unique creatures, similar to the mutant dinosaurs of ‘Jurassic World: Rebirth’ only better. There’s also wit, heart and humanity and even the ending, which could be viewed as closure or the perfect segue for a sequel, is gratifying. I absolutely loved this movie and could not find any fault with it. Highly recommend seeing it on the biggest cinema screen you can and am already planning a second watch. Action at its absolute best.

SCORE:

Alex's Score 10/10

Fiona’s Score 9/10

TRAIN DREAMS

Set in the American West, ‘Train Dreams’ follows the life of logger and railroad worker Robert Grainier (Joel Edgerton) from the early 20th century through to 1968. Adapted from Denis Johnson’s novella, the story explores his childhood as an orphan, his marriage to his great love Gladys (Felicity Jones) and the tragedy that leaves him bereft and alone. As a hermit, haunted by his past (particularly his lack of action when witnessing the murder of a Chinese immigrant worker), Robert is plagued by nightmares. He’s a broken, morally complex man who spends his days searching for meaning amongst the mundaneness of his existence … yet continuously fails to find it. The acting is masterful, particularly from Edgerton who fully embodies broken-down Robert. With striking cinematography, this is a somber portrayal of a stalled existence, juxtaposed against a time of rapid development.

SCORE:

Alex's Score 7/10

FOUR MOTHERS

Set in Dublin, middle-aged gay author Edward (James McArdie) is the full time carer for his mother Alma (Fionnula Flanagan) who recently suffered a stroke. When three friends take off for an overseas pride event, they unexpectedly dump their own elderly mothers on Edward. He’s trying to prepare for a book tour in the USA and with the responsibility of caring for, and managing, four curmudgeonly, eccentric women, his life is thrown into disarray. This dramatic comedy gives an earnest view of the emotional and logistical challenges of caregiving and acknowledges the immensity of the often thankless job, while highlighting the frustration and personal sacrifices involved. It also touches on the complexities of parental dynamics, ageing and loneliness. Relatable, warn and heartfelt, this is a beautiful production with a depth-filled script, perfectly cast actors and spot on pacing. Quality all round!

SCORE:

Alex's Score 9.5/10

MYSTERY ROAD: ORIGIN – SEASON TWO

Taking place six months after season one, Detective Jay Swan (Mark Coles Smith) and his pregnant partner Mary Allen (Tuuli Narkle) have recently arrived in Loch Iris, the town where Mary grew up. Their new life is disrupted when Jay investigates two missing children, a murder and the town’s dark connection to the stolen generation. As he digs deeper, he uncovers a legacy of racism, systemic violence, and ghosts from the past. Supported by a talented cast including Robyn Malcolm, Clarence Ryan and Rarriwuy Hicks, this prequel was written by an all-First Nations team and was filmed in picturesque Pemberton in Western Australia. It powerfully exposes part of Australia’s shameful history, but with multiple themes and storylines the plot becomes convoluted. The pacing is slow at times and viewers will need to stick it out to see the small rural town finally reveal its secrets.

SCORE:

Alex's Score 5.9/10

Amanda’s Score 7/10

FILM CLUB

Best friends Evie (Aimee Lou Wood) and Noa (Nabhaan Rizwan) run a weekly film club together for their friends in Evie’s Mums garage and haven’t missed a Friday night in eight years. For Evie, this ritual has become a safe space to recover from a six month period of not being able to leave the house due to social anxiety and agoraphobia. As their friendship deepens, they realise they have a growing emotional connection. To complicate matters, Evie has a boyfriend who has no idea who she truly is – unlike Noa who understands her best. Both deny their feelings, but when Noa receives a transfer out of town, they are forced to confront the truth. This charming romantic comedy is filled with lightness and humour but never makes Evie the butt of the joke. Some of the best scenes involve her bantering with her rebellious neighbour Callum (Owen Cooper of ‘Adolescence’) and her poker-faced sister Izzie (Liv Hill.) The acting is wonderful and the thirty-minute long episodes make it easy to binge – the whole thing is done in three hours. Love that it shines a light on the healing power of cinema. 

SCORE:

Alex's Score 8/10

Amanda’s Score 8/10

IF I HAD LEGS I’D KICK YOU

*CONTAINS SPOILERS* Rose Byrne is Linda, a middle aged therapist in the midst of a “falling down” episode. Her absent military husband Charles (Christian Slater) works away and is just a voice on the phone for most of the film. She hangs up on him a lot! Linda is left to care for their precocious, bratty daughter (Delaney Quinn) who has an eating disorder and requires regular hospital treatment. “The child” is never named and her face isn’t shown until the final scene. When the ceiling of their home caves in and leaves a large hole in the roof, Linda and the child move into a budget hotel. There she meets James (A$AP Rocky) who tries to befriend her. The two share drinks together and order dr*gs online. Meanwhile repairs to the hole drag on and the hole seems to grow larger – a reflection of Linda’s mounting problems. The hole also serves as a metaphor for her past trauma and fragile mental state. Linda has a questionable relationship with a fellow therapist (Conan O’Brien), who appears to be her reluctant emotional crutch, though their connection isn’t fully explained or explored. While Byrne gives a tense and raw performance, Slater and Quinn’s voices are unbearably over done and melodramatic. Slater only appears on camera for a few minutes and feels under-utilised – though based on his acting this is probably for the best. Weird dreamy sequences that look like swirling galaxies make several random appearances and confuse the plot even more. There’s also a distasteful and absurd scene involving the death of a hamster which is meant to illicit laughs. Animal cruelty is never funny and it’s frustrating to see it used as a cheap gag. Grating and annoying, this misses the mark and is definitely an acquired taste.

SCORE:

Alex's Score 2/10

Saraj’s Score 6/10

AILEEN: QUEEN OF THE SERIAL KILLERS

In 1997, Australian artist Jasmine Hirst conducted a filmed interview with her pen pal and infamous serial killer Aileen Wuornos in a Florida prison. Jailed for the shooting murders of seven men, Wuornos gave Hirst a firsthand account of her crimes. This documentary showcases that footage alongside scenes from the subsequent court case, overlaid with audio excerpts from law enforcement, and Wournos’s family, and friends. Director Emily Turners intention was for viewers to experience the archival footage uninterrupted, without cutting to commentators – plus she felt she was able to glean more candid statements from participants by not putting them on camera. While Wuornos never denied her guilt, she claimed her actions were committed in self-defence – and this wasn’t thoroughly explored during her trial. Instead the prosecution portrayed her as an aggrieved prostitute who took out her frustrations on innocent men – a monstrous, cold hearted killer devoid of humanity. With a trial judge who had a negative bias towards s*x workers and Wuornos’ history of severe abuse starting from four years old, this doco raises questions about whether there were mitigating circumstances behind her actions. It also offers new insights into whether her then-girlfriend, Tyria Moore, knew more about the murders than she admitted. Wuornos was sentenced to death and executed by lethal injection in 2002. Her story is a tragic tale of a woman let down by every system until it pushed her to the brink.

SCORE:

Alex's Score 8/10

Amanda’s Score 8/10

DIE, MY LOVE

*CONTAINS SPOILERS* This intense drama is set in rural America, in an area that has an ‘American Gothic’ feel. It follows the journey of first-time mother Grace (Jennifer Lawrence) as she struggles with mental instability and paranoia. She’s frequently consumed by primal rage and mania, while her patient husband Jackson (Robert Pattinson) tries to keep their lives from unravelling. Director Lynne Ramsey’s visceral use of sound creates a sense of psychological chaos and offers a glimpse into Grace’s troubled mind. Elements of the plot are tedious and multiple jumps in time make things messy. Plus this movie broke the unspoken cinema rule – NEVER kill the dog! By the halfway mark I was wishing it would end with each passing scene. I haven’t wanted something to be over so badly since a 3+ hour Tori Amos concert back in 2007. This film is uncomfortable and drawn-out with a metaphorical finale that will go over some viewers heads. I did enjoy the score, particularly the inclusion of one hit wonder “Hey Mickey” by Toni Basil. It gets one point for highlighting postpartum depression (even if they did make Grace the villain at the same time), one for the incredible performances of the entire cast (including Sissy Spacek as Jackson’s mother and Nick Nolte as his father) and one for the only character with any redeeming qualities, Jackson himself.

SCORE:

Alex's Score 3/10

Paul, Sue and Nimmi’s Score 8/10

Deb, Connie, Cath and Jason’s Score 7.5/10

Tony and Michelle’s Score 6/10

Lucy's Score 5.5/10

Fiona, Lisa and Janine’s Score 5/10

Penny’s Score 4/10

Duncan’s Score 3.5/10

FAMILIAR TOUCH

Kathleen Chalfant is Ruth, a woman in her 80’s whose memory is in decline. Unable to care for herself adequately her son Steve (H. Jon Benjamin) admits her into residential aged care. Ruth struggles to fully understand what is happening. She recognises that those around her believe she’s forgetting things but denies that it’s true. Her new home is lovely and the staff are kind, contrary to some existing care facility stereotypes. Chalfant’s portrayal of a woman grappling with dementia is outstanding and the supporting cast are also brilliant. One of the most intriguing elements of this film is the use of sound. There’s only a single song (at the end) and everything else is ambient room noise. This absence of a musical score creates a stark, strange atmosphere, mirroring how Ruth might feel in the confines of her new environment. Every conversation, sigh, and clink of a glass is heightened, with no competing sounds to distract. Interestingly this does not impact the pacing, which is consistent. This is a profoundly honest and moving film, told with sensitivity. Beautifully shot, it reflects the meticulous effort put into each scene by first-time director Sarah Friedland. A haunting reflection on ageing and its challenges, I watched this in a cinema with four 70 year olds and we all sat in silence as the credits rolled, not moving until the screen went dark … such was the impact of what we’d just seen.

SCORE:

Alex's Score 8/10

FRANKENSTEIN

With over 400 movies inspired by, or adapted from, Mary Shelley’s 1818 Gothic novel ‘Frankenstein’ (also known as ‘The Modern Prometheus’) it’s a familiar and well told tale. Dr. Victor Frankenstein, a brilliant but arrogant scientist, becomes obsessed with reanimating a dead body. Driven by his childhood trauma, including a brutal father and the death of his beloved mother, he seeks to conquer death and successfully uses “spare parts” from multiple corpses to bring a creature to life. The Creature is a lumbering brute in many of the ‘Frankenstein’ adaptations but in Guillermo del Toro’s version, he’s a being who develops complex thought and speech, can read, and is kind to animals. His humanity will draw you in and his anguish will trigger your empathy. Initially possessing the curiosity of a child, he is driven to desperation when Victor (Oscar Isaac) abandons him. The film stays fairly true to the book, unfolding via three chapters, with the exception of one new addition – a wealthy benefactor named Harlander (Christoph Waltz) who is also the uncle of a young woman named Elizabeth (Mia Goth). Both Victor and The Creature have feelings for Elizabeth, which further complicates their relationship. Under del Torro’s craftsmanship as writer, director and producer, everything about this film is intentionally bleak, from the colour palette and set design to the musical score and makeup. Elordi suits his role to perfection, not just due to his talent but also thanks to his towering six foot five frame. The special effects are impressive in some scenes, like the ship battle, and average in others, like the sub standard CGI deer, mice, wolves and sheep. Overall this is a sad journey of misunderstanding and longing. My frustration with it though, lies in Hollywood’s habit of repeatedly recycling the same plot themes over and over again when there are new ideas waiting to be explored. Just as The Creature is unable to die, it seems his story is too.

SCORE:

Alex's Score 7.5/10

TWINLESS

Roman, a straight man played by Dylan O’Brien (who has a dual role as Roman’s twin, Rocky) and Dennis, a gay man portrayed by James Sweeney (also the writer and director) become instant friends after meeting at a twin bereavement support group. They are soon inseparable, relying on each other to navigate their grief. When Roman meets Dennis’s work colleague Marcie (Aisling Franciosi) he discovers a web of lies that threatens to destroy their relationship. A major plot twist is revealed early on, so viewers are in on the secret for most of the run time. There are several other surprising turns along the way that I didn’t see coming. Lauren Graham deserves a mention for her brief but brilliant portrayal of Lisa, Roman and Rocky’s mother, who is anguished over the loss of her favourite son. With superb casting, a compelling script, and strong character development, this film is full of heart. It explores the ways tragedy can force people who would otherwise never interact to form intense, sometimes codependent, attachments and highlights how loss can make the world feel very lonely. Despite the heavy subject matter, it isn’t a depressing watch. Moments of humor lift it up and prevent it from sinking into despair. From the opening scene I was hooked. Emotional, charming, and genuinely human.

SCORE:

Alex's Score 8/10

GOOD FORTUNE

A “budget” guardian angel named Gabriel (Keanu Reeves) meets lost soul Arj (Aziz Ansari, who is also the writer and director) and becomes obsessed with helping him. Arj is juggling multiple low-paying jobs, sleeping in his car, and struggling to make ends meet. Gabriel swaps Arj’s life with that of rich tech-bro entrepreneur Jeff (Seth Rogen) in the hope of showing him that the grass isn’t always greener on the other side. His well-meaning plan backfires when Arj begins to prefer Jeff’s lavish existence, which leaves Jeff none too happy about being forced into poverty. Ansari’s script is superb, delicately balancing real-world issues with humour that’s never mocking. His direction also excels, with good pacing and nicely composed visuals … but I found him unconvincing as the down-and-out lead. He served his own interests by not casting an actor who could authentically embody role of Arj. Reeves, on the other hand, is a standout. Known as one of the nicest guys in the industry, this was the perfect role for his signature deadpan delivery style. One scene where Gabriel eats food for the first time is pure joy and a reminder to savour simple pleasures. You’ll never look at chicken nuggs the same way again! This movie is about walking a mile in someone else’s shoes and although it touches on themes of wealth disparity, AI job automation, and the rising cost of living, it remains light and easily watchable. Funny and sweet with heartfelt messaging.

SCORE:

Alex's Score 8/10

Amanda’s Score 8/10

BUGONIA

I have a very black and white response to films by director Yorgos Lanthimos. If someone else writes the screenplay, I tend to like them, but if Lanthimos is the writer, I’m usually not a fan. Case in point, I loved ‘Poor things’ but despised ‘Kinds of kindness’. Since ‘Bugonia’ is based on the 2003 South Korean film ‘Save the Green Planet!’ in keeping with my theory, I throughly enjoyed it. Teddy (Jesse Plemons) is a paranoid beekeeper fueled by online conspiracies theories. With the help of his loyal, neurodivergent cousin Don (Aidan Delbis) they abduct Michelle Fuller (Emma Stone), a powerful pharmaceutical CEO. Teddy believes she is an alien from Andromeda sent to destroy humanity. They men hold her hostage in their basement and plan to force her to help them leave Earth before an upcoming lunar eclipse. The situation is complicated by Teddy’s personal grievances with Michelle’s company Auxolith and his growing paranoia and desperation. This movie is something to behold! Plemons and Stone both let loose and give remarkable performances. Elements of the sci-fi x dark comedy plot are politically relatable, especially in an age where misinformation is rife. Be warned though, this movie is brilliantly whack and unhinged. There will be moments where you’ll be wondering what you’re watching – you’ll laugh out loud one minute and be shocked by an act of violence in the next. I thought the ending was perfectly fitting, wrapping everything up in a satisfying way. And props to Lanthimos for his superb direction. From the very first scene, to the closing shot, he absolutely nailed it. Career bests all round for everyone involved! The preview audience clapped in the cinema when the credits rolled.

SCORE:

Alex's Score 9.5/10

Saraj’s Score 9/10

Kate’s Score 9/10

STEVE

Centreing on a single, stressful 1990’s day at the Stanton Wood reform school for boys in the UK, Cillian Murphy stars as head teacher Steve. The school is meant to give troubled young men a decent education and prepare them to enter the adult world with a solid foundation, but there’s a sense of futility to the venture. Despite this, the staff understand what’s at stake if they don’t succeed in helping these kids. On the day in question, a BBC team films a documentary (investigating criticism of the $30,000 government funded cost per year, per student), a pompous member of parliament visits, and officials announce the impending closure of the school. Having given his life to his job, Steve leans into his opiate and alcohol addition to deal with the stress. He’s a wreck and quickly spirals. Despite his personal turmoil he remains committed to saving the students from each other and themselves, especially a teenager named Shy (Jay Lycurgo.) While the story is commendable, the writing is messy and all over the place. Murphy and Lycurgo both excel, as does Tracy Ullman as teacher Amanda, but they are set adrift in a script that doesn’t really have a point. Intense, chaotic and depressing. 


SCORE:

Alex's Score 6/10

EDEN

Directed by Ron Howard, this dramatisation is inspired by the true story of European settlers on Floreana Island in the Galapagos during the 1920s. It follows narcissistic doctor Friedrich Ritter (Jude Law), his partner Dore (Vanessa Kirby), married couple Heinz and Margaret Wittmer (Daniel Brühl and Sydney Sweeney) and the manipulative, self-appointed “Baroness” (Ana de Armas), all living in close proximity to each other. What begins as a utopian dream of escaping society quickly turns into a power struggle fueled by jealousy and violence. Island life proves harsher than expected for the new arrivals and their paradise soon begins to collapse. Exploring the dark side of human nature when removed from civilisation, this film has a strong ‘Lord of the Flies’ vibe but doesn’t dig into it deeply enough. While all of the actors adopt German accents, some are more convincing than others – with De Arma being the weakest link. None of the characters have any redeeming qualities and their likability plummets as the story progresses. The script also lacks depth, causing the run time to drag. Definitely didn’t do the Galapagos Islands justice, and not because it was filmed in Australia. A survival tale that gets lost in its execution.

SCORE:

Alex's Score 5.9/10

Amanda’s Score 6.5/10

TRUE HAUNTING

The documentary series features two stories of hauntings told across five episodes: ‘Eerie Hall’ and ‘This House Murdered Me’. Each case is relayed through interviews with eye witnesses, their families and friends, plus heavily dramatised reenactments. The production quality is high and the storytelling is well-crafted, but overall there’s a lack of concrete evidence to verify any of the events. While those involved genuinely believe in their accounts, I question whether their minds were playing tricks or if they were seeing what they believed to be true. Some of the content is light on. The run time could’ve been significantly shortened as there just isn’t enough oomph in this to carry viewer interest for 5+ hours. It totally fell flat for me. Unconvincing and drawn out.

SCORE:

Alex's Score 5.9/10

FWENDS

When lawyer Em (Emmanuelle Mattana) reconnects with recently single friend Jessie (Melissa Gan), they spend the weekend exploring Melbourne together. They initially pick up where they left off, but soon they delve into more serious topics, sharing difficult life experiences and airing grievances. Filmed documentary style, the scenes are improvised and make you feel like you’re watching two people on candid camera. Most of the dialogue is ad-libbed by the leads which gives a disjointed feel to the acting, but also authentically captures the natural flow of real-life conversation, which isn’t always polished or delivered with a structured cadence. Set against a vibrant city backdrop, this quirky indie film explores themes of friendship, loneliness, and navigating the challenges of being a young woman. Mattana and Gan appear in nearly every scene together and carry the film – which is fitting given they are also co-writers (along with director Sophie Somerville.) A raw, real and relatable coming of age story that breaks a traditional mould.

SCORE:

Alex's Score 7/10

A HOUSE OF DYNAMITE

This frenetic political thriller follows the moments after a nuclear missile is launched at the United States by an unidentified source. Director Kathryn Bigelow (‘Point Break’, ‘The Hurt Locker’, ‘Zero Dark Thirty’) focuses on the procedural pressures of modern nuclear warfare and decision-making, rather than a heroic “save the day” plot. The story is told in three chapters and presents the crisis from the viewpoints of White House staff, military commanders, and the President (Idris Elba) as they try to determine who launched the attack and implement a course of action. The short countdown to the moment of impact emphasises the urgency and chaos and adds to the pressure cooker environment. At times the characters lack strategy and everything feels haphazard, with some questionable decisions being made. The ending may frustrate some viewers, as there’s no tidy resolution. Bigelow keeps it real and does not conclude an event that hasn’t yet occurred in real life. Instead it’s a wake up call and a compelling examination of how different people emotionally respond to the same stressful situation, which hits hard in today’s political climate. Dramatic, uneasy, and thought-provoking, it poses the question “What if?”.

SCORE:

Alex's Score 7/10

Amanda’s Score 6.5/10

TASK

FBI Agent Tom Brandis (Mark Ruffalo) is grieving the recent murder of his wife and the incarceration of his adopted son. He’s taken off light duties to head up special task force that’s been created to investigate a string of violent robberies against stash houses run by outlaw motorcycle gang the Dark Hearts in Philadelphia. The robberies were orchestrated by Robbie Prendergast (Tom Pelphrey), an unassuming garbage man who lives with his two children and 21-year-old niece Maeve (Emilia Jones). When one of his jobs goes wrong and three people are killed, he kidnaps a child and brings even more havoc into his life. From ‘Mare of Easttown’ creator Brad Ingelsby, this series explores the psychological and emotional fallout of the crimes on Robbie, Tom, and their respective families. The pacing expertly builds the character profiles and lays the groundwork for what’s to come, and by episode four it’s in full flight. With top notch acting and a gutsy script, this has depth amongst its shades of grey. Complex and captivating.

SCORE:

Alex's Score 8/10

Amanda’s Score 8/10

BLACK PHONE 2

Taking place in 1982, four years after ‘Black Phone’, siblings Finney (Mason Thames) and Gwen (Madeleine McGraw) are still dealing with their lingering trauma after encountering the Grabber (Ethan Hawke) – a child serial killer previously dispatched by Finney. Gwen is plagued by visions of three past murders at a Christian youth camp where their mother once worked. They decide to go to the camp during a blizzard with Gwen’s friend Ernesto in tow, and get snowed in. Before too long they find themselves haunted and hunted by the Grabber’s evil spirit, who contacts them via a black phone and can now attack Gwen in her dreams. In order to survive they must find the bodies of the three deceased kids and strip the Grabber of his power. That’s the long synopsis. The short one is that a the Grabber is resurrected as a ghost and turns up seeking revenge. Maybe watching the first film would’ve helped me connect more to this one, but I found the plot to be nonsense – especially the supernatural revival of the Grabber. As a horror movie it was devoid of scares and seemed like an unnecessary sequel whose aim was purely to capitalise financially on its popular predecessor. A pet peeve of mine is also is actors who cry without tears, and McGraw’s performance in the final scenes raised my ire with this. The only part I enjoyed was a blasting rendition of Pink Floyd’s ‘Another brick in the wall’. Underwhelming and hopefully the end.

SCORE:

Alex's Score 5/10

Kate’s Score 5/10

REGRETTING YOU

Morgan Grant (Allison Williams) wants to protect her teen daughter Clara (Mckenna Grace) and stop her from making the same mistakes she made. Clara rebels as a result and hooks up with her new boyfriend Miller (Mason Thames) out of spite. Their already tense relationship is shattered by a sudden and tragic accident which claims the lives of Morgan’s husband Chris (Scott Eastwood) and sister Jenny Davidson (Willa Fitzgerald) – Clara’s father and aunt. Their deaths expose a shocking betrayal, forcing Morgan, Clara and Jenny’s partner Jonah Sullivan (Dave Franco) to confront painful truths about their family members. The plot explores the ways different people cope with loss and how it can either bring families closer or tear them apart. Elements are predictable but overall this is an emotional romantic comedy that’s different from the norm.

SCORE:

Alex's Score 7.5/10

Sharon and Chris’s Score 10/10

SPRINGSTEEN: DELIVER ME FROM NOWHERE

In this latest addition to the rock star biopic genre, Jeremy Allen White plays Bruce Springsteen. The film chronicles his journey to record the 1982 album Nebraska, an acoustic collection of melancholic, narrative-driven songs created in the bedroom of his remote New Jersey home. At the time, Springsteen was grappling with depression, fueled by his relationship with an alcoholic father (Stephen Graham), industry pressures, and the challenges of newfound mainstream fame. When Nebraska was released, Springsteen refused to tour or engage in media interviews, and it received mixed reviews. This period of his life contrasts sharply with his renowned energetic on-stage persona. The supporting cast includes Jeremy Strong as his manager Jon Landau, and Gaby Hoffman as his mother Adele. Springsteen himself contributed to the production process and gave his blessing for White to sing in the film. Their vocals were blended together in post-production, resulting in an incredible sound track that’s my favourite aspect out of the 119 minute run time and the only element I liked. I just couldn’t get past seeing White instead of Springsteen and felt there was a disconnect in his performance – the brown contact lenses made White’s eyes look odd and his mannerisms felt unrelatable to the legendary musician. Such a small period of Springsteen’s life was covered and it lacked the necessary oomph to maintain my interest. The plot became tedious and I got bored. Overall it’s a bum note.


SCORE:

Alex's Score 6.5/10

BALLAD OF A SMALL PLAYER

Colin Farrell stars as Lord Doyle, a gambling addict living in Macau under a false identity. As his mounting debts spiral out of control, he desperately seeks one last big win. He meets and falls in love with Dao Ming (Fala Chen), a casino employee, while trying to avoid private investigator Cynthia Blithe (Tilda Swinton), who confronts Doyle about his shady past. Set amid the opulent, grand hotels of Macau, this film has stunning visuals that capture the city’s exotic beauty. Combined with crisp and intense sound, reminiscent of ‘The Substance’, it is a feast for the senses. Farrell does a decent job of portraying lonely, broken down Doyle as he edges closer to rock bottom. He is determined to binge to excess before his deception finally catches up with him. Swinton’s casting felt off though. Her performance didn’t quite fit the tone of the film and she came across as a caricature of a middle-aged, single woman with a dowdy sense of style. The plot falls into cliche territory with Doyle repeatedly succumbing to his addiction before seeking redemption, but has an unexpected twist near the end which I didn’t see coming. A story of frenetic self-destruction and chaos.

SCORE:

Alex's Score 7/10

NIGHT OF THE ZOOPOCALYPSE

When a meteorite crashes into the fictional Colepepper Zoo it unleashes a virus that turns the resident animals into zombies who can morph their bodies in unusual ways. The first animal infected is a bunny who foolishly eats a piece of the meteorite. Young wolf Gracie (Gabbi Kosmidis) forms an unlikely alliance with gruff mountain lion Dan (David Harbour), and together they attempt to avoid the spreading chaos. They team up with a group of other surviving animals, including Xavier a movie loving lemur, Frida a fiery capybara and Ash an ostrich (Pierre Simpson, Heather Loreto and Scott Thompson respectively) to fight the mutants and save their zoo home. The animation is fabulous in this horror-comedy from ‘Hellraiser’ creator Clive Barker. It is tailored to kids but may be too scary for younger viewers. My fave character is Poot, an adorable and oblivious bright pink baby Pygmy hippo voiced by Christina Nova. A fast and fun action film with a strong theme of loyalty.

SCORE:

Alex's Score 7.9/10

THE PERFECT NEIGHBOUR

This 97 minute documentary centres on the shocking death of Ajike Owens, an African American mother of four, who was fatally shot by her white neighbour, Susan Lorincz, in Florida in June 2023. For two years prior to the incident, Lorincz repeatedly filed vexatious complaints with the police about local children playing on a vacant grassed area next to her property. She exaggerated stories about their behaviour towards her, repeatedly wasting police resources by calling them over petty incidents. The situation escalated when Owens confronted Lorincz after she took her son’s iPad away. Lorincz fired her gun through her closed, locked front door, striking Owens in the right shoulder. The story is pieced together through police body-cam recordings, 911 call audio, and CCTV footage. Lorincz attempted to justify her actions using the controversial “stand your ground” law but was eventually tried for manslaughter and sentenced to 25 years in prison. A tragic tale of escalating racial bigotry and prejudice that resulted in a fatal act of violence.

SCORE:

Alex's Score 7.5/10

Amanda’s Score 7.5/10

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