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

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

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

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