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 FATHER THE BTK KILLER

Starting in the 1970s, the infamous BTK serial killer terrorised Wichita, Kansas, for more than 30 years. The community was shocked when Denis Rader, a local dog catcher and churchgoer, was captured in 2005 and charged with ten gruesome murders. For his daughter Kerri Rawson, her father’s crimes had a profound impact on her and she shares her story in this 90-minute documentary. After Denis’s arrest Kerri struggled with feelings of shame, confusion, and betrayal, and had to readjust her belief in who her father actually was. The pain of discovering that a parent she loved and trusted could commit such terrible acts forced her to question her own identity. Today she continues to wrestle with her connection to Denis. On one hand she longs for anonymity and wishes to distance herself from his shadow – on the other, every aspect of her life, including her career as an author, keeps her intertwined with him. A crime show with a different perspective, focussing on the often forgotten victims – the families of the perpetrators.

SCORE:

Alex's Score 8/10

Amanda’s Score 8/10

JOURNEY HOME, DAVID GULPILIL

Narrated by Hugh Jackman and Baker Boy this documentary pays tribute to Australia’s most renowned indigenous actor David Gulpilil. It shares insight into how he navigated an existence between two worlds – as a traditional Yolŋu man and an international film star. After his death in 2021, his family fulfilled his final wish and began an epic journey to return his body from his place of death in South Australia to his homeland over 4,000 kilometres away in East Arnhem Land. The trip included overland travel, planes, helicopters and boats. Rare and unprecedented access was granted to capture the traditional rituals for grief, renewal, and regeneration that are central to Yolŋu culture. The culminating Bäpurru ceremony for Gulpilil is a powerful and ancient ritual that marks the end of his life cycle and ensures his spirit returns to his birthplace. An intimate and poignant look into Gulpilil’s deep connection to his community and country. 

SCORE:

Alex's Score 7.9/10

VICTORIA BECKHAM

This three-part documentary was made with the full support and cooperation of Victoria Beckham. It explores her childhood, rise to fame with the Spice Girls where she was once the most photographed woman in the world, and her WAG era. The series also highlights her business acumen, sharing the challenges she faced with the near-collapse of her fashion label and her intense recent preparations for a Paris fashion show. These fly-on-the-wall celebrity shows offer a fascinating glimpse into the lives of people we usually only observe from afar, and this one is no different. Through candid interviews with Victoria, her friends, family, and business partners, a clear picture emerges of who Victoria truly is – a hardworking, determined woman whose confidence has been tested during her time in the spotlight. This is an honest and refreshing portrayal that left me wanting more of her authentic commentary and less focus on her clothing.

SCORE:

Alex's Score 7/10

Amanda’s Score 7/10

AFTER THE HUNT

This psychological thriller focuses on Yale philosophy professor, Alma (Julia Roberts), whose life is disrupted when her friend and colleague Hank (Andrew Garfield), is accused of sexual assault by star student Maggie (Ayo Edebiri). Caught between loyalty to her friend and her moral obligation to Maggie, Alma’s life is thrown into chaos when her attempt to remain impartial is muddied by a dark secret from her own past. The story is driven by the intense relationships between Alma, Maggie, and Hank, as well as Alma’s interactions with her husband and colleagues, as they all become involved in the escalating scandal. Parts of the plot are ambiguous in this slow burn, which only heats up in the last half hour of its 139 minute run time. It covers an overwhelming number of themes relating to the #metoo movement, BLM, LGBTIQA+ partnerships, the uber wealthy, university politics, and power disparities – but is late to the party on some of them. The sophisticated script and casting are its beacons of excellence. Roberts and Garfield excel with their emotion fuelled, compelling performances of flawed humans. My feeling by the end was that the wrong person got portrayed as the villain. Layered and uncomfortable.

SCORE:

Alex's Score 7.9/10

Denise's Score 7/10

Karen’s Score 6/10

ROOFMAN

Based on a true story, Channing Tatum stars as Jeffrey Manchester, a struggling father who begins robbing fast-food restaurants and businesses by cutting through their roofs – earning him the nickname “Roofman”. After being imprisoned for his crimes, he escapes and hides out inside a Toys “R” Us store for six months. He meets and falls for Leigh (Kirsten Dunst), a divorced mother and store employee. Manchester leads a double life, building a genuine relationship with Leigh while remaining a fugitive on the run. As his deception begins to unravel, his past starts closing in. This story is almost unbelievable but remains true to real events and avoids embellishment – stick around for the credits to see the real people behind the characters. Tatum and Dunst are outstanding and although their roles aren’t overly meaty, they do them justice. They are supported by a talented cast including Peter Dinklage, Ben Mendelsohn, Juno Temple, and Uzo Aduba. There’s comedy, a little heartbreak and an inevitable conclusion. Enjoyable and watchable!

SCORE:

Alex's Score 8.5/10

Layla’s Score 8/10

TRON: ARES

Taking place 15 years after the last franchise release, this cyber-futuristic film is an immersive sensory experience. With extensive use of CGI, it puts on a light show of epic proportions. The costumes are futuristic marvels, and nine Inch nails composed and performed 24 new songs for the score, ranging from adrenaline pumping bangers to haunting instrumentals. The plot revolves around a defence program named Ares (Jared Leto) and two rival tech companies – ENCOM led by Eve Kim (Greta Lee) who is the good guy, and Dillinger Systems, run by Julian Dillinger (Evan Peters) who is the bad guy. Both ENCOM and Dillinger Systems are in a race against each other to find the “permanence code” which will allow digital beings to live permanently in the real world. Kim wants to use it to end world hunger and Dillinger wants to use it for military gain. Initially created as a powerful but temporary AI soldier, Ares begins to question his programming and his relationship with humanity. He soon goes rogue which enrages Dillinger, who sets about trying to destroy his prize creation. Leto is known for being a sub par actor (and more recently, for allegations from 9 women about predatory sexual behaviour towards them when they were teenagers) but his dead pan, monosybilic delivery style suits the code-written personality of Ares. Still, his casting has been questioned by many as he’s never been leading man material and gives a lot of people the “ick”. Whether this will impact the film’s final numbers remains to be seen. I also wondered why Dillinger, who has the ability to 3D print the most supreme being in whatever likeness he chooses, would make him 53 years old with greasy hair? Turns out Leto was originally slated for a minor role as Ares but campaigned hard for the project, convincing the powers that be to base the entire film around his character. He was also involved as a producer, which gave him significant influence over the direction of the story. Lee was average as Kim – she did an ok job but didn’t blow the roof off. Gillian Anderson also makes an appearance as Dillingers mother in a role that doesn’t have much impact or scope. Dillinger himself is depicted as a stereotypical spoiled rich kid, who listens to no one and abuses his power. There are a several nods to the original two movies and Jeff Bridges returns as iconic computer programmer and video game developer Kevin Flynn. As a visual and auditory work of art, this is a ten. But when I consider the casting, open-ended conclusion and lack of plot depth, it drops to a seven.

SCORE:

Alex's Score 7/10

Amanda’s Score 8/10

Saraj’s Score 6/10

Simon’s Score 7/10

THE WOMAN IN CABIN 10

With a guest list full of the rich and famous, travel journalist Laura “Lo” Blacklock (Keira Knightley) is invited to cover the maiden voyage of the luxury yacht, the Aurora Borealis, owned by Richard Bullmer (Guy Pearce). The trip is a charity event organised by billionaire Anne Bullmer (Lisa Loven Kongsli), who is terminally ill with leukaemia, to support her new cancer research foundation. One night Lo hears a violent struggle in the room next door and witnesses a woman being thrown overboard from the balcony. Convinced that a murder has taken place, she is gaslit into believing all the passengers are accounted for. As her doubts grow she begins to question her sanity and is forced to confront a recent traumatic event. She soon receives ominous warnings to stop her investigation and as she edges closer to the truth, she puts her life in danger. Guy Pearce’s portrayal of Richard Bullmer is one of his weakest roles yet, and it fails to do justice to his talent. He just isn’t convincing. A standard whodunnit that lacks impact, many elements are predictable and the story is middle-of-the-road in both intensity and maintaining interest. The Aurora Borealis however (8 long super-yacht the ‘Savannah’ in real life), is a sleek, minimalist masterpiece of design and as the main set for this film, it’s the best thing about it.

SCORE:

Alex's Score 6.5/10

Amanda’s Score 6.5/10

CARAMELO

In a stroke of serendipity, three-year-old mixed-breed street dog Caramelo (Amendoim) crosses paths with talented chef Pedro (Rafael Vitti). With Caramelo refusing to leave, Pedro decides to adopt him, only to soon discover his mischievous tendencies and love for human-grade food. In an attempt to address these issues, Pedro enrolls Caramelo in dog training and meets trainer and animal rescuer Camila (Arianne Botelho). Along the way, Caramelo teaches Pedro about unconditional love and ends up saving his life more than once. A deep bond forms between them. When Pedro faces a serious health crisis, Caramelo stays by his side every step of the way. This heartfelt film ticks all of the boxes for a touching, enjoyable viewing experience, enhanced by the presence of over 60 adorable rescue dogs on screen. One delightful scene features 30 of the dogs running freely and with pure joy through a hospital waiting room – it’s guaranteed to bring a big smile to your face. Inspired by the true story of a stray Brazilian dog adopted by the film’s lead animal trainer Luis Estrelas, the movie emphasises that saving an animal also saves us and that dogs are the best. With an easy-to-follow PG plot, and vibrant, colourful cinematography, this charming story is perfect for all ages. Also no dogs die!

Recommend to watch in Portuguese with English subtitles turned on.

SCORE:

Alex's Score 8/10

BEASTS OF WAR

This Australian-made indie film tells an “inspired by actual events” story about young WWII soldiers whose ship sinks in shark-infested waters. The survivors find themselves stranded on a small raft where they have to deal with their injuries, internal group conflicts, and the threat of an aggressive great white shark (who exhibits zero actual GWS behaviours). Coincidentally, out of the two hundred soldiers onboard the ship, the half-dozen who end up on the raft all went through boot camp training together. This film was made on a shoe string budget and it shows. Seventy minutes of the ninety minute runtime was captured in a custom-made tank filled with more than two million litres of water. There aren’t any distinguishable background sets used for these scenes – just a whiteness with a foggy vignette, illuminated by different coloured lighting. This gives a stage play feel, only on a very calm ocean which weirdly doesn’t move. The acting is stilted, with most of the characters speaking in breathy, hushed tones, though they don’t have much to work with given the basic dialogue. Only Leo (Mark Coles Smith) has a backstory and it’s underdeveloped and told in annoying flashbacks. Bruce the shark from ‘Jaws’ over 50 years ago was more believable than the CGI “Shazza” shark used here (admittedly the cost of the two films was vastly different), and the plot is an overused trope used in every other shark vs human movie. Predictable, disjointed and has no point.

SCORE:

Alex's Score 4.5/10

LOVE, DEATH AND ROBOTS: VOLUME **** (4)

This adults-only anthology features ten short animated films curated by Tim Miller. Each standalone episode explores science fiction themes such as the impact of technology on the end of the world, the fall of humanity, and the evolution of a dystopian future. They can be viewed in any order, are filmed in different artistic styles, and vary in length from 7 to 17 minutes. Several celebrities lend their voices to the collection, including Joe Manganiello, Rosario Dawson, Brett Goldstein, Seth Green, Michael B. Jordan, Topher Grace, and Samira Wiley. Due to frequent nudity, strong language, and gore, this volume is definitely not for kids. My favourites are ‘Close Encounters of the Mini Kind,’ ‘Spider Rose’, ‘The Other Large Thing,’ ‘400 Boys,’ and ‘The Screaming of the Tyrannosaur’, with ‘Can’t stop’ being the only one I didn’t enjoy. Fans of anime and graphic novels will especially enjoy the well-produced, engaging, food for thought.

SCORE:

Alex's Score 8/10

WEDNESDAY: SEASON TWO

Sometimes it’s perfectly ok to create a one-off series and leave it at that, even if it’s a hit. The relentless pursuit of profit by capitalising on consumer demand wears thin when new content fails to match the quality of its predecessor. The writers wanted to give more screen time to different characters in ‘Wednesday’ season two and in doing so they created a hectic plot with too many different storylines. Iconic viral moments are lacking, though they tried hard to force them into fruition. Wednesday (Jenna Ortega) still features, but her emotionless, macabre vibe feels just like shtick this time around. The CGI for the Hyde monster and werewolves is woeful … and inexcusable considering the high production budget, rumoured to be around $20 million per episode. There are a few saving graces though: Joanna Lumley’s appearance as wealthy matriarch Grandma Hester Frump, the ‘Freaky Friday’ style body swap between Wednesday and Enid, Lady Gaga’s song “The Dead Dance” which was written specifically for the show and her cameo as Rosaline Rotwood in episode six, and Tim Burton’s trademark gothic set design. Everything else was meh and I had to push myself to get to the end.

SCORE:

Alex's Score 6/10

Amanda’s Score 6.5/10

THE TRAVELLERS

Successful stage designer Stephen Seary (Luke Bracey) returns from Europe to his small Australian hometown to say goodbye to his dying mother. He left years earlier to follow his career dreams. During his visit he reconnects with his sister Nikki (Susie Porter) and his grumpy father Fred (Bryan Brown) who needs increasing care. Stephen finds himself in a race against the clock to manage his family responsibilities before flying back to Germany to begin work on a major opera contract. He also makes time to have two one night stands with old flames, despite having a girlfriend overseas. The film was shot in Western Australia, throughout Perth, Fremantle, and primarily historic York – one of my favourite country towns. I absolutely loved seeing familiar places brought to life on the big screen through the stunning cinematography. While the story touches on themes of aging and caring for elderly parents, it also includes a few lighter moments, mostly courtesy of Fred. Some elements of the plot didn’t lead anywhere and felt disconnected, and I was frustrated by the ending – though it definitely aligns with Stephen’s moral character. A homegrown drama whose highlight is its filming locations.

SCORE:

Alex's Score 6/10

Bob’s Score 10/10

Liz, Glenn and Duncan’s Score 9/10

Megan, Steve and Ann’s Score 8.5/10

Janine, Kathryn, Sharon, Mick and Treacy’s Score 8/10

Carol and Fiona’s Score 7.5/10

Angela and Maree’s Score 7/10

Debbie’s Score 5.5/10

THE LOST BUS

During the devastating 2018 Camp Fires in California, twenty two primary students and their teacher Mary Ludwig (America Ferrera) became trapped at their school. As the wildfire raged around them, rookie bus driver Kevin McKay (Matthew McConaughey) began a life-threatening mission to rescue the children and drive them to safety. His planned quick evacuation became a prolonged, five-hour struggle for survival as the fire cut off escape routes, blocked roads and escalated into a terrifying inferno. Based on true events and the real-life bravery of McKay and Ludwig, it’s a nail biting ride filled with peril at every turn. The fire scenes are ferocious, giving a glimpse into what it must feel like to be surrounded by one of the most formidable and unpredictable natural forces on the planet. You’ll smell the smoke through the screen and feel the desperation of everyone on that bus. McConaughey is believable as McKay but feels a little one dimensional and of the dialogue between him and Ferrera is often stilted. An intense and emotional depiction of escaping hell on earth. Would trigger the PTSD of anyone who has ever experienced a fire at close quarters.

SCORE:

Alex's Score 8/10

THE WRONG PARIS

Aspiring artist Dawn (Miranda Cosgrove) joins a reality dating show called ‘The Honey Pot’ to fund her dream of studying in Paris, France. The shows producers trick contestants into believing they are travelling internationally, only for them to discover the show is actually being filmed in Paris, Texas, and not in the City of Light. While initially planning to get eliminated asap, Dawn starts falling for the charming cowboy bachelor Trey (Pierson Fodé) and he feels the same way. Complicating her plans to move overseas, she grapples with her unexpected feelings. This film pokes fun at the stereotypical personalities attracted to reality shows while exposing the fabricated nature of their scripting. Feels like a hallmark movie with its predictable plot, bright colour palette and charming locations. An easy to watch romcom.

SCORE:

Alex's Score 6.5/10

TEN POUND POMS: SEASON 2

Following its predecessor, this series focuses on the struggles of British immigrant families in New South Wales in 1957. Still residing in the Galgownie Hostel with his family, Terry Roberts (Warren Brown) faces a moral dilemma when an opportunity for a better life involves working as a stand over man for unscrupulous property dealer Benny Bates (Marcus Graham), forcing him to choose between a decent income and his conscience. Meanwhile his wife Annie (Faye Marsay) becomes empowered by her involvement in the emerging feminist movement and nurse Kate Thorne (Michelle Keegan) faces the harsh realities of her young son’s adoption. Around them, other migrants face employment hardships and social discrimination. Racial profiling of Australia’s First Nations people escalates, and the government begins forcibly removing Aboriginal children from their families. Only six episodes long, this season feels watered down and doesn’t quite dig deep enough. The ending was left open for a third instalment but the characters really don’t have enough oomph to carry it forward. A saccharine look at the stark realities of post-war Australia. 

SCORE:

Alex's Score 6.5/10

Amanda’s Score 6.7/10

MONSTER: THE ED GEIN STORY

The third instalment in the ‘Monsters’ franchise takes us on a disturbing journey into the twisted mind of one of America’s most infamous serial killers and body snatchers, Ed Gein (Charlie Hunnam). Responsible for at least two murders, and a suspect in seven more, Gein robbed graves and mutilated bodies for his own perverse pleasure. He was a depraved man, who had a traumatic childhood and became haunted by mental illness. Several scenes are very graphic, particularly those showing Gein’s barbaric penchant for crafting utensils and furniture from mutilated body parts, wearing the faces of the dead as masks and participating in necr*philia. Despite seeing a lot of gore in my former career as a police officer, I found it this hard to stomach. Hunnam’s performance is spectacular though. With prosthetics, he physically morphs into Gein and is unrecognisable as himself. He even changes the pitch and tone of his voice. Laurie Metcalf excels as Gein’s abusive, domineering mother, Augusta. Fervently religious, she forbade him from approaching women and controlled every aspect of his life, leading him to believe she was the only one who will ever truly love him. The series weaves in references to iconic movies like ‘Psycho’, ‘The Silence of the Lambs’ and ‘The Texas Chainsaw Massacre’, highlighting how Gein’s crimes served as inspiration (or perhaps glorification) for many successful horror films. Side quests feature Alfred Hitchcock as a peeping tom (apparently true) and an irrelevant subplot about the sexual orientation of actor Anthony Perkins. The frequent jumping between multiple storylines dilutes viewer focus and at least four episodes of fictional filler-content could’ve been edited out to create a more factual representation of Gein’s life. This is a disjointed portrait of darkness that leaves you questioning who the true monster is – Gein, his mother, the sensationalists who dramatised his story for cinema dollars, or those who continue to watch it as entertainment.

SCORE:

Alex's Score 6.9/10

Amanda’s Score 7/10

FLORENCE AND THE UFFUZI GALLERY

This educational documentary presents Florence as an open-air museum, while highlighting the Uffizi Gallery and other key sites throughout the city. It features famous Renaissance artworks by Botticelli, Michelangelo, and Leonardo da Vinci. With over ten museum locations and 150 masterpieces showcased, the footage is simply “meraviglioso”. Narrated by Lorenzo the Magnificent (Simon Merrells) this film takes viewers on a captivating journey into Florence’s artistic and historical past. It emphasises the intricate detail of each masterpiece, blending spectacular visuals, including incredible helicopter drone footage, with cultural insight. Will appeal to art aficionados and history buffs … of which I am neither but I still learnt some new things.

Screening as part of the World Art Event at Luna Leederville and Luna on SX on 18th and 19th of October.

SCORE:

Alex's Score 7/10

DEEPER

Best friends Dr. Richard “Harry” Harris and Craig Challen became household names after their heroic rescue of 12 boys and their soccer coach from a flooded cave in Thailand in July 2018. Fast forward to 2023: This documentary explores Harry’s drive to test the limits of human endurance as he pushes himself to explore deeper depths than ever before. Together with Craig and a select team of trusted experts, he journeys a remote cave system, called the Pearce Resurgence in New Zealand, to undertake a 230 metre underwater exploration … his deepest dive yet. Plagued with gear issues, tech failures, self doubt, and growing personal risk, it’s touch and go whether the challenging dive will progress. Breathtaking visuals transport viewers into a claustrophobic, other-worldly place most of us will never experience – and likely never want to. But for Harry, Craig, and their dedicated cave diving crew, it’s where they feel most at home. Understanding their compulsions and motivations isn’t necessary to respect their achievements. An adrenaline-pumping, captivating look at life through the eyes of men with a fearless spirit.

SCORE:

Alex's Score 10/10

Kelly's Score 10/10

THE TWISTED TALE OF AMANDA KNOX

This series begins with the 2007 murder of Meredith Kercher (Rihanne Barreto) in Perugia, Italy, and the dramatic arrest of American exchange student Amanda Knox (Grace Von Patten) and her boyfriend Raffaele Sollecito
(Giuseppe De Domenico.) It follows Knox’s subsequent investigation and trial, where she was convicted, then acquitted, and eventually retried. Her legal saga lasted for years until she was finally declared innocent by the Italian Supreme Court in 2015. A harrowing tale of police tunnel vision, intimidation, and coercion driven by lead detective, Giuliano Mignini (Francesco Acquaroli) who refused to consider evidence pointing to someone else as the person responsible for Meredith’s death. In truth, Knox’s only crimes were naivety and foolish decision making. As an executive producer and co-writer (alongside Monica Lewinsky) Knox had significant influence over the story, which is reflected in some of the self-indulgent writing. It monotonously hammers points home and feels exploitative of Meredith’s tragic death, with Knox taking the primary victim spotlight. While the traumatic treatment she endured at the hands of the Italian police and justice system is undeniable, condensing this eight episode drama into a two hour movie or a three part miniseries would’ve had more impact. I lost interest.

SCORE:

Alex's Score 6/10

Amanda’s Score 6.5/10

GOOD BOY

When Todd (Shane Jensen) moves to his family’s abandoned house in the woods with his loyal Nova Scotia Duck Tolling Retriever Indy, a malevolent force awakens. Each scene is either shot from Indy’s point of view or features him prominently, creating a unique perspective that highlights how dogs interpret the world around them. Filming took more than three years and over 400 camera days due to strict rules limiting how long animals can work on set. Indy’s owners, director Ben Leonberg and his wife, producer Kari Fischer, did a majority of the principal photography themselves, with the dialogue added in during post production. This ensured the process was as distraction free as possible for Indy and allowed his actions and reactions to be uninterrupted. I have never seen anything like this movie. Its refreshingly original concept is unsettling and brilliant at the same time. Leonberg made it clear in pre-release interviews that “The dog does not die” (not a spoiler – some people threatened not to watch unless told) but knowing that in advance did little to ease my discomfort in the cinema. Masterful manipulation of lighting and sound maintains the tension for the entire 77 minutes. The pacing was spot-on and the clever integration of metaphors kept me engaged – I finally exhaled when the credits rolled. Canine star Indy deserves all of the awards for his outstanding performance, especially for being the absolute goodest boy. He conveys emotion with every fibre of his being and single handedly carries the entire film. Deserving of its wider commercial release, this is a homage to man’s best friend that exceeded my expectations. Can see it becoming a cult classic.

Also not to be confused with the Stephen Graham movie of the same name released in September 2025, where he kidnaps a teen criminal and locks him in the basement.

SCORE:

Alex's Score 10/10

Duncan S’s Score 8.5/10

Amanda, Matt, Claire’s Score 8/10

Kate’s Score 7.5/10

Ann and Sonya’s Score 7/10

Duncan D’s Score 6/10

Tony’s Score 4/10

Kelly’s Score 3/10

BLACK RABBIT

This 8 episode mini series stars Jude Law and Jason Bateman as brothers Jake and Vince. Jake is a diligent, part-owner of the popular NYC restaurant Black Rabbit who seemingly has his life under control, while Vince is a chaotic, freeloading addict drowning in $140,000 debt. In their younger years, the brothers were in a moderately successful grunge band, called ‘The Black Rabbits’. When local thugs demand money owed to them by Vince, it sets off a disastrous chain of events that disrupt the brothers lives and impact their friends and colleagues. Law and Bateman have a convincing dynamic, capturing a complex mix of brotherly obligation and resentment. They push each other’s buttons and constantly bicker. With his unkept appearance, imbecilic decisions, and wise-cracking remarks at inopportune moments, Vince is not entirely likable, but he provides moments of humour. He constantly draws Jake into his conflicts and never takes responsibility for his actions. From the creator of Ozark, the similarities between the shows are evident. Both feature a gritty undercurrent of suspense, contain elements of violence, have high production values, showcase excellent writing, and star a talented cast. However Black Rabbit firmly establishes its own identity with a gripping story, and it doesn’t crossover into Ozark territory. The end of each episode will leave you hanging out for more. A dark top notch drama worth bingeing.

SCORE:

Alex's Score 8.5/10

Amanda’s Score 8.5/10

HIM

alented NFL draft pick Cameron Cade (Tyriq Withers) is invited by retired quarterback legend Isaiah White (Marlon Wayans) to train at his secluded desert compound. White pushes his prodigy to the limit with his brutal and unorthodox teaching methods. As the training intensifies, Cade begins to question the physical and mental sacrifices required to become the G.O.A.T. His dreams eventually come to fruition when his favorite team “The Saviours” decide to sign him, but by then he has doubts. Wayans is unnerving as White, a juiced up megalomaniac whose demeanour frequently switches from furious to friendly. He surrounds himself with sycophantic yes-men who follow his every command, even at the cost of physical harm. Toxic masculinity oozes at every turn, as White relentlessly pushes Cade towards his obsessive standards of excellence. Hints at Cade’s fate are subtly implied with references to the Last Supper and the Prodigal Son. Set against minimalist, stylised backgrounds showcasing stunning architecture, the film features innovative x-ray effects that show what happens internally to bodies during the violent sequences. A bizarre group of White’s fans act as a metaphor for the fanaticism found in some die-hard sports fans, and they add a warped element to the story. Watch for Julia Fox, brief ex-girlfriend of Kanye West, as White’s deranged wife Elsie. Despite its negative reviews, I enjoyed this movie. It’s an intense, bloody journey about the cost of power. No guts, no glory.

SCORE:

Alex's Score 8/10

STRANGERS: CHAPTER TWO

This film is the middle instalment of a trilogy, with ‘The Strangers: Chapter 1’ released in 2024 and ‘The Strangers: Chapter 3‘ due out in 2026. All three movies were filmed back-to-back and form a continuous story, so they don’t stand alone. Well done me then on watching Chapter 2 without seeing Chapter 1. I had to piece together the backstory from limited flashback clues, but the plot for both movies seems be pretty much the same apart from their locations. The entire franchise revolves around three masked serial killers targeting random strangers. They don’t have a motive – they are just psychopaths. In Chapter 2, the lead character Maya wakes up in a small town hospital bed with stab wounds, then spends 90 minutes making questionable decisions and relentlessly fighting for her life, as she’s hunted down by the strangers. It gets tedious and doesn’t have a resolution. The pacing is fast, with frequent jump scares and a few queasy bits, though a couple of animal cruelty scenes put me off. I’ve seen my fill of Maya battling these nut jobs, so unless that feeling wears off by early next year, Im not sure l’ll watch Chapter 3. A clever marketing ploy would’ve been to release all three films together as a triple header and do long, late night screenings. Maybe then Chapter 2 would’ve felt like a valid time investment.

SCORE:

Alex's Score 5/10

Kate’s Score 4/10

SWIPED

At the age of 30, Whitney Wolfe Herd (Lily James) became the world’s youngest self-made female billionaire. Initially one of the four co-founders of Tinder, Herd faced sexual harassment and toxic workplace behavior within the company. Following a nasty breakup with a colleague, she was eventually forced out. Motivated by her experiences and the desire to create a positive, safe online space for women, she started her own dating app called Bumble – which reached over 100 million users in 2020. This Hollywood biopic is part fact, part dramatisation. It highlights Herd’s struggle to break into the male-dominated tech industry, shedding light on the misogynistic “tech-bro” culture present in some startups. While it feels made for tv, this is a watchable film with an inspiring story.

SCORE:

Alex's Score 7.9/10

ALL OF YOU

Best friends since university, Simon (Brett Goldstein) and Laura (Imogen Poots) have always had unspoken feelings for each other. There’s no reason why they can’t be together, they’ve always denied their attraction. Set in the near future, technology exists that can determine someone’s soulmate, Laura decided to take the test. She discovers her soulmate is Lucas (Steven Cree) and they marry and have a child. Meanwhile, she ends up entangled with Simon. They engage in multiple affairs, seemingly without consequences, and struggle against Laura’s predetermined fate. Heavy in dialogue, I found the acting stilted, particularly from Goldstein who doesn’t quite have the rom-com lead vibe. His performance felt inauthentic and there was little chemistry between him and Poots, making their connection seem forced. Even Poots’ delivery of some lines felt off. The plot jumps forward in chunks, with no way to tell how much time has actually passed. Boringly, the story cycles in circles as Simon and Laura continuously get together, then pull away. While the film asks whether people can truly control who they love, it’s not a new concept and offers nothing fresh. The end gives zero payoff for sticking it out. An unappealing disappointment.

SCORE:

Alex's Score 4.5/10

LILITH FAIR: BUILDING A MYSTERY

In 1997, singer-songwriter Sarah McLachlan founded the groundbreaking all-female music festival ‘Lilith Fair’. At a time she was fed up with the misogyny she faced in the industry, like being told to lose weight and having radio stations refuse to play back-to-back female artists on air, believing listeners would change the station. This 90 minute doco captures how the festival was initially ridiculed, before it proved critics wrong with sold out shows and became a commercially viable hit, with 135 concerts held across America across three consecutive summers. Drawing from over 600 hours of footage, it also highlights how the festival provided a safe space for artists and attendees who often felt marginalised in their daily lives – including producer Dan Levy (‘Schitt’s Creek’) who attended when he was 12 years old. The Lilith lineup featured artists like Sheryl Crow, Tracy Chapman, Paula Cole, Jewel, the Indigo Girls, Missy Elliott, Sinead O’Connor, Nelly Furtado, Natalie Merchant, Shawn Colvin, Bonnie Raitt, Chrissy Hynde, Suzanne Vega, Erykah Badu, Liz Phair, Patti Smith, Emmylou Harris, and Lisa Loeb, to name a few. Despite growing sexist backlash and negative stereotypes (mostly from mainstream media) for the three years that it ran, the pioneering joy of Lilith Fair beat down its haters. McLachlan generously donated over $10 million from ticket sales to various women’s charities before ending the event in 1999, citing burnout. She built a mystery but left a legacy. Take a nostalgic trip down a musical memory lane.

SCORE:

Alex's Score 8/10

Amanda’s Score 8/10

WAYWARD

Trans police officer Alex (Mae Martin) moves to picturesque Tall Pines, Vermont, the small hometown of his pregnant wife Laura (Sarah Gadon) who left 15 years earlier. He becomes suspicious of activities at the Tall Pines Academy, a cult-like institution for wayward teens led by the mysterious Evelyn (Toni Collette). After discovering that dozens of students have run away or gone missing, Alex discovers the academy’s sinister nature and the strange control Evelyn exerts over the town. Teaming up with two troubled teens, Abbie (Sydney Topliffe) and Leila (Alyvia Alyn Lind) who are desperate to escape the institute, he uncovers Evelyn’s methods of emotional and psychological control, aimed at severing family ties. As the series unfold it becomes weirder and more unhinged but also more ridiculous. Non-binary actor Mae Martin, who wrote, created, and executive-produced the series, is unfortunately the weakest link. Their portrayal of Alex falls flat in believability and body language, and there’s zero chemistry between Alex and Laura. On the flip side, Toni Collette excels at playing evil and relishes her role as Evelyn – a woman teetering between a maternal facade and outright cruelty. The ending felt hasty and didn’t offer any satisfactory conclusions. It was clearly intended to leave the story open for a possible second season but rounding out the first one would’ve been a better reward for viewers who persevered that far. Mae Martin fans had high hopes for this show but it didn’t live up to its potential.

SCORE:

Alex's Score 6.5/10

Amanda’s Score 6.5/10

THE SMASHING MACHINE

Dwayne ‘The Rock’ Johnson stars as mixed martial arts (MMA) pioneer Mark Kerr in this biographical drama set in the late 1990’s. Based on real-life events from the 2002 doco ‘The Smashing Machine: The Life and Times of Extreme Fighter Mark Kerr’, it chronicles the early days of his career and his emerging dominance in the ring. It also exposes Kerr’s volatile and toxic relationship with girlfriend Dawn Staples (Emily Blunt) as well as his struggle with painkiller addiction. Johnson is unrecognisable as Kerr, with an even more jacked physique than usual, a realistic wig and dark contact lenses. In his most vulnerable and serious role yet, it’s the first time he’s shown his full acting range – or had material to work with that stretched his abilities. It’s a world away from his usual action comedy typecasting. He balances Kerr’s strength and sensitivity with an authentic rawness. Blunt also gives it her all as Dawn, a woman who is mentally unravelling. Both leads carry the film and are flawless in portraying their dysfunctional characters. This is a story about relationships first and fighting second. The fight scenes help push the narrative forward and involve bloody, intense bare-knuckle brutality. There’s a nice touch in the closing scene that brings the film into the present day. A gritty production that punches above its weight category.

SCORE:

Alex's Score 8.5/10

SPLITSVILLE

Carey’s (Kyle Marvin) wife Ashley (Adria Arjona) asks for a divorce, prompting him to seek support from friends Paul (Michael Covino) and Julie (Dakota Johnson). When he discovers that their happiness comes from an open marriage, he ends up in bed with Julie. This act strains his friendship with Paul, leading to chaos and disarray. An early fight scene between Carey and Paul is hilarious but it was the only time I laughed. This main issue with this film is that it tries too hard to be funny. Then, as the plot progresses, it becomes increasingly farcical and none of the characters have any redeeming qualities. Weirdly Marvin has several full-frontal nude scenes which feel out of place, especially since the other characters are always covered up. I’m not a nude prude, but seeing his junk again and again feels excessively gratuitous. A weird and chaotic movie about unlikeable people making a mess of their lives.

SCORE:

Alex's Score 6/10

THE TWELVE: CAPE ROCK KILLER

The third season of this legal anthology sees returning barrister Brett Colby (Sam Neill) defend the husband of a close friend, Alan Chaplan (William Zappa) who is accused of murdering a woman writing a book about an unsolved crime from 1968. His trial leads to the re-examination of the cold case, where the suspect who murdered two teenage girls on a Cape Rock beach has never been found. The series also delves into the impact the case has on the personal lives of its twelve jurors and how their emotional baggage and interactions impact their decision making. Filmed in Western Australia, the facade, staircase, and foyer of the real Parliament House stand in for the Supreme Court. Neill is decent in his role, thought the material isn’t much of a stretch for him. A well-crafted Aussie thriller, with a surprise twist at the end. Shout out to my friend Claire Leach who played juror Regina Lewis.

SCORE:

Alex's Score 7/10

Amanda’s Score 7/10

ONE BATTLE AFTER ANOTHER

Bob (Leonardo DiCaprio), a former revolutionary b*mb expert and member of the French75 gang, now lives in a secluded forest cabin with his 16-year-old daughter Willa (Chase Infiniti). A devoted dad, he spends his days in a haze of pot and paranoia. When Bob’s old adversary Colonel Stephen Lockjaw (Sean Penn) shows up, chaos reigns, forcing Bob and Willa to fight for their survival. Themes about the meaning of family and the ties that bind are set against a backdrop of politically charged tension – and this film has a lot to say. The action is relentless and the 2 hour and 50 minute runtime flies by. It features some impressive stunts and a tonne of laugh-out-loud moments, mostly revolving around a stoned Bob. The final car chase feels like you’re on a rollercoaster, placing you in the scene thanks to clever cinematography. DiCaprio is phenomenal as the erratic but likable Bob, while Penn embodies Lockjaw with an uptight, hair trigger malevolence. It’s the best performance of his career and he goes completely off the chain – your skin will crawl. Both could be in Oscar contention. Mention must be made of Benicio Del Toro as Willa’s Sensei, Sergio St Carlos, and Teyana Taylor as her tough-as-nails mother, Perfidia. The musical score has a Tarantino vibe to it at times, though the script is lacking his trademark violence. For all of the shootouts and explosions, the level of gore is low. A turbocharged, frenetic thriller!

SCORE:

Alex's Score 8/10

Amanda’s Score 7.5/10

KANGAROO

Disgraced and canceled TV weatherman Chris Masterman (Ryan Corr) ends up in a remote town in northern Australia after an on-air stunt goes awry. When he accidentally hits and kills a kangaroo with his Corvette, he discovers a joey still alive in her pouch and decides to take her to the town of Silver Gum. There he meets Charlie, an Indigenous girl who cares for orphaned joeys. Despite his reluctance, Chris becomes increasingly involved in raising the joeys with Charlie. His journey leads him to find a new family in the outback community and brings purpose to his life. Inspired by wildlife carer Chris ‘Brolga’ Barns, there’s a powerful conservation message woven throughout. This film superbly showcases country, colour, culture and kangaroos. What a marvellous mix! It’s funny, charming, and bursting with ocker heart. As a professional animal photographer who works with incredible Joey rescue organisations, I was moved to tears several times by the innocence and vulnerability of the adorable joeys. This is soul-stirring cinema, featuring breathtaking scenery, witty dialogue, and a phenomenal Aussie cast, including Deborah Mailman as Rosie, Ernie Dingo as Dave, Rachel House as Jessie (my favorite!), and Lily Whiteley as Charlie. Loved loved loved it.

SCORE:

Alex's Score 10/10

A BIG BOLD BEAUTIFUL JOURNEY

Two emotionally absent strangers, Sarah (Margot Robbie) and David (Colin Farrell) meet at a wedding and hit it off. They soon find themselves in a mysterious car that transports them to a series of magical doors – each one taking them back to a key moment in their life, forcing them to relive past experiences and confront their emotional baggage. By dealing with their past they start to develop a connection with each other in the present. Set in front of visually stunning cinematography, I found the pacing slow but steady. Robbie and Farrell have realistic chemistry and are strong leads – I was worried about his casting but he plays his role authentically. They are complemented by a talented ensemble cast, including Kevin Kline, Phoebe Waller-Bridge, and Jodie Turner-Smith. A nostalgic fantasy romance.

SCORE:

Alex's Score 7/10

I FOUGHT THE LAW

This three part drama is based on Ann Ming’s (Sheridan Smith) 17 year campaign to overturn the double jeopardy law in the United Kingdom. Her daughter Julie Hogg was murdered in 1989 and her body was discovered in her own home, hidden under the bathtub, 80 days later. Her killer Billy Dunlop was acquitted after two trials but later confessed to the crime in jail. Ming fought tirelessly to change the 800+ year old law, and pushed for the amendments to include retrospective retrials for the same offence. Her courage and tenacity eventually led to Dunlop being retried and finally convicted of Julie’s murder. This true story is infuriating, filled with antiquated legal processes and police incompetence. It’s satisfying to know that justice was eventually served, but only because Ming refused to give up. Smith delivers an emotional, convincing portrayal of the devastation and frustration Ming felt. The supporting cast are brilliant and I loved the footage of real-life Ming interacting with them in the final scenes – it really rounded out this moving and compelling series.

SCORE:

Alex's Score 8/10

Amanda’s Score 8/10

THE GIRLFRIEND

Robin Wright (Laura Sanderson) and Olivia Cooke (Cherry Laine) play a game of who’s the biggest psycho in this series. Cherry, a working-class real estate agent, is dating Laura’s son Daniel, and their initial encounter leads to tension after it gets off on the wrong foot. Laura quickly suspects that Cherry is a gold-digging social climber interested only in Daniel’s money. Her desire to protect her son becomes obsessive, blurring the lines between caution and paranoia and she takes extreme measures split them up. Is her behaviour justified or is she losing her grip on reality? Each of the six episodes is presented from Laura and Cherry’s varying points of view, making viewers question who is telling the truth. While the actors fulfil their roles adequately, and the production quality has a stylish aesthetic, none of the characters have any redeeming qualities and there are a few narrative gaps. It’s still engaging enough to keep you watching until the end, eager to find out who to believe. A standout is the soundtrack which dominates every scene, thanks to hits by Lorde, Billie Eilish, PJ Harvey, Diana Ross, Blonde, Macy Gray, Bruno Mars, and the Fine Young Cannibals, to name a few.

SCORE:

Alex's Score 7/10

Amanda’s Score 6.5/10

BARBARA WALTERS: TELL ME EVERYTHING

This engaging documentary is a deep dive into the life and career of iconic journalist Barbara Walters. Known for her fearless interview style, she spoke with world leaders, celebrities, and controversial figures, breaking new ground for women in broadcasting. The sexism, objectification, and bullying she endured from her male colleagues only strengthened her desire to succeed. Featuring behind-the-scenes moments from her most famous interviews and personal anecdotes from Walters herself, the 95 minute run time delivers a comprehensive look at her legacy. The closing scenes depict her final appearance on talk show ‘The View’ in 2014, where a group of accomplished female journalists (including Oprah Winfrey, Katie Couric, and Diane Sawyer) surprise her live on air to express their gratitude. This powerful moment stands as a testament to how Walters paved the way for others to follow. Formidable, pioneering and fearless.

SCORE:

Alex's Score 8/10

LESBIAN SPACE PRINCESS

Introverted lesbian Princess Saira must rescue her ex-girlfriend Kiki after she is kidnapped by three ‘Straight White Maliens’. To save Kiki she embarks on a colourful, intergalactic adventure, pushing through her own self-doubt and agoraphobia, while travelling on a problematic spaceship. Including the voices of Shabana Azeez, Richard Roxburgh, Reuben Kaye and Kween Kong, this Aussie produced animation has moments of humour amidst a zany plot, filled with a crude queer lightheartedness. Some big topics are covered in an almost cheerful manner, leaving the discerning viewer to read between the lines. Not quite my bag but I loved how much my fellow cinema goers were into it – they rolled around with glee at every scene. Has a similar vibe to “Rick and Morty” in how it embraces the LGBTQIA+ community.

SCORE:

Alex's Score 6/10

Steve’s Score 8/10

POINTE: DANCING ON A KNIFE’S EDGE

This Australian-made documentary follows the healing journey of Floeur Alder, daughter of ballet royalty Lucette Aldous and Alan Alder. In the year 2000, at age 22, Floeur was brutally stabbed through her face and neck by a stranger outside her home on a suburban Perth street. The perpetrator who has never been found. She courageously faced the physical and emotional aftermath of this senseless act while trying to rebuild the dance career she loved. As she worked through her trauma, she also grappled with the difficulty of living up to her parents’ world famous dance legacy. Told through archival footage and with interviews from key individuals in Floeur’s life, the story heavily focuses on the profiles of Lucette and Alan and will primarily appeal to WA Academy of Performing Arts students (where Floeur now teaches) and those in the dance community. It felt like a personal project made for family and friends, and would’ve made an engaging 30 minute episode of ‘Australian story’.

SCORE:

Alex's Score 6/10

Kelly’s Score 5/10

DIAMANTI (DIAMONDS)

Filmmaker Ferzan Özpetek (the actual director of this movie) plays himself and invites a group of Italian actresses to lunch. He excitedly shares the idea for his next project – a screenplay that centres on a 1970’s all-female fashion house called ‘Sartoria Canova’ run by two sisters, Alberta (Luisa Ranieri) and Gabriella (Jasmine Trinca). Their team of talented dressmakers and tailors create intricate costumes for the film industry and are under immense pressure to meet an urgent order from an Oscar-winning client. During the lunch, Özpetek imagines how his story will unfold, picturing the personal and emotional struggles of the characters, who are “like diamonds, not easily broken.” This film within a film has witty dialogue and is playfully cheeky. It’s melodramatic in places but has enough humorous moments to keep it from feeling heavy. Ranieri delivers a commanding performance as emotionally abrupt Alberta, while the supporting cast enhances the richness of the story. I loved how it emphasised the deep bonds that connect women and perfectly captured the strength of female friendship. Regrettably the magnificent dress feature on the poster didn’t make an appearance on screen, which felt slightly misleading.

Viewed as a preview to the 2025 Italian Film Festival. Italian with English subtitles.


SCORE:

Alex's Score 8/10

Duncan’s Score 6.5/10

THE BALLAD OF WALLIS ISLAND

Eccentric lottery winner Charles (Tim Key) lives in a large house on remote Wallis Island. In an attempt to relive the past, he commissions his favourite folk musicians Herb McGwyer (Tom Basden) and Nell Mortimer (Carey Mulligan) from ‘McGwyer Mortimer’ to visit the island for an exclusive private concert. McGwyer and Mulligan are former lovers who haven’t spoken in over nine years and still harbour resentment towards each other. As old tensions resurface, Charles desperately tries to hold onto his dream of the duo performing again, but nothing goes to plan. The performances of all three leads are outstanding, particularly Key (who is a co-writer with Basden) as well-meaning but bumbling Charles whose loneliness is gut wrenching. Filled with nostalgia and humour, the story explores meaningful themes of letting go, moving on and the power of music, with breathtaking visuals of the Welsh coastline adding to its charm. Enjoyable and meaningful, with a tonne of heart.

SCORE:

Alex's Score 7.9/10

THE LONG WALK

The Long Walk is a brutal annual test of endurance in dystopian America where 50 boys are selected by lottery to walk along a pre-determined route. They must maintain a steady pace of at least 3 miles per hour and receive a warning if they fall below this speed for more than 10 seconds – three warnings result in on-the-spot execution by a soldier. The sole survivor wins the ultimate prize of having anything they want for the rest of their lives. Powerful themes of human endurance and connection flow throughout, as the boys battle physical and emotional pain, while forming intense friendships along the way. The casting is exceptional and despite the only big name being Mark Hamill (as The Major), every single actor holds their own, especially Phillip Seymour Hoffman’s son Cooper Hoffman as Ray Garraty and David Jonsson as Peter McVries … plus they filmed all of their dialogue while in perpetual motion! Uncluttered and intentional cinematography is used to emphasise the starkness of the environment and the gravity of the journey. With the tag line of “Walk or die” you go into this film knowing that 49 of the boys will be executed but it still doesn’t prepare you for the harrowing experience of watching their deaths unfold. It shakes you to your core and shatters you emotionally. Even if you feel ready, you won’t be. For a film to be considered phenomenal it needs to have impact, make you think, and stay with you for a very long time… this checks all of those boxes. Another outstanding Stephen King adaptation.

SCORE:

Alex's Score 10/10

Saraj’s Score 8/10

Theresa’s Score 7/10

HONEY DON’T!

Queer private investigator Honey O’Donahue (Margaret Qualley) starts looking into the suspicious death of a young woman, which quickly leads her to a cult-like church and its slimy, charismatic leader, Reverend Drew Devlin (Chris Evans). The film is set against the depressing, dusty location of Bakersfield, California, with gritty noir-inspired cinematography. As a modern take on the classic detective story, it blends sharp wit and dark humour with wincing violence. Loved the performances of Qualley (who was mesmerising in her deliberateness) and Evans (who was grotesque in his self-reverence) and the concise dialogue that cuts straight to the point. I just wished it had 15 additional minutes added in at the end to fully flesh out the story and not wrap it up as neatly and quickly as it did. The plot twist was unexpected though! Left me wanting slightly more.

SCORE:

Alex's Score 8/10

THE CONJURING: LAST RITES

Set in the 1980s, this ninth installment in the franchise sees the return of paranormal investigators Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) reluctantly taking on one final case. Inspired by a real-life haunting in Pennsylvania, they are tasked with exorcising a demon from the Smurl family’s residence and saving their possessed daughter Judy (Mia Tomlinson). Creepy fan-favourite doll Annabelle, featured in three previous Conjuring universe films, also makes an appearance. Dark, moody cinematography, styled to reflect the 80’s, plus a relentless stream of bone-shaking scares, deliver plenty of horror chills. The plot is reasonably engaging but promoting this movie as truth is questionable given a large amount of creative license has been taken with the story and Judy’s involvement in the Smurl’s situation was 100% fictional. The “farewell” ending was too sentimental for my liking and felt like an undeserved shortcut for this final chapter. Spooky and unnerving but nothing overly new.

SCORE:

Alex's Score 7/10

Amanda’s Score 8/10

BAD GUYS 2

Reformed Bad Guys, Mr Wolf, Mr Shark, Ms Tarantula, Mr Snake, and Mr Piranha, are trying to build new lives and earn respect as the Good Guys. Their attempts at honest living on the right side of the law are interrupted when an all-female gang, led by Kitty, uses the Bad Guys’ signature crime style to frame them for a major heist. Captured by Kitty’s gang, the Bad Guys are forced out of retirement for one last job. Kitty demands they help her steal a rocket ship and threatens to reveal the true identity of Mr. Fox’s girlfriend, Governor Diane Foxington who is secretly a notorious villain called Crimson Paw, if they refuse. The likeable gang features the original voices of Sam Rockwell (Mr Wolf), Marc Maron (Mr Snake), Awkwafina (Ms Tarantula), plus the dulcet tones of newcomer Natasha Lyonne (Doom). This fun animated tale has ample action sequences, puns, jokes, and thumping beats to entertain both kids and adults. It also weaves in meaningful lessons about friendship, loyalty, and good triumphing over evil. There isn’t much depth but it’s still a colourful, engaging and high-spirited watch. “What the thorax?” indeed.

SCORE:

Alex's Score 7/10

HER LAST BROADCAST: THE ABDUCTION OF JODI HUISENTRUIT

This three-part documentary series explores four possible suspects in the 1995 abduction of news anchor Jodie Huisentruit. She disappeared under mysterious circumstances from the parking lot of her Iowa, USA, apartment after failing to show up for work one early morning. Interviews with friends, coworkers, and police piece together her last days and help to create a profile of her potential assailant, but I found it frustrating that no definitive resolution was reached. The current sergeant in charge of the case, Terrance Prochaska, has evidence that still hasn’t been tested for DNA (in 30 years!) and he played the “unable to comment due to an active investigation” card multiple times. It seemed like the series was the passion project of investigative journalist Maria Awes, and while her commitment to uncovering the truth is commendable, with so many areas off-limits and no firm conclusions made, maybe the timing of it was premature. It didn’t further the case at all. Fingers crossed Sgt Prochaska knows as much as he was implying.

SCORE:

Alex's Score 6/10

Amanda’s Score 6.5/10

HEADS OF STATE

After U.S. President Will Derringer (John Cena) and U.K. Prime Minister Sam Clarke (Idris Elba) have a public disagreement, their aides suggest they present a united front and fly to an upcoming NATO summit together. En route, Russian arms dealer Viktor Gradov (Paddy Considine) shoots down their plane but the leaders miraculously survive by parachuting down to the ground. Stranded in enemy territory, they go on the run from Gradov’s men and are forced to work together to stay alive. Meanwhile a joint MI6/CIA team is tracking Gradov, a global surveillance program called ECHELON has been hacked, and Derringer and Clarke still need to reach the NATO summit. Yep, it’s as far fetched as it sounds. The producers seem to be relying on the star power of the leads to attract an audience. Cena plays to type but Elba’s talents are wasted in this over the top action flick. The fast pace and lightheartedness will appeal to those with zero expectations, but if you’re looking for something with more substance you’ll be disappointed. There’s a reason it was only made for streaming. Average on all levels.

SCORE:

Alex's Score 6/10

HEART EYES

When advertising agency colleagues Ally (Olivia Holt) and Jay (Mason Gooding) are forced to collaborate on a project, they decide to meet for dinner, coincidentally on Valentines Day, to prepare. While at the restaurant Ally spots her ex-boyfriend with his new partner, and in an impulsive moment she kisses Jay. They get noticed by the ‘Heart Eyes Killer’ who mistakenly believes they’re a couple. Throughout the night, they are relentlessly pursued by the masked murderer and must fight to survive. Along the way their relationship begins to develop, adding another layer to their already tense situation. There are a few slapstick, funny moments and some quirky kills, blending slasher and rom-com elements. But as the plot progresses, it becomes increasingly ludicrous and is really silly by the end. Sometimes it’s ok to keep it simple.

SCORE:

Alex's Score 5/10

JAWS

Run, don’t walk, into your local cinema to watch the 50th anniversary re-release of this iconic film. For those of us who were too young (ahem!) to catch the original on the big screen, it’s a must see. It still holds as much tension and horror as it did back in 1975. I will forever be team shark but the acting, special effects and cinematography make it the perfect film. I said what I said. Highly recommended!

SCORE:

Alex's Score 10/10

Amanda’s Score 9.5/10

Duncan’s Score 9.5/10

THE ROSES

CONTAINS SPOILERS! As a reviewer I know that having high expectations before a film’s release is risky and can lead to disappointment. Sometimes it’s hard not to though, especially when a trailer is excellent. I was so looking forward to this remake of ‘The War of the Roses’ … but didn’t love it as much as I’d hoped to. It’s good but I wanted it to blow the roof off. Benedict Cumberbatch and Olivia Colman play husband and wife, Theo and Ivy. When Ivy’s career as a chef takes off, Theo’s days as an architect come to an abrupt end after one of his buildings disastrously collapses. He decides to stay home and care for their twins, which leads to a strange subplot involving Theo imposing a militarily style, almost abusive, fitness regime on them. He also seems obsessed with making sure their daughter doesn’t grow up to be “fat” which is ick. Theo and Ivy’s different trajectories cause them to drift apart and they begin to question why they’re still together. Things quickly head south. Cumberbatch masterfully portrays Theo’s nuances, to the point that I despised the character. He spent years irresponsibly and recklessly spending Ivy’s money on a house he designed, which she then had to fund by opening more restaurants. When they decide to divorce, he selfishly demands full ownership of the house and criticises Ivy for never being at home. He claims to have raised the children alone, when his lack of financial contribution forced Ivy to work relentlessly to cover his excessive expenditures and pay their bills. His vindictive actions in burning her antique cookbooks, destroying her one-of-a-kind French stove, and attempting to poison her with raspberries (which she’s fatally allergic to) were malicious and downright criminal. What a coat tail riding grifter! Coleman shines in any role she takes on and her monologue near the end of the film was “chefs kiss”. She’s one of my favourite actors and does her absolute best with the material. Knowing that Cumberbatch and Coleman are good friends in real life definitely influenced my perception of their on screen relationship. I felt like they were two mates playing around on set, pretending to be married. While their chemistry didn’t quite reach that of a couple in love, they were still highly entertaining to watch, and the snarky barbs they traded landed effectively. Sadly the supporting characters were just okay and none of them had any redeeming qualities. I was confused by Kate McKinnon’s role which felt like a series of average SNL skits. On the flip side, the film made me laugh multiple times and the audible joy of one lady in the cinema made me laugh even more. The ending satisfactorily wrapped up a dysfunctional relationship where the parties can’t be together but can’t be apart. It was a decent compromise considering my dislike for Theo. Worth a watch for the leads, especially Coleman.

SCORE:

Alex, Duncan S and Sharon’s Score 7.5/10

Duncan D, Ann, Tony, Saraj and Natasha’s Score 9/10

Amanda’s Score 8.5/10

Angela and Kyleigh’s Score 8/10

Kelly, Emilee and Chris’s Score 7/10

Leanne's Score 6.5/10

Mick’s Score 6/10

CAUGHT STEALING

Director Darren Aronofsky delivers with this crime thriller. Austin Butler stars as Hank Thompson, a former baseball prodigy turned bartender who gets caught up in a dangerous web of violence in New York City. When Hank agrees to watch his neighbour’s cat Bud, he unwittingly attracts the attention of ruthless Russian mobsters and menacing Hasidic thugs, who suspect he has information about stolen money. As Hank fights to survive and clear his name, he must also grapple with his past failures. Butler sure can act and gives it his all as flawed but likeable Hank. The supporting cast includes Regina Butler, Zoe Kravitz, Bad Bunny, and Liev Schreiber. Amongst the action is a pulsing 90s playlist and a charming feline called Tonic who plays Bud. The plot sounds ridiculous on paper but the way it unfolds makes it completely believable, full of unexpected twists and turns with several “I did not see that coming!” moments. It’s best to not know too much about this film before you watch it and thankfully the trailer doesn’t give away any secrets. Just sit back and enjoy. A rollicking vibe and a cute cat!

SCORE:

Alex's Score 9/10

Megan’s Score 9/10

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