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

AILEEN: QUEEN OF THE SERIAL KILLERS

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

SCORE:

Alex's Score 8/10

Amanda’s Score 8/10

DIE, MY LOVE

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

SCORE:

Alex's Score 3/10

Paul, Sue and Nimmi’s Score 8/10

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

Tony and Michelle’s Score 6/10

Lucy's Score 5.5/10

Fiona, Lisa and Janine’s Score 5/10

Penny’s Score 4/10

Duncan’s Score 3.5/10

FAMILIAR TOUCH

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

SCORE:

Alex's Score 8/10

FRANKENSTEIN

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

SCORE:

Alex's Score 7.5/10

TWINLESS

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

SCORE:

Alex's Score 8/10

GOOD FORTUNE

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

SCORE:

Alex's Score 8/10

Amanda’s Score 8/10

BUGONIA

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

SCORE:

Alex's Score 9.5/10

Saraj’s Score 9/10

Kate’s Score 9/10

STEVE

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


SCORE:

Alex's Score 6/10

EDEN

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

SCORE:

Alex's Score 5.9/10

Amanda’s Score 6.5/10

TRUE HAUNTING

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

SCORE:

Alex's Score 5.9/10

FWENDS

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

SCORE:

Alex's Score 7/10

A HOUSE OF DYNAMITE

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

SCORE:

Alex's Score 7/10

Amanda’s Score 6.5/10

TASK

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

SCORE:

Alex's Score 8/10

Amanda’s Score 8/10

BLACK PHONE 2

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

SCORE:

Alex's Score 5/10

Kate’s Score 5/10

REGRETTING YOU

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

SCORE:

Alex's Score 7.5/10

Sharon and Chris’s Score 10/10

SPRINGSTEEN: DELIVER ME FROM NOWHERE

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


SCORE:

Alex's Score 6.5/10

BALLAD OF A SMALL PLAYER

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

SCORE:

Alex's Score 7/10

NIGHT OF THE ZOOPOCALYPSE

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

SCORE:

Alex's Score 7.9/10

THE PERFECT NEIGHBOUR

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

SCORE:

Alex's Score 7.5/10

Amanda’s Score 7.5/10

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

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