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

GOODBYE JUNE

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

SCORE:

Alex's Score 5.9/10

Amanda’s Score 6/10

AVATAR: FIRE AND ASH

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

SCORE:

Alex's Score 5/10

Amanda’s Score 5/10

PLURIBUS

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

SCORE:

Alex's Score 10/10

Amanda’s Score 9/10

IT WAS JUST AN ACCIDENT

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

SCORE:

Alex and Amanda's Score 6.5/10

Steve’s Score 6/10

Kelly and Duncan’s Score 5.5/10

Tony’s Score 3/10

ANACONDA

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

SCORE:

Alex's Score 8.5/10

Amanda’s Score 8/10

Duncan’s Score 7.5/10

Fiona’s Score 7/10

THE DEATH CAP MURDERS

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

SCORE:

Alex's Score 7/10

Amanda’s Score 7.5/10

THOUGHTS AND PRAYERS

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

SCORE:

Alex's Score 7.5/10

Amanda’s Score 7.5/10

SEAN COMBS: THE RECKONING

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

SCORE:

Alex's Score 8.5/10

NO OTHER CHOICE

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

SCORE:

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

Simon’s Score 8/10

Steve, Kim, Lisa’s Score 7.5/10

THE HOUSEMAID

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

SCORE:

Alex's Score 8/10

Amanda’s Score 8/10

IT: WELCOME TO DERRY

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

SCORE:

Alex's Score 9/10

Amanda’s Score 8.5/10

DJ AHMET

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

SCORE:

Alex's Score 9/10

KOKUHO

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

SCORE:

Alex's Score 7.5/10

Leon’s Score 4/10

ELLA MCKAY

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

SCORE:

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

THE HISTORY OF SOUND

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

SCORE:

Alex's Score 8/10

MALICE

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

SCORE:

Alex's Score 6/10

Amanda’s Score 6.7/10

DOWN CEMETERY ROAD

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

SCORE:

Alex's Score 6.5/10

Amanda’s Score 6.5/10

THE ABANDONS

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

SCORE:

Alex's Score 9/10

Amanda’s Score 9/10

ALL’S FAIR

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

SCORE:

Alex's Score 7.5/10

Amanda’s Score 7/10

THE CHAIR COMPANY

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

SCORE:

Alex's Score 7.5/10

Amanda’s Score 7/10

THE SPONGEBOB MOVIE: SEARCH FOR SQUAREPANTS

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

SCORE:

Alex, Kyleigh and Emilee’s Score 8/10

Lenny’s Score (6 years old) 10/10

FACKHAM HALL

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

SCORE:

Alex's Score 7.9/10

FIVE NIGHTS AT FREDDYS 2

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

SCORE:

Alex's Score 4/10

RENTAL FAMILY

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

SCORE:

Alex's Score 9/10

Steve’s Score 8/10

SENTIMENTAL VALUE

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

SCORE:

Alex's Score 7.5/10

ETERNITY

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

SCORE:

Alex's Score 8/10

Jason’s Score 7/10

ZOOTOPIA 2

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

SCORE:

Alex's Score 7.5/10

David's Score 7/10

URCHIN

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

SCORE:

Alex's Score 7/10

Kate’s Score 7.5/10

Leon’s Score 7/10

PRIME MINISTER

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

SCORE:

Alex's Score 10/10

I AM MARTIN PARR

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

SCORE:

Alex's Score 7.5/10

DRAGONFLY

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

SCORE:

Alex's Score 8/10

THE DEATH OF BUNNY MONRO

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

SCORE:

Alex's Score 5.5/10

Amanda’s Score 5/10

MY BROTHER’S BAND

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

SCORE:

Alex's Score 8/10

Duncan’s Score 7/10

THE MASTERMIND

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

SCORE:

Alex's Score 5.9/10

RECKLESS

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

SCORE:

Alex's Score 8/10

Amanda’s Score 8/10

NUREMBERG

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

SCORE:

Alex's Score 9/10

Amanda’s Score 9/10

JAY KELLY

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

SCORE:

Alex's Score 8/10

LURKER

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

SCORE:

Alex's Score 7.5/10

DEAD OF WINTER

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

SCORE:

Alex's Score 5/10

Magdalene’s Score 7.5/10

Amanda, Glenn and Simona‘s Score 7/10

MISTRESS DISPELLER

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

SCORE:

Alex's Score 7.9/10

SISU: ROAD TO REVENGE

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

SCORE:

Alex's Score 5/10

COME SEE ME IN THE GOOD LIGHT

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

SCORE:

Alex's Score 10/10

Amanda’s Score 10/10

THE BEAST IN ME

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

SCORE:

Alex's Score 7.5/10

Amanda’s Score 7.5/10

WICKED FOR GOOD

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

SCORE:

Alex's Score 6/10

Amanda’s Score 7/10

THE THING WITH FEATHERS

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

SCORE:

Alex's Score 8/10

YURLU | COUNTRY

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

SCORE:

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

ALL HER FAULT

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

SCORE:

Alex's Score 6.5/10

Amanda’s Score 6/10

KEEPER

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

SCORE:

Alex's Score 4.5/10

NOW YOU SEE ME : NOW YOU DON’T

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

SCORE:

Alex's Score 5/10

Chloe’s Score 7/10

Amanda and Saraj’s Score 6/10

Andii’s Score 5/10

LAST BREATH

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

SCORE:

Alex's Score 7/10

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