Biography

FROM HILDE, WITH LOVE (IN LIEBE, EURE HILDE)

Directed by Andreas Dresen
Starring Liv Lisa Fries and Johannes Hegemann

By virtue of the sheer volume of lives taken and devastatingly impacted during The Holocaust, it more than understandably and deservedly is central to almost all WWII films set in Europe, especially in Germany. There are, however, other stories too. Stories that certainly do not match the magnitude of true accounts to emerge from the years-long genocide of European Jews (yes, I’m referencing you, Schindler’s List) yet demonstrate that if people were not actively supporting the Nazi agenda, they were against it and treated as an enemy. From Hilde, With Love presents one of those other stories.

It is 1942 in Berlin when a heavily pregnant young woman, Hilde (played by Liv Lisa Fries from TV series Babylon Berlin and the new Anthony Hopkins film, Freud’s Last Session) is taken from her home by members of the Gestapo, interrogated, and imprisoned indefinitely. They have reason to believe that Hilde, together with her husband Hans (Johannes Hegemann), is part of a German resistance group to Nazism. From Hilde, With Love details Hilde’s imprisonment as she awaits a trial date and learns of her fate while providing regular flashbacks centred on her passionate romance with Hans.

Taking nothing away from Holocaust films and the devastating, powerful and consequential true stories they often present, it was refreshing to view a WWII film set in Germany that portrays the true account of another victim of the war the world is far less acquainted with. As a production, From Hilde, With Love contains all of the content required to support the significance of its story, which is enough on its own to pack quite an emotional punch. However, the manner in which this story has been packaged unfortunately lets it down. The frequent flashbacks to various and unspecified timelines prior to Hilde’s imprisonment pull viewers out of the state of uncertainty, anxiety, and limbo she is stuck in. The events depicted prior to her being detained are absolutely of importance to the central story, the characterisation, and also change the tone of the movie by way of infusing it with plenty of romance. Instead, they often feel like an unwelcoming and interrupting distraction, slow the overall pace of the film in an uncomplimentary way and left me wishing this story was told in chronological order. One noteworthy aspect that does remain a more positive contribution all throughout though is the anchoring performance of Liv Lisa Fries.

From Hilde, With Love is showing in selected cinemas across Australia as part of the HSBC German Film Festival from the 10th – 29th of May.

Moviedoc thanks Palace, the HSBC German Film Festival, and Miranda Brown Publicity for the invitation to the screening of this film.

Review by Leigh for Moviedoc

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JEANNE DU BARRY

Directed by Maïwenn
Starring Maïwenn, Johnny Depp, Benjamin Lavernhe, and Melvil Poupaud

By now, we are well accustomed to Hollywood actor Johnny Depp portraying unique characters (The titular character in 5-star classic Edward Scissorhands) and applying his unique influence (for better or for worse) to certain characters (Willy Wonka in Charlie and the Chocolate Factory, Jack Sparrow in the Pirates of the Caribbean film series). Now, Johnny Depp fills a unique role, even for him, impressively speaking entirely in French portraying the Versailles-sitting and Vichy water-drinking King Louis XV of France!

His occupancy in such a role might sound like a Golden Raspberry nomination in waiting to some. However, this brave offer by director Maïwenn, whose passion project this is, and Depp’s decision to accept and fully commit as he does, elicits some of the best work we’ve seen from him in a decade.

Jeanne du Barry begins by chronicling the early and formative years of Jeanne Vaubernier (acted by co-writer and director Maïwenn) in 1700s France, as she finds her way from impoverished foundations to securing residence as King Louis XV’s lover/mistress in Versailles. When Jeanne first formally meets with King Louis XV, she learns he is quite bored by the same daily routines that rule his existence and doesn’t necessarily take his royal role quite as seriously as an outsider would expect. This, his well-documented infidelity, and Jeanne’s working-class status, ruffle the feathers of his 4 perpetually outraged daughters. Needless to say, they do not acknowledge let alone approve of Jeanne’s existence among their family and will stop at nothing to ensure her days in Versailles are numbered.

It is evident from early into this period drama that director and star Maïwenn has worked overtime and tirelessly in bringing this story, its characters, and the production to life. Though its script and storytelling does have its shortcomings, the Oscar-worthy ® production values of Jeanne du Barry make it a stunning spectacle to survey. Costume design, hair & make-up, and locations (including partial filming at the real Versailles) are lavishly detailed and world-class. Due to Versailles’ very limited filming opportunities, production and set designs had to be created to film many scenes that took place there, but you wouldn’t pick the difference. These, as well as being beautifully shot on 35mm film cameras, capture and maintain a resounding grandness to the production that are victorious. Where this film isn’t as victorious is in its second half. The story forms a tendency to lean more heavily than it ought to on its narration to clarify and further elaborate on what movie could and should be doing without this. As a result, it can occasionally feel as though the story is lacking some direction. Also, not all attempts to infuse the film with humour quite pay off in my view. The characterisation of King Louis XV’s 4 daughters and the actress’ performances (especially India Hair) are too caricature. That said, the story’s focus never shifts far from its three most likeable and intriguing characters; King Louis XV, his loyal Valet de chambre La Borde (a brilliant performance from Benjamin Lavernhe), and our titular character. In doing so, Jeanne du Barry is always entertaining.

Jeanne du Barry is showing in selected cinemas across Australia from April 18th.

Moviedoc thanks Palace Films and The Backlot Studios for the invitation to the screening of this film.

Review by Leigh for Moviedoc

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WICKED LITTLE LETTERS

Directed by Thea Sharrock
Starring Olivia Colman, Jessie Buckley, Timothy Spall, Gemma Jones, Malachi Kirby, Alisha Weir, Anjana Vasan, Hugh Skinner, and Paul Chahidi

Edward and Victoria.

In a film titled Wicked Little Letters where two of its central characters possess these names, you would be forgiven for believing this to be a period film revealing the heavily classified content of letters penned by Prince Edward and/or Queen Victoria themselves!

Well, spoiler alert, if these or any Royals for that matter, are revealed as the anonymous authors behind the crude vocabulary and insulting profanities shared throughout Wicked Little Letters by its end, that will spell the end of the monarchy as we know it!

Rather, Edward and Victoria here (played by Timothy Spall and Gemma Jones) are the arch conservative parents of the repressed scripture-quoting Edith (Olivia Colman). In this stranger-than-fiction true story set during the 1920s in a post-war English seaside town, Edith is the recipient of numerous blasphemous letters whose content would be enough to make most regular citizens blush. Instead of launching her own investigation into who is writing and sending these to her, Edith and her parents, whom she lives with, decide to go straight to the police. All of them set their sights on the one convenient culprit it just has to be – the potty-mouthed and widowed Irish migrant living right next door, Rose (Jessie Buckley). In Rose’s corner, however, is Police Officer Moss (played by Anjana Vasan), the town’s lone female cop who observes some facts in need of straightening and begins her own investigation into the case.

In addition to the reasonable doubt in evidence mounted against Rose, Officer Moss is also further motivated to help her because of the equally poor treatment of women by men they are subject to. Irrespective of where that discriminatory treatment is occurring – being ostracised at the workplace, scorned at by society in general or forced to be a proper ‘lady’ and ‘Christian’ inside the home, and which female character is subject to it, this is a theme that is seamlessly integrated into the story and ultimately plays a pivotal role in proceedings. It is really well executed in that it adds all the depth and heart it needs to without ever diminishing or over-powering this film’s effortless ability to entertain and evoke great cheer. That is despite its chosen style in acting to be uniformly hammy. While I accept its constant presence may be too much for some, it was something I could embrace and felt it had its place. Especially towards the end in an absolute hoot of a scene Olivia Colman nails (I am still laughing days later when reminiscing this particular scene).

Wicked Little Letters is showing in selected cinemas across Australia from March 21st.

Moviedoc thanks Studiocanal and Annette Smith: Ned & Co for the invite to the screening of this film.

Review by Leigh for Moviedoc

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Leigh’s Best & Worst Movies, Moments and Performances of 2023

An annual accomplishment I enjoy sharing is the volume of motion pictures released in Australia I have seen. As of now, that number for 2023 stands at 168 films with around 30 movies still to be seen on my watch list! But that will begin to change in 2024!

Perhaps this can be considered a New Year’s resolution of sorts, but I am opting for quality over quantity in 2024 and also more carefully selecting the movies I watch according to both personal taste and reliable word of mouth rather than seeing endless spin-offs and sequels out of self-directed obligation. The motivation for this change is to enable myself to see a number of older and classic films I ashamedly have never viewed and to experience films at film festivals, which never manage to be a priority due to my current new release watch list at the time.

Nevertheless, I guarantee you spoiler-free reviews of various movies throughout 2024 and promise there will always be something for all tastes at Moviedoc HQ 🙂

Now, to what you’re all really here for. Here are the best & worst in movies from 2023. For the best, I’ve decided to include all films I awarded four stars or more to this year. Also, a gentle reminder that I do things a little differently to most other critics and collate my movies according to their official release date in Australia.

The 15th time director Ken Loach and writer Paul Laverty team up may very well be their last in the wonderfully empathetic drama, The Old Oak.

Joyland is an incredibly brave film from Pakistan about a married man who becomes infatuated with a transgender woman, who I mention further below as a stand-out performer.

A tie between two extraordinarily different Amazon release documentary features, the comprehensive and utterly informative 3-hour Getting Away With Murder(s) and the very touching and compact 82-minute The Defenders.

A gut-wrenching depiction of depression in The Son, starring Hugh Jackman, Zen McGrath, Laura Dern, and Vanessa Kirby.

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The moment Willy introduces the hair repair eclair in Wonka, I just knew this creatively concocted sweet treat for the family needed to be in my top films of 2023 list!

The touching true story of “The British Schindler” as depicted in One Life.

Since its July release in Australia, Aussie horror gem Talk to Me has gone on to become a huge box office success abroad, becoming American distributor A24’s highest-grossing horror film and second-highest grossing film overall. It is my runner-up for both best Australian film of 2023 and best horror film of 2023. It’s a beauty mate, check it out if you haven’t already!

As its title suggests, Sharper is a sharp, thoughtfully conceived, and well-structured crime drama/thriller. One of my few underrated movies of the year. Stars Julianne Moore and Sebastian Stan.

An inspirational and touching true story is elevated by Jimmy Chin and Elizabeth Chai Vasarhelyi’s (Directors of the duo of excellent documentaries Free Solo and The Rescue) smart direction to tell Nyad’s story and by the acting performances of Annette Bening and Jodie Foster, which is truly something special to behold.

At first, Maestro can appear to solely be Bradley Cooper’s entry strategy to the Academy Awards ®, if you get my drift. But in no time at all, this superbly constructed and written true story unveils its depth, becomes immersive and is impeccably acted by both Bradley Cooper and the always magnificent Carey Mulligan. After Maestro and A Star is Born, Bradley Cooper is absolutely one of Hollywood’s leading directors right now.

Undoubtedly in many critics’ top movies list for the year and probably a favourite for many of you, Oppenheimer’s outstanding production, competent storytelling and fine acting performances will earn it several Oscar ® nominations (and wins, surely) and make it mandatory to be in my top films list.

News of the ‘Brennaisance’ has sunk, but The Whale remains afloat as one of this year’s greatest releases.

Saltburn is Emerald Fennell’s follow-up to her Oscar-winning writing and directing debut feature, Promising Young Woman, is another gutsy and tremendous film experience that takes viewers on an all-new mesmerising and unforgettable journey.

Thanks largely to its characters, characterisation and writing, American remake A Man Called Otto starring Tom Hanks surprisingly surpasses the very good Swedish original.

The Origin of Evil (L’origine du Mal) is one of my personal favourites of the year. A well-crafted French dramatic thriller starring a superb Laure Calamy (who is everywhere in French cinema right now!) that features a number of devilish twists I certainly didn’t see coming!

An underrated and genuine surprise of the year was Joy Ride, a raunchy comedy with real heart that brought me to tears in more ways than one.

Ari Aster is a genius who plunges his protagonist, Beau, barely living an idyllic life to begin with, into a surreal nightmare that gets more outrageous and disconcerting with every minute of its 2 hours and 59 minutes run time. Beau is Afraid is disturbingly brilliant.

These 4-star movies thoroughly deserve their places in my top movies list and are must-watch releases.

Steven Spielberg’s Oscar-nominated ® The Fabelmans from early in the year provided wonderful escapism and captivating storytelling that still resonates today.

Like its predecessor, Missing is entirely fun and thrilling to watch. It is a cleverly and thoroughly conceived and entirely plausible screenlife thriller filled with tantalising and intriguing twists and turns that constantly kept me guessing from beginning to end.

Air shares a wonderful story with unrivalled universal appeal, boasts a terrifically engaging script, a top-notch cast, and excellent all-round performances that culminate in the ultimate feel-good biopic.

I cried absolute buckets in Spoiler Alert, which brings to life so eloquently, realistically and beautifully the ups and downs of a long-term relationship, specifically a gay one, and how a significant health threat puts everything into perspective and can absolutely change your entire world.

They just don’t make movies like A Good Person these days. But they ought to because this involving human drama is as excellent as the pairing of Florence Pugh and Morgan Freeman.

It rarely occurs that I really yearn to see a movie twice, yet Babylon’s dare, flare and energy has rendered me powerless to soon succumb a second time to its grandiosity.

An Oscar-worthy writing and directing feature film debut in what’s a highly personal story from Iranian-Australian Noora Niasari. Shayda was Australia’s entry in the Best International Feature Film category for the 96th Academy Awards ® but was disappointingly not shortlisted 😦

The following movies earned 4 ½ stars from me and are clearly among the absolute best of 2023.

I am yet to meet anyone who loved this live-action remake as much as I do. Following in the footsteps of The Lion King, The Little Mermaid seamlessly and magically adapts everything I loved about the 1989 animation to live-action realness and had me both reminiscing and falling in love all over again with its beautiful story, iconic characters, and unforgettable songs. I absolutely loved it. Also, Melissa McCarthy was born to play Ursula!

Of An Age is an Aussie gem for the ages. No film has grounded me in its present with its central characters more than this romantic drama set and shot in Melbourne.

Keeping it short and sweet, yet keeping it real, Past Lives is a present masterpiece and a future romance classic that should not be missed.

It’s rare that a film can articulate its meaning with such clarity and precision in the manner Close does. The end result is beautiful, powerful, and utterly heartbreaking.

Mission: Impossible – Dead Reckoning Part 1 is a near-perfect spy action film and a masterclass in the genre whose action & set-piece sequences completely blew me away. I saw this several months ago and still get goosebumps when thinking back to some of its spectacular sequences. Easily the most exciting movie I’ve watched in 2023!

The Best Motion Picture Released in 2023

In March, I wrote this in my review of Till:

“This near faultless and absolute powerhouse of a movie could very well end up being the best film of 2023”

This statement proves to be true by year’s end.

None of the 166 other movies I watched in 2023 managed to topple Till from top spot. This insightful, harrowing and impossibly involving true story is a must-see no matter what your tastes are, but if the likes of Changeling, Just Mercy and The Hate U Give are films that impacted you, then you know precisely what to expect in Till.

But wait… where is Barbie!?

The moment I firmly decided that three and a half stars was just right for Barbie, I knew it wouldn’t be making any top 20 (or so) for the year. It is undoubtedly a creatively concocted story, offers loads of fun and has genuine depth in its themes. There was just a little too much about Barbie that didn’t quite work for me and prevents it from making my best-of list.

A few other notable and potentially surprise omissions from my best-of list that also scored three and a half out of five stars include Tár, Theatre Camp, Killers of the Flower Moon, and Netflix’s The Killer. More than 60 movies I saw this year received three and a half stars, so there were many very good ones edging close to the best-of list. Reach out if one of your favourites isn’t mentioned in this post 🙂

As mentioned earlier in this post, there are around 30 movies on my watch list I am yet to see. These are the ones I believe could shake-up law and order in my current best-of list.

Napoleon
Beyond Utopia
Coup de Chance

Next are some, actually a lot, of commentary on various acting performances, filmmaking, and memorable moments in motion pictures over the year. Grab a cold drink, tea or coffee and enjoy the read 🙂

Michelle Williams is uniformly excellent in The Fabelmans, though I was deeply impressed by the lesser-known Gabriel LaBelle’s work. On that note, some of Steven Spielberg’s directing work (especially the sequence before, during and following the revelation of a big family secret) is among his very best.

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Cate Blanchett rising to the absolute peak of her powers (that we know of) in what must surely have been her most challenging role yet as Lydia Tár in the transfixing and ultra-intelligent yet ultra-pretentious and very complex feature, Tár.

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The remarkable debut performance from Aftersun’s younger star, Frankie Corio.

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It ain’t called the Brenaissance for nothing! Brendan Fraser’s towering, triumphant and Oscar-nominated performance in Darren Aronofsky’s The Whale. Also, Hong Chau is splendid as his co-star.

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The trio of performances I rated most strongly in the epic Babylon belongs to Margot Robbie, Diego Calva, and Jean Smart. It is a painful oversight Jean Smart in particular was overlooked for a Best Supporting Actress nomination at the 2023 Academy Awards ®. The Oscar nominations Babylon did receive though – Production Design, Music, and Costume Design, are seriously impressive.

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The collective performances of the big and not as big names among the ensemble acting up a storm in Women Talking.

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The quite extraordinary performance of Andrea Riseborough in the rags to riches to rags true story, To Leslie.

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The first-ever Oscar nomination for 73-year-old Bill Nighy for his well-measured, restrained and possibly career-best performance as Mr Williams in Living, the English-language adaptation of the 1952 Japanese Film, Ikiru directed by Akira Kurosawa.

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The truly special and inexplicably Oscars-shunned performance from Danielle Deadwyler in powerhouse true story, Till.

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The astounding acting performances from Thom Green and Elias Anton in an Aussie gem for the ages, Of An Age.

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The astonishingly adult-like debut performances from duo child actors Eden Dambrine and Gustav De Waele in Belgian filmmaker Lukas Dhont’s second feature film, Close.

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The outstanding performance from the outstanding Florence Pugh in A Good Person. Also, the coming together of two of the greatest actors of our generation, Florence Pugh and Morgan Freeman, born generations apart themselves, doesn’t let down for even a second and is among some of the best casting in film for the year.

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It must have been a stressful job being the lead actor Ari Aster’s Beau is Afraid. It was certainly stressful watching everything Joaquin Phoenix’s character endured, yet this unbelievably gifted actor fully immersed himself into Beau and was mind-blowing as a result. Not to mention, the animation sequence featuring a live-action Joaquin Phoenix is one of the most awe-inspiring and extraordinary sequences I can recall seeing in any film, ever. Period.

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The entire sequence that takes place at the Arc de Triomphe intersection perfectly demonstrating why it’s an insurance company’s worst nightmare in John Wick: Chapter 4.

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Priya Kansara’s comically excellent breakout performance in the charming crowd-pleaser and laugh-out-loud action-comedy Polite Society.

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Emma Mackey’s strong performance as Emily Bronte in Frances O’Connor’s very impressive feature film directing debut, Emily.

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Madison Tevlin bringing much-needed spark to the admirable and sweet sport comedy-drama Champions.

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The 21 minutes long one-take action sequence during the first act of Netflix’s Extraction 2.

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Transgender actress Alina Khan’s incredibly brave and assertive performance in the equally brave Pakistani drama, Joyland.

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Michael’s apartment and bedroom surprise (more G-rated than I make it sound) in Spoiler Alert, plus the very real and very sexy surprising chemistry between The Big Bang Theory’s Jim Parsons and Ben Aldridge.

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Mia Goth’s mighty monologue in prequel horror film Pearl.

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Wi Ha-joon’s menacing and deranged performance in the impressive debut feature from promising newcomer Oh-Seung Kwon, Midnight.

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The mounting tension on the face of Sydney Sweeney in Reality, in what is a riveting re-enactment of the real-life figure.

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The Italy car chase sequence and the Austrian Alps train scene finale in Mission: Impossible – Dead Reckoning Part 1. The latter is arguably the best set-piece sequence staged and shot in any film released this year.

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The hilariously scene-stealing performance from Kate McKinnon in hot-pink form as weird Barbie in Barbie.

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Many components that comprise the ultra-impressive Oppenheimer could be called out, but the stand-out for me is Robert Downey Jr.’s excellent performance, which I say might earn him an Oscar ® nomination.

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The perfect precision of Past Lives‘ writing. An outstanding film debut from writer and director Celine Song.

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The pairing of James Morosini and Patton Oswalt in the surprising and admirable comedy, I Love My Dad.

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The writing and directing feature film debut of Noora Niasari and the Oscar-worthy ® outstanding lead performance from Zar Amir Ebrahimi in Australian drama Sundance winner Shayda.

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Lola Campbell’s impressive first film appearance in delightful dramedy Scrapper.

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The Burial’s fabulously flamboyant Foxx performance.

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The razor-sharp, raunchy yet mature performance of Jennifer Lawrence in the razor-sharp, raunchy yet mature comedy No Hard Feelings.

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Laure Calamy’s layered and superb work in the twisty-turny and underrated French dramatic thriller, The Origin of Evil and her equally superb performance in Annie’s Fire. Actress of the year for me goes to none other than Laure Calamy.

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The brave and brilliant Barry Keoghan and the equally hideous and hilarious characterisation & dialogue of Rosamund Pike’s Elspeth in Saltburn.

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Are You There God? It’s Me, Margaret’s star performer, Ella Graham in the supporting role of Nancy. The young lady playing Margaret, Abby Ryder Forston is also very competent. In fact, due to this movie’s straight to home viewing release in Australia, I envisage it flying under the radar. Make no mistake, this follow-up to writer and director Kelly Fremon Craig’s excellent writing & directing debut, The Edge of Seventeen, is very, very good.

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The very impressive Netflix animation Nimona barely made a dent in the top 10 most watched films during its release. Such a disappointment and deserved so much more. I hope I’m wrong, I can’t help but feel a gay lead character in a family animation is the reason why families avoided this.

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Don’t be dismissive due to the lack of big names in the equally entertaining and humorous true story, BlackBerry.

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Annette Bening and Jodie Foster’s performances in Nyad are truly something special to behold.

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On paper, it might be a hard sell, but the unapologetically bloody and B-grade comedy-horror Renfield more than works! Deliciously wicked performances and genuinely comical writing that lends itself to this genre very well deserve for it to be seen.

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The impeccable acting of Maestro director Bradley Cooper and the always magnificent Carey Mulligan in Cooper’s equally excellent follow-up to A Star is Born.

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The “That’s Life” TV program studio sequences in the touching true story One Life.

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If you’re still reading this post, well done and thank you! It’s mammoth, even by my lengthy standards. To finish, here are the film titles along with an accompanying sentence of films I didn’t like this year.

I’ll start with the underwhelming and disappointing Maggie Moore(s). The appealing synopsis, genre and lead cast were enough to convince me to give this a shot, despite its poorer ratings. Trust those poor ratings in this instance.

EO is an Oscar-nominated ® arthouse film that was clearly well beyond my realm of appreciation. I was utterly tedious watching what was ultimately a pointless, albeit short film.

Why? Just why did they need to create a follow-up to what is and remains one of the greatest and most frightening horror films ever made? The Exorcist: Believer (review by Zak) is a completely unnecessary sequel that would have William Friedkin rolling in his grave.

My Big Fat Greek Wedding 3 hands us a Greek platter consisting of exaggerated acting and mundane developments that result in the film being as stagnant as it is stale. Most of this comedy works as well as dancing the Zorba to a death metal tune.

After reading the IMDB premise and seeing the film poster, I had hoped and expected Runner to be a Lithuanian version of German classic Run Lola Run, albeit with an extra twist or two. In the end, Runner slows to an unmemorable crawl I wish I’d never taken a chance on.

How the heck can you possibly screw-up a movie where your leads are none other than Saoirse Ronan and Paul Mescal? Foe is how.

I’ll be having none more of The Nun II, thank you very much.

Mafia Mamma fell well short of my already lower expectations. Terrible dialogue, cringeworthy over-acting and absent directing plague this way off comedy from start to end and don’t make a single element of its improbable plot likeable or work.

Don’t be sucked in like I was by the mostly false claim God is a Bullet is a true story. Films that depict cults ordinarily strongly arouse my interest. This near 3-hour timewaster never did. Just awful.

If it weren’t for the casting of Channing Tatum reprising his role of Mike in Magic Mike’s Last Dance, this absolute borefest third instalment would feel like a completely separate movie.

It’s not uncommon for me to be less amused by an American comedy. What came as a surprise in Strays though was just how sad it both is and made me feel!

Compiled by Leigh for Moviedoc

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LAST FILM SHOW (CHHELLO SHOW)

Written and Directed by Pan Nalin
Starring Bhavin Rabari, Bhavesh Shrimali, Richa Meena, and Dipen Raval

What we have here in Last Film Show is a reel romance story. A semi-autobiographical film about one boy’s one true love – movies, the magic and wonder of them.

It shares many parallels to the Italian Oscar-winning ® classic film Cinema Paradiso, particularly during the first half. Shot on location in a Saurashtra, a peninsular region on the Arabian Sea coast in India where writer and director Pan Nalin was born and brought up, Last Film Show is also a forbidden love tale.

Nine-year-old Samay (Bhavin Rabari) is first taken to the cinema, appealingly named Galaxy House, by his father (Dipen Raval) who detests films for the filth he believes they bring into the world. The exception to his rule, however, is a screening of a religious movie at Galaxy House. Though Samay is interested in the projected images before him, it’s what’s happening behind the scenes to bring those images to life that truly mesmerises and sparks his curiosity. Realising that lighting plays a large role in the process, he starts out by experimenting with light during free time at home. Soon after, the gravitational pull towards the cinema outweighs any guilt or fear of disobeying his father. There, he works a sweet deal with Galaxy House’s cinema projectionist (Bhavesh Shrimali) to score himself regular viewings of various films, but a forthcoming transition to digital film puts Fazal’s job in jeopardy and threatens to cut Samay’s growing film aspirations.

As I mentioned and as those who have seen Cinema Paradiso can now fathom, Last Film Show is representing a similar story and some common themes. But thanks to the setting of its location, the trajectory of the story from when digital film is introduced, and the era it is taking place, this coming-of-age drama refrains from being a carbon copy. It’s a captivating and endearing film that is light on dialogue and is visually beautiful. Speaking of beautiful, scenes where Samay’s mother (Richa Meena) prepares and cooks meals for her son to take with him on his day’s out are delectable and had me wishing this were a 4D experience! I just wish she was given more characterisation and involvement in her son’s story than cooking and smiling. I did find the second half of Last Film Show less captivating than it was earlier and getting to 110 minutes felt like a stretch, but it remains a worthwhile movie to experience that pays homage to other films and filmmakers before it.

Last Film Show is showing in selected cinemas across Australia from September 14th.

Moviedoc thanks Rialto Distribution and Annette Smith: Ned & Co for providing a screener link to watch and review this film.

Review by Leigh for Moviedoc

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À LA BELLE ÉTOILE (SUGAR AND STARS)

Directed by Sébastien Tulard
Starring Riadh Belaïche, Dycosh, Pascal Légitimus, Marwan Amesker, and Loubna Abidar

If like me, you are currently striving to make better lifestyle choices, starting with dietary ones, then Sugar and Stars is not exactly sugar, spice, and everything nice to us.

Don’t get me wrong. It is actually a lovely and heart-warming film to watch. But this film based on the autobiography of pastry chef Yazid Ichemrahem is proudly ★★★★★ food porn to behold.

Growing up with a troubled mother and having a very unstable upbringing had all likelihood to distract Yazid from his natural predilection and talent for pastry making and truncate any early ambitions. As a 17-year-old, Yazid (now played by Algerian-born social media influencer Riadh Belaïche) is shifting between foster homes and visitations with his mother (Loubna Abidar) as he continues to pursue his dreams. Even when that goal is achieved and Yazid has a steady job and regular income to his name, the challenges keep on coming. But this kid’s determination is something else and he just doesn’t know when or how to stop dreaming. Despite experiencing homelessness and facing sabotage in the workplace, Sugar and Stars is the story of how Yazid overcomes personal adversities, conquers the culinary world, and sets his sights on representing France at the International Pastry Championship.

If you’re someone who simply relishes a film that continually triumphs over travesties and delivers the uplifting finish you came wanting and expecting, irrespective of any imperfections along the way, then Sugar and Stars will definitely hit your sweet spot. If imperfections can or do alter the experience for you, then I would say this true story is still worthy of being watched, but like me you’ll be left hungry for more than what is dished out. In fact, I’d liken this movie to a dining experience in which everything you see on the plate looks more satisfying than it is. By far and away its greatest asset are those delectable dessert montages that had me wishing this were a 4D experience and almost had me licking the screen. Sugar and Stars could have been a whole heap more fulfilling had its writing and directing been given the same attention its food contributors devoted to their craft. The timeline frequently shifts back and forth between the late nineties when Yazid was a child and from 2006 onwards, but there are too many times some important plot details, such as when and why he goes between homes, isn’t apparent enough. I also believe a little restraint would’ve gone a long way here. This real story has plenty of drama and we are always rooting for Yazid, so there was absolutely no need to forcibly dramatise certain moments. To get past that though, at least Sugar and Stars exhibits adoration for something far less harmful than most other movies choose to glorify.

Sugar and Stars is showing in selected cinemas across Australia from July 20th.

Moviedoc thanks Rialto Distribution and Annette Smith: Ned & Co for providing a screener link to watch and review this film.

Review by Leigh for Moviedoc

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TILL

Directed by Chinonye Chukwu
Starring Danielle Deadwyler, Jalyn Hall, Whoopi Goldberg, Haley Bennett, John Douglas Thompson, Frankie Faison, and Keith Arthur Bolden

Many thoughts and emotions immediately followed me upon exiting the cinema screening of Till I attended. One of which was the fact that while it is only March, this near faultless and absolute powerhouse of a movie could very well end up being the best film of 2023. Another was how the very heck did Till get completely snubbed and receive zero nominations at the 95th Academy Awards ®?

Well then, stop what you are doing and do not watch another film until you have seen Till.

They say ignorance is bliss. For 14 year-old Emmett Till, ignorance was brutality and ultimately led to his tragic death. Though these harrowing real-life events occurred in 1955, Till depicts a sadly familiar fight for justice for people of colour that still echoes 70 years on throughout the United States and around the World.

As we learn from single mum and mother of Emmett, Mamie, there are a very different set of rules that exist for people of colour to strictly abide by when in the southern state of Mississippi compared to their home in Chicago. Mamie (Danielle Deadwyler) is acutely aware of this fact as she is equally concerned of her son’s naivety in the lead-up to a one week stay with his cousin and her uncle to pick cotton. Shortly before his train trip, Mamma sternly warns her boy that certain things you can say and do in Chicago cannot be said or done in Mississippi. She also provides him clear instructions how to respond and comply if finding himself in an unfavourable position with a white person. Despite her best efforts to afford her son some freedom and equip him with essential knowledge to safely experience that freedom, an innocent remark directed at a white female in a store ultimately finds itself in the hands of some hateful and racist locals and has tragic consequences.

Propelled by 27 years’ worth of research that led to the reopening of Till’s case by the United States Department of Justice in 2004, Till is an insightful and an impossibly involving account of the numerous obstacles and injustices one black mother must confront and surmount in the face of unfathomable horror to make the perpetrators of her son’s death accountable in some way.

Each and every step of Mamie’s nightmarish ordeal expectedly and increasingly saddens and incenses viewers, just as it should, yet Till also succeeds enormously at illustrating where Mamie finds her inspiring strength and bravery to stand, speak and fight. Whether she is simply trying to return the body of her son home to Chicago, discussing her vulnerabilities before going public with her son’s case or grappling with the public utilisation of her son’s murder to tackle a much broader issue affecting people of colour all throughout America, there is always this inspiring strength at her core that stands above all else.

The inexplicably Oscars-shunned performance from an actress I hadn’t even heard of prior to this film is something truly special. Danielle Deadwyler exhibits masterful control over every facet of her character and emotion she experiences. In the film’s most confronting and extraordinarily upsetting scenes where over-acting or a lack of control could have easily and forgivably occurred, Danielle Deadwyler carefully and confidently curates the changing conduct of her character to sublime perfection and won’t leave a dry eye in the room in doing so.

The impassioned directing from Chinonye Chukwu never loses focus, even if it does push its clear agenda too far during earlier stages of the film. Nevertheless, in a category at the Academy Awards ® that has yet again excluded females from its male exclusive list, I certainly believe that Chinonye Chukwu manages the portrayal of this gripping and significant story close to perfect and deserves a nomination. She has made a film that I hold in the same regard as similarly themed dramas Just Mercy and The Hate U Give.

Till is showing in cinemas across Australia from March 9th.

Moviedoc thanks Universal Pictures for the invite to the screening of this film.

Review by Leigh for Moviedoc

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THE FABELMANS

Directed by Steven Spielberg
Starring Gabriel LaBelle, Michelle Williams, Paul Dano, Seth Rogen and Mateo Zoryan

Movies these days are long. Longer than long, they’ve started to lessen the impact of the term ‘titanic-length’ after routinely pushing the two-and-a-half-hour mark for better or worse. But when it’s the semi-autobiographical origin story of arguably the best director to ever grace the screen, maybe it’s worth the demanding length.

Through a whole childhood, split among many time leaps, Spielberg recasts himself as Sam Fableman, a plucky young kid who sure does love filmin’ stuff. And when he does film stuff, it’s routinely good. Nice lighting, amazing cinematography, great imagery. It’s almost like there’s a legend at the helm and when he lets himself indulge in the meta, he can really frame the act of filming an amateur movie very well for a big screen blockbuster.

So technically speaking, the film’s a hit. Gorgeous visuals, crisp audio, a soundtrack by John Williams… What more could you ask for? Well, a consistent story might be something to chuck on the wish list – to the dismay of every movie-buff who staked their lives on this release. The sad truth is, there’s just a bit much going on most of the time, and it’s usually not Sam filming stuff.

Side plots build and develop, characters become established, and we get invested, but time and time again the payoff just doesn’t really feel like it develops any theme to a satisfying, though provoking conclusion. Or perhaps it’s the repetitive nature of flashback scenes, typically told through Fableman re-watching what he’s filmed, which is something that we’ve already watched him film previously in the film, and we’re about to watch him chop up, condense, before presenting to his friends and family…

Don’t get me wrong, it’s touching through and through, but at no point did I personally feel myself falling invested in the plight of the overly friendly relationship between mum and Uncle Bennie, or the bold bullying from his high school days. On the way out of the cinema I wondered if I were a troll, intent on causing misery in the world, when I asked my buddy if perhaps Ready Player One hadn’t been a more enjoyable movie with a monstrous runtime…

After my fair thrashing at the suggestion that Spielberg’s biopic swan song may have been eclipsed by his IP opus, we debated the merits of entertainment against perfection. In all fairness, The Fablemans gave me a lot to think about, but I’m just not exactly sure if it’s exactly what the director had in mind when putting together what is nothing less than the juiciest Oscar-bait of all time.

The Fabelmans is showing in cinemas across Australia from January 5th.

Moviedoc thanks Studiocanal and Annette Smith: Ned & Co for the invitation to the screening of this film.

Reviewed by Zak Wheeler for Moviedoc

The Best & Worst Movies, Moments and Performances of 2022

I’m not sure about you, but soon after the final covid lockdown ended, life gradually became non-stop hectic! Somehow, I think I got rather used to the slower pace of daily life and having far less to do than usual! Though I miss having a less busy lifestyle and wish I had more time for more movies, I certainly do not miss watching those dreaded press conferences where snap lockdowns intended to last for just days were extended by weeks, months even. Hallelujah then that those days are now well and truly past!

Despite the busier year, especially the last 6 months, I still managed to watch 156 movies released in 2022! That’s only 7 less than the same time last year! Unsurprisingly, movies thankfully saw an uptick in quality this year compared to last. 32 films received 4 stars or more from me and I am yet to see quite a few movies that I have lofty hopes for (more on that below). One thing I will briefly mention, however, is just how disappointing I am finding animated films from Disney to be in recent years. A decade ago, I could label certain films as timeless classics and would rank them as high as older classics such as The Lion King and The Little Mermaid. But lately, I feel that at best we get fleeting moments or a couple of scenes that are of similar quality, innovation and creativity as older Disney and Pixar pictures (think along the likes of Wall-e, Ratatouille) in their heyday. I guess what I’m trying to say for now is that I really miss not having an animated classic appear in my best of list each year as I once routinely would.

I’ve opted for a slightly different approach this year compared to previous years with collating the best and worst movies of the year. I start with the ‘distinctive dozen’, move on to the ‘best of the rest’ before then finishing with 5 movies that truly sucked!

Enjoy reading 🙂

The Distinctive Dozen

Link to Jell’s Review – She Said . For me, She Said is this year’s Spotlight.

Apple TV+ churn out another beauty to follow-up last year’s Oscar-winning little gem, CODA.

This remarkable documentary is available for streaming on Disney +

Link to my review – Quo Vadis, Aida?

The movie event of the year! Everything Everywhere All At Once may not be my #1 film of 2022, but it sure is the most unexpected and welcomed surprise smash-hit that is unlike anything you’ve ever seen before and something you’re unlikely to ever experience again! A must-see – it was very recently added to Prime Video!

Austin Butler’s star-making performance together with Baz Luhrman’s trademark visual energy make for an unforgettable and exhilarating cinematic experience. Link to Leigh’s review – Elvis.

One of the most striking Viking productions I’ve ever witnessed. Link to Leigh’s review – The Northman. Available for streaming via Prime Video.

To any fellow Melbournian or Australian who labels our recently re-elected state premier ‘Dictator Dan’. Perhaps this harrowing documentary can demonstrate what a real dictatorship looks like? Available for streaming via Paramount +.

Not a single scene is without clear intended purpose. Such a beautiful movie in every way possible.

Never would I have believed that Robert Pattinson could master the role of Batman the way he does in this. A sublime casting choice and all-round movie from director Matt Reeves. Available to stream via Netflix.

#1 THE BEST FILM OF 2022 #1

It was going to take some kind of superhero to dethrone Batman from #1. Well, who better than the man who survived a failed assassination attempt by Russian President Vladimir Putin than this man!? It might seem underwhelming to make a documentary, a political documentary, my number 1 movie of the year. But believe me, this is more riveting to watch than almost any feature film. Navalny is available to stream now via SBS on Demand.

Now to the ‘Best of the Rest’. Remarkably, two of the movies to feature in this part of my list are set and shot almost entirely in a single room! However, each of these 4 star films are simply too good to not mention among the finest to be released this year.

Best of the Rest

The Good Boss (El Buen Patron)
After Love
Blaze
Good Luck To You, Leo Grande
Barbarian
Full Time (A Plein Temps)
The Stranger
Hustle
Top Gun: Maverick
Mass

Now to the worst movies of 2022. These movies really sucked…

A rare screw-up from Marvel.

This from the director of the legendary 2001 French hit Amélie!? Non!

Rebel Wilson isn’t solely to blame for this awful mess.

Shot in Melbourne, Australia during one of our several COVID lockdowns. This movie was worse than all lockdowns combined! Liam, stop. Just stop. Link to Leigh’s review – Blacklight.

As I said, those movies sucked. But this one really, really sucked. I absolutely loathed, totally detested…

#1 THE WORST FILM OF 2022 #1

Last, but certainly not least, here are my favourite moments, scenes, performances and key call-outs from feature film releases that did not quite make my above best-of lists in 2022.

The ravishing Penelope Cruz’s emotional performance in Spanish master filmmaker Pedro Almodovar’s Parallel Mothers

Kristen Stewart’s easily best performance to date portraying Princess Diana and director Pablo Larraín’s picture-perfect vision capturing his star player in Spencer

Jessica Chastain’s transcendentally brilliant portrayal of Tammy Faye in The Eyes of Tammy Faye, and the film’s hair & make-up also gets a big shout-out

The beautifully poetic Peter Dinklage performance charming our socks off in the underrated, immensely entertaining and contemporary musical romantic drama, Cyrano

The wonderfully awkward sequences earlier in Turning Red involving Meilin’s mother outing her daughter’s crush and then mistaking Meilin’s ‘turning red’ for something else! As I was saying, this was reminiscent of classic Pixar releases!

A German-speaking Dan Stevens playing a robot to razor-sharp perfection in I‘m Your Man (Ich Bin Dein Mensch)

That energising and diverse soundtrack in the underrated soon to be cult hit Mona Lisa and the Blood Moon

Bros for being the first film to be distributed by a major film distributor in Universal with an entire LGBTQ lead cast and mainstream gay-rom-com. Despite the disappointing box office result in the U.S and here in Australia, it remains a major step forward and paves the way for others to follow

The intense and confronting ‘army tank’ sequence in German anti-war drama, All Quiet on the Western Front, and some of its stunning imagery throughout too. Though, it did fall a little short on my lofty expectations and is no 1917 or Hacksaw Ridge

Triangle of Sadness’ most stand-out of its small handful of outstanding sequences. The messy, grotesque and utterly hilarious amalgamation of fine dining on a luxury cruise for the rich and famous during a very rough night at seas! You can never un-see this scene. I’m still gagging and laughing.

Colin Farrell’s nice work as nice guy Pádraic in Martin McDonagh’s very good, but not great, black tragicomedy The Banshees of Inisherin

A brilliantly butchery performance from my current personal favourite actor or actress right now, Emma Thompson as Agatha Trunchbull in Roald Dahl’s Matilda the Musical that would have The Handmaid’s Tale Aunt Lydia taking notes! Also, the entire ‘revolting children’ sequence was quite outstanding

Mark Rylance’s wonderful work in feel-good comedy-drama The Phantom of the Open, doing to golf something similar to what Meryl Streep did for opera in Florence Foster Jenkins

A star-making performance from Thuso Mbedu alongside the woman king of acting herself, Viola Davis, in The Woman King

Finally, a couple of letdowns

Considering the outstanding ensemble cast, See How They Run was disappointing and never quite came to life as its premise, genre and cast had promised

Jared Leto’s ridiculously over-the-top Italian accent and performance in the huge let down film, House of Gucci

Compiled by Leigh for Moviedoc

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MCENROE

Written and Directed by Barney Douglas

In what has been a momentous year in the tennis world with the official retirements and farewell matches of two of the greatest players to ever play this great game, just how interested will tennis fans and others be in the story of the much-maligned former star dubbed super brat, John McEnroe?

His on-court accomplishments remain astounding to this day and the first third of this feature documentary keenly reminds us of them all. In 1977, John McEnroe entered Wimbledon as an 18-year-old qualifier and remarkably went all the way to the semi-finals, where he lost to future rival and fellow American Jimmy Connors. His rise in the rankings continued, reaching number 5 in the world in 1979. His unique game style, which involved impeccable volleying skills and unorthodox shot selections, unsettled his opponents and enthralled tennis spectators all around the world. In 1980, McEnroe made his first-ever grand slam final appearance at Wimbledon against his idol, Björn Borg. The enticing match-up between the young American prodigy and the bona fide Swedish star, who was playing to win his fifth consecutive Wimbledon title, also made headlines and drew public interest for their polar opposite demeanours on court.

This documentary also addresses McEnroe’s confrontational on-court behaviour, which remain just as vivid a memory as his breakthrough and achievements throughout his professional tennis career do.

A close up of John McEnroe (USA) looking up and holding his racket to his chest at The Championships 1981. At The All England Lawn Tennis Club, Wimbledon. 1981. Credit AELTC/Michael Cole.

When I watch a feature documentary, one of the prerequisites on my agenda is compelling insight. Regardless of the subject or subject matter, I want and expect the film to enlighten me with information I can’t find on Wikipedia or via Googling and to make me give a damn about what its purpose might be. This is one area McEnroe falls well short for me. Though we do get some alternating perspectives courtesy of interviews with the likes of John’s wife, Patty Smyth and former tennis legend Billie Jean King, there aren’t enough of them, and they are limited in content. What writer and director Barney Douglas doesn’t seem to realise is that John McEnroe’s actions and antics on-court speak for themselves and ultimately louder than any words input into his feature documentary.

Though less important than my aforementioned prerequisite, there is a certain level of importance in the presentation of the subject or subject matter, both narratively and visually. For most part, McEnroe is better suited to the home viewing experience intended. It is set against the backdrop of a mostly quieter night of the streets in New York City. Some of its graphics imagery more closely resembles a screen saver, but the real footage used and the music that accompanies the film are immersive and atmospheric.

Overall, I have concerns for this documentary’s ability to be universally and individually satisfying, and can’t help but feel future inevitable documentary features with Serena Williams and Roger Federer as the subjects would inherently contain unmissable insights that will draw record-breaking levels of interest.

McEnroe is available via digital download from October 26th.

Moviedoc thanks Universal Pictures Content Group for providing a screener link to watch and review this film.

Review by Leigh for Moviedoc

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