War

THE TEACHER WHO PROMISED THE SEA (EL MESTRE QUE VA PROMETRE EL MAR)

Directed by Patricia Font
Starring Laia Costa, Enric Auquer, Alba Guilera, Milo Toboada, Luisa Gavasa, Gael Aparicio, Alba Hermoso, Nicolás Calvo, and Ramón Agirre

The Teacher Who Promised the Sea delivers upon its early promise to competently accomplish something that in my view not a lot of movies manage to do as successfully as this.

This Spanish and Catalan-language drama based on a true story opens with its present-day plot set in 2010 while frequently taking us back to the mid 1930s, covering a separate yet connected story.

Buried memories of the Spanish Civil War are unearthed after the discovery of a mass grave in Barcelona, which acts as the catalyst that sets Ariadna (played by Laia Costa) off in search of a teacher whom she has a generational connection with that worked at a school in a small village more than 70 years ago. Assisting her with the search is a helpful local she meets at the site named Emilio (Ramón Agirre), who was a pupil at the school Antoni (played via extended flashback sequences by Enric Auquer) taught at.

Antoni is an innovative and passionate teacher who firmly believes in children having a childhood and is determined to inspire his students to learn and have an open mind to all things, despite starting off with a class of just 3 pupils. His progressive teaching methods get heavily scrutinised though and are instantly disapproved of by the town’s ultra-conservative Priest (Milo Toboada), who will do everything within his power to ensure Antoni’s placement is a short-lived one.

Many movies tell their story adopting the same format used here. Yet in many, even most of these, one of the two or more separate timelines or parts of the plot simply function better than the rest. One of the main problems I often find with films that simultaneously develop their present-day set plot and a separate timeline is that one slows, even halts, the progression and anticipation of the other. Just as I would start to be engaged by the characters and story in one part of the plot, the film would relocate its focus to another, and that often results in a rather incomplete experience.

But that is absolutely not the case in The Teacher Who Promised the Sea.

Somehow, this utterly involving human drama absolutely nails what it needs to for both timelines to seamlessly and simultaneously develop, become absorbing, bring in anticipation, and grow both a sense of urgency and in significance. One of the definite secrets to this beautifully realised story’s success is its consistency in pacing. Full credit must be given to director Patricia Font for her all-round sound judgement. Perhaps an example of the seamless yet subtly powerful way in which communication between the two timelines speaks volumes comes from a scene that made an immediate impression upon me and has stayed with me since. In the present-day timeline, we are taken inside the building where Antoni taught at from 1935. In the background, viewers have clear visibility of an image of Jesus Christ hanging against the same wall Antoni removed a crucifix from all those years ago.

Despite the heavy content underpinning this picture and its undeniable capability to derive emotion, The Teacher Who Promised the Sea is also heartwarming to watch throughout. Witnessing the adoration Antoni’s pupils form towards him and how they thrive under his tutorship is just beautiful to be a part of. At the same time, the tragic fate that is soon to come for Spain is never forgotten and The Teacher Who Promised the Sea remains firmly dedicated to paying homage to its ramifications.

The Teacher Who Promised the Sea is showing in selected cinemas as part of the HSBC Spanish Film Festival across Australia from June 14th – July 10th.

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

Review by Leigh for Moviedoc

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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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CIVIL WAR

Written and Directed by Alex Garland
Starring Kirsten Dunst, Wagner Moura, Stephen McKinley Henderson, and Cailee Spaeny

For some, Civil War will serve to be quality popcorn entertainment. Nothing more and nothing less. For others, me included, Civil War is an ominous glimpse into a near future for the United States of America that is scarily not at all far-fetched. Especially as the U.S approaches its 2024 election.

So, what is the state of play exactly? Just what kind of America is being brutally depicted?

The type where a small group of Americans cross paths with another American and the answer to his question “What kind of American are you” is the difference living and dying. An America where its President (Nick Offerman) is serving his third term, has disbanded the FBI, and made any journalists not supporting his cause enemy of the state.

Here is a helpful map of America in Civil War obtained from the film’s Wikipedia page. I’ve decided to include it in my review as it is only very briefly mentioned and could be beneficial to know prior to watching the film.

Blue represents loyalist states. Red is known as the Florida Alliance. Green is separatist Western Forces (referred to as WF) and yellow the New People’s Army.

As the film begins, America is already quite far into its devastating civil war. The POTUS is nervously rehearsing a speech in the White House even he is struggling to believe claiming they are closer to victory than before. Closer than EVER before. Closer than anyone on the face of this Earth has ever been to victory. Ok, I intentionally added those last two sentences for reasons I’m sure are apparent!

Meanwhile, on the other side of the former mainland in New York, a group of people consisting mostly of accredited and highly experienced journalists are about to begin an extremely dangerous mission; to travel by car to Washington D.C where they aim to interview the President. They include Lee (played by Kirsten Dunst), a hardened yet highly regarded photojournalist who has witnessed many atrocities before this war. Her colleague, another experienced journalist, Joel (Wagner Moura). Lee’s mentor, Sammy (Stephen McKinley Henderson), who makes up for his lack of mobility with his wisdom and coolness in a crisis disposition. And lastly, Jessie (Priscilla’s Cailee Spaeny), an up-and-coming war photographer who is about to have a baptism of fire into the profession.

Civil War is independent Entertainment company A24s most expensive film to date, possessing a budget of $50 million, and is also likely to be writer and director Alex Garland’s last film as director, as he wishes to focus solely on writing. Described by Alex himself as “a sci-fi allegory for our currently polarized predicament”, it is quite incredible and mightily impressive what Civil War visually illustrates on what is not a huge budget compared with other films of similar genres.

As our quartet journey across disunited and dystopian America, encountering a series of confronting and life-endangering people and predicaments along the way, the sheer destruction and devastation they pass by is graphically and immaculately detailed. Scenes of severely damaged infrastructure, numerous burned-out automobiles abandoned on highways, countless dead bodies scattered across the lands. These are hardly uncommon sights in such a film, but a number of factors are behind what places this above most others. Civil War is very artistically produced. It meaningfully and cleverly incorporates imagery and footage captured from the perspectives of our central characters into the feature film, in both colour and black and white. The pacing of those respective shots is also regularly adjusted to maximum effect. Civil War is also very capable of dictating what it decides via its tone. For most part, it is fair to say this is quite an intense experience and it undoubtedly has a small handful of extremely intense sequences. However, its unsettling imagery and intensity are also regularly offset by rapport-building scenes between the central characters that momentarily make you forget this isn’t just a road movie. Furthermore, it has an eclectic and sometimes questionable music score that supports an opposite effect to what’s seen on screen on numerous occasions. Finally, given what is depicted is not a first, but a second civil war, and in such globally recognisable locations, the rawness and realness of it all really is quite incisive.

One of my most valued film genres are those based on true stories. This is one I hope to never see remade as just that in years to come.

Civil War is showing in cinemas across Australia from April 11th.

Moviedoc thanks Roadshow Films and IMAX Melbourne for the invitation 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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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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FIREBIRD

Directed by Peeter Rebane
Starring Tom Prior, Oleg Zagorodnii and Diana Pozharskaya

A secret and steamy affair between a handsome fighter pilot and a young private set against the backdrop of an Estonian air force base under Soviet rule during the Cold War. It might sound and is unfortunately portrayed more like a daring and completely made-up fantasy, yet this tale of forbidden love is indeed based on a true story.

The two men first meet shortly after Roman (played by Ukrainian actor Oleg Zagorodnii) arrives at the base where Sergey (played by co-writer and producer, Tom Prior) is counting down the days until the end of his military service. The immediate attraction between them is given the opportunity to be addressed when Sergey escorts Roman to the theatre one evening. In no time at all, word of their outing gets around and dangerously arouses the suspicions of high-ranking officials.

Taken from the memoir of the character portrayed by Tom Prior, Firebird is an entirely flat production that doesn’t even come close at making the most of its core and inherent components and inexplicably fails to recognise and seize upon its own relevance to now.

If as much attention and effort was dedicated to organically developing character and depth to story in the screenplay as were visibly devoted to beautifying these boys, we’d have a much better film. As immaculate as their hair styling and blemish-free complexions throughout may be, it only adds to the phoniness and woodenness this mutual attraction is manhandled. While the men’s physical connection is present, there is little to no chemistry is formed between them to elevate their attraction beyond those means. With a mostly unconvincing set-up and acting, a lack of fluidity between scenes and some dialogue writing and delivery problems, Firebird rarely summons the ability to engage. Some mild and much-needed suspense is injected when the threat of being found out becomes real for Roman and Sergey. The well-casted acting from the antagonists during this part of the film is certainly more convincing and effective. However, as is the case for any of Firebird’s better minutes, these moments are short-lived and don’t carry across to the next phase of the story as they ought to.

Finally, co-writers Tom Prior and Peeter Rebane disappointingly leave this story in the era it took place when in 2022, you sadly only need to cross a border to where it is set to meaningfully correspond its continuing oppression and elimination of LGBTQIA+ citizens.

Firebird is showing in select cinemas across Australia only on Tuesday 17th May in celebration of International Day Against Homophobia, Transphobia and Biphobia.

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

Review by Leigh for Moviedoc

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QUO VADIS, AIDA?

Directed by Jasmila Zbanic
Starring Jasna Djuricic, Johan Heldenbergh, Raymond Thiry, Boris Isakovic, Izudin Bajrovic, Boris Ler and Dino Bajrovic

The true events depicted in the 2021 Oscar Nominated Quo Vadis, Aida? occurred in 1995, yet two and a half decades on, similar military takeovers that oppress civilians and end with tragic loss of life continues to happen across the globe.

Inspired by the book Under the UN Flag by Hasan Nuhanovic, the film’s titular character works as a translator for the United Nations and is also a civilian of Srebrenica, a small town and entity of Bosnia and Herzegovina that is close to the Serbian border. Aida (Jasna Djuricic), Aida’s husband Nihad (Izudin Bajrovic) and their two sons, Hamdija (Boris Ler) and Sejo (Dino Bajrovic) have survived three and a half years of war before units of the Bosnian Serb Army of Republika Srpska, led by the self-important General Ratko Mladic (played by lead actress Jasna Djuricic’s real-life husband, Boris Isakovic) seize control of the township.

A fading attempt to protect citizens unfolds as a Dutch battalion station a UN peacekeeper-operated military base designed to guard a few thousand of the more than 30,000 besieged civilians. While working inside the camp, Aida learns her family are among those stuck on the outside and frantically attempts to locate and rescue them.

Quo Vadis, Aida? (2020) - IMDb
A survivor of war herself, director Jasmila Zbanic effortlessly and powerfully captures the chaos, fear and uncertainty that rapidly unfolds in this nightmarish ordeal with gripping immediacy and a world of empathy. Even while watching Quo Vadis, Aida?, all I wanted to do was go home to my loved ones, embrace them, and tell them I love them. Recounting this fairly recent atrocity and chronicling the story of Aida’s search for her family are more than significant and involving on their own, but Quo Vadis, Aida? also unpacks the roles and responsibilities of United Nations on-site employees and the behind-the-scenes shot-callers with conviction. This thought-provoking and accountability-seeking move successfully seeks to demonstrate how the actions, or rather inactions, of those with the ability and power to help fell well short of their duty. It is a testament to the failure in true leadership in a time and place it was most needed.

Quo Vadis, Aida? is showing in selected cinemas across Australia from February 17th.

Moviedoc thanks Palace Films for the invite to the screening of this film.

Review by Leigh for Moviedoc

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2021’s Best & Worst Movies, Stand-Out Performances and Moments to Remember

As another pretty average year finds itself gone by, I sum up the movies that are among the best I’ve seen in 2021 and make mention of some unforgettable moments & stellar performances.

In a sense, it’s been a somewhat underwhelming year for film. Although I watched an impressive total of 163 movies released in Australia in 2021, only 28 of these have disappointingly received 4 or more stars from me.

In brighter news, despite the pandemic delaying the release of several major titles worldwide (Were we ever going to see No Time to Die released!?), our website statistics have again surpassed their previous best! We ended a record-breaking 2020 with 27.6K views and end another record-breaking 2021 with 31.3K views.

As usual, a genuine hearty thank you to every single soul that has taken a look at this website, read a review and followed us on various social media platforms.

I hope you enjoy reading my summary of movies in 2021 and discover a recommendation or two to add to your watch list 🙂

The Best 20 Movies of 2021

20 – Saint Maud
19 – Breaking Bread
18 – Shiva Baby
17 – The Harder They Fall
16 – The Worst Person in the World (Verdens Verste Menneske)
15 – The Dissident
14 – Don’t Look Up
13 – Rocks
12 – The Rescue
11 – Better Days (Shaonian De Ni)

10 – Ammonite

9 – CODA

8 – The Power of the Dog

7 – Welcome to Chechnya

6 – Dune

5 – A Quiet Place Part II

4 – The Last Duel

3 – The Father

2 – Two of Us (Deux)

The Best Film of 2021 – Nitram

Staying in my top 20, these are the unforgettable moments & stellar performances from the aforementioned films…

Anthony Hopkins’ magnificently multi-faceted and heartbreaking performance as the father in The Father. The editing and screenplay also stand-out.

The very emotional performance of Chinese star Dongyu Zhou in Oscar-nominated film Better Days and the very contemporary cinematography, editing, score and directing.

The very natural debut performance from Bukky Bakray and the Ken Loach-like directing by Sarah Gavron of Rocks.

The top shelf performances from Emilia Jones, Marlee Martin, Troy Kotsur and Daniel Durant in the excellent Apple TV+ release, CODA.

The perfection of the carefully considered, sensitive and tasteful writing and directing applied to 5 star Australian drama, Nitram, and the equally perfect performances from Caleb Landry Jones and Judy Davis.

The feature film directing debut of musician Seal’s brother, Jeymes Samuel, in the underrated Revisionist Western The Harder They Fall.

Dune’s epic and imposing production and sound design.

The time stand still and the mushroom trip sequences in Norwegian gem, The Worst Person in the World.

Jane Campion’s writing and directing of The Power of the Dog and Benedict Cumberbatch’s performance.

Kate Winslet’s steely and self-assured performance in the excellent Ammonite.

In 2021, we have a three-way tie for worst movie of the year. Shadow in the Cloud, Old and The Ice Road.

Finally, while these movies didn’t make my end of year top 20 list, these are the acting performances and moments in movies that are definitely among the best I’ve seen this year…

The entire opening sequence of Pieces of a Woman and Vanessa Kirby’s performance.

Frances McDormand in Nomadland.

Carey Mulligan’s exquisite range on full firing display in Promising Young Woman. Also, the brave and creative directing of Emerald Fennell and the manner in which she merges genres.

One Night in Miami’s engagingly-written screenplay together with the outstanding performances of Leslie Odom Jr. and Kingsley Ben-Adir.

Rosamund Pike’s sinister performance in I Care a Lot.

LaKeith Stanfield’s work in Judas and the Black Messiah.

The priceless moment and gob-smacking reaction when Karl Bertil-Nordland sees himself painted for the first time in documentary feature The Painter and the Thief.

Andra Day’s entrance into acting portraying Billie Holiday in The United States vs. Billie Holiday.

The sheer and delightful madness in the magic of the comedy, Barb and Star Go To Vista Del Mar.

Nina Hoss’s wunderbar performance in German drama The Audition (Das Vorspiel).

The brilliantly precise shift in body language and temperament courtesy of the consumption of alcohol from Mads Mikkelsen in Oscar winning Danish film, Another Round (Druk).

The hilariously haunting Furby sequence in boisterous animated Netflix release, The Mitchells vs The Machines.

We already know that British star Emma Thompson is another level of actress not many others are at. She puts in another outstanding exhibition of that exceeding level as The Baroness in Cruella. The costume design, hair & make-up and production design are all stunning too.

Bo Burnham performing ‘Sexting’ in his Netflix TV Special Bo Burnham: Inside.

The bus fight scenes in the highly recommended action flick, Nobody and in the excellent martial-arts inspired Marvel action movie, Shang-Chi and the Legend of the Ten Rings.

Stage performer Rachel Zegler’s first film role playing Maria in Spielberg’s strictly cinematic West Side Story remake. Ariana DeBose is also worthy of a mention as Anita.

Compiled by Leigh for Moviedoc

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The Socially Remote Antidote

Hello Readers,

Like myself, you’re probably frustrated and tired of being stuck at home so much. Having said that, the social distancing measures applied here in Australia have given me the opportunity to catch up on many previously unseen films. Though I’ve enjoyed seeing so many movies, I certainly do miss going out to the cinema and long for the day they safely re-open again. I, for one, will certainly never take for granted the simple pleasure of experiencing a movie on the big screen again! Until then, here’s a summary of the films I’ve watched since COVID-19 has kept us indoors so much, along with my rating of each.

I shall keep adding to this post on a weekly basis until cinemas re-open again. Enjoy 🙂

Let’s start with….

The Classics

Rosemary’s Baby (1968) – 4 ½ stars
This is how you do horror! Mystery that’s almost too much to bear and a riveting finish. A genuine classic.
Gone With The Wind (1939) – 3 stars
Am I the only person on this planet that was so underwhelmed from watching what I expected to be a timeless and sweeping FOUR HOUR epic?
The Sound of Music (1965) – 5 stars
I am terribly ashamed to admit I hadn’t watched The Sound of Music in its entirety, until recently! Well, I’m glad that’s changed (thank you to my co-writer, Jell)! Here’s a movie that definitely did not let down! An instant classic that (I think) is now officially my favourite musical feature film of all time!
The Maltese Falcon (1941) – 3 stars
Good, but rather odd. I’m glad I ate pastizzis (no, not paparazzi’s, auto-correct) while watching it 🙂
Breakfast at Tiffany’s (1961) – 3 ½ stars
So, so different to what I expected. Not much plot driving the film, but it somehow really grounded me in the present and I liked it for what it was.

Now that I have that shocking confession regarding The Sound of Music out in the open, let’s check out what I’ve recently seen that’s…

For the Families

Missing Link – A very strong 3 ½ stars
This underrated Golden Globe Winner for Best Animated Picture was up against Toy Story 4 for the Oscar in the same category, and lost. In my opinion, Missing Link deserved to win the major award for its originality and story that is rich in humor and hugely entertaining.
Aladdin – 3 ½ stars
Much like The Lion King (2019), Aladdin was the recipient of undue harsh critique from the critics. I thoroughly enjoyed this live-action rendition of the much-loved tale. It was what it needed to be and very unlike a typical Guy Ritchie film, which is a good thing in this case!
Toy Story 4 – 3 ½ stars
Easily holds its own and was a pleasure to reunite with several cherished characters, but doesn’t have ‘that magic’ the very first Toy Story film did or of some of Pixar’s finest works (Wall-e, Up etc).
Maleficent: Mistress of Evil – 3 stars
Ok, maybe this sequel isn’t so family-friendly, given its M classification. For most part, I thoroughly enjoyed this movie and especially the performances from its stellar female cast. Although, a few rushed and untidy developments in its latter half can’t go unnoticed.
Frozen II – 3 stars
I’m probably the last person left on Earth to see this by now! Credit goes to Frozen II for inventing a new and worthwhile story to that of the first part, but like Frozen, I find my ability to be engaged by these movies always very limited. Easy to do, but limited.
Wreck-It Ralph – 4 stars
Ingenious ideas intelligently conceived and crafted that offer an abundance of fun for the whole family. Can’t wait to check out its sequel, Ralph Wrecks the Internet.
Ralph Breaks the Internet – 4 stars
And just like that, the very next evening, I watched the sequel! Very pleased to say that this sequel is equally as intelligent, creative and funny as its predecessor. There is so much to admire and be amused by in the ‘Ralph’ films, but arguably nothing more so than certain very special appearances and the voice cast behind them in this sequel! If you haven’t seen Wreck-It Ralph and Ralph Breaks the Internet, then I strongly suggest you change that now!
Onward – 3 ½ stars
On paper and visually, Onward’s appeal started on a downward trajectory for me. However, once its protagonist’s journey becomes the heart of the film, its sentimentality resonates and produces some truly beautiful moments.
A Shaun the Sheep Movie: Farmageddon – 3 stars
There are plenty of cleverly thought-out sci-fi references laden throughout, but overall the humour is less broadly appealing than Shaun the Sheep’s first excellent movie outing. This is a likeable sequel, though it’s noticeably targeted far less for adults compared to the predecessor.

Now for some…

Drama

After the Wedding – 3 ½ stars
This underrated drama harbours several big secrets in its plot that have a big impact. Not much can go wrong either with the marvelous Julianne Moore leading the way.
Ford v Ferrari – 4 stars
An excellent all-round film that will more than satisfy motor enthusiasts and anyone else not so into cars, equally. There is plenty of appealing story and characterisation that fuel Ford v Ferrari to make it last the distance. Highly recommended!
Just Mercy – 4 ½ stars
Incites every bit of anger and heartbreak its harrowing true story ought to. This powerful film boasts a truly empathetic screenplay and outstanding performances from Michael B. Jordan and Jamie Foxx. A must watch.
All Is Lost – 4 ½ stars
All of what we witness in All Is Lost rests on the shoulders of a single actor – 77 year old Robert Redford. Arguably one of his finest and definitely most stoic performances in a film that is inescapably absorbing before it is terrifically gripping.
The Way Back – 3 ½ stars
Very solid sports drama that features a reliably very fine performance from Ben Affleck. The story and plot developments aren’t breaking any new ground, but it’s definitely worth watching.
Richard Jewell – 4 stars
In what is looking likely to be his final film as writer and director, Clint Eastwood’s biopic is his best movie in a decade and features a breakthrough performance from a most unlikely actor in Paul Walter Hauser. I’m impressed!
Sorry We Missed You – 4 ½ stars
The working collaboration between writer Paul Laverty and director Ken Loach started in 1996 and remains one of the most truest, earnest and powerful in cinema to this day. Sorry We Missed You is among the most pertinent and prominent yet, giving a voice to hard-working, yet vulnerable families subject to modern day labour exploitation in the United Kingdom. Has the exact immediate and lasting impact intended and it ought to have.
Beats – 3 ½ stars
There were two films with this title released in 2019, so as to not confuse the two, this Beats is the 2019 Scottish film about two young men who plan to attend a rave party just as the British government put a ban on them across the entire U.K. What emerges from a straightforward story is a deceptively beautiful friendship and an infectious attitude rebelling against social class and authority. Fans of dance/trance/tech music will be extra fond of Beats.
Red Joan – 3 stars
It’s flashback heavy, which results in the wonderful Judi Dench not being given much to do over shortened screen time. Although Red Joan is a rather dull film to watch consistently throughout, it never lasted long enough at once to completely erase my interest level in what is quite an incredible story.
1985 – 4 ½ stars
The trajectory of this story involving a closeted man returning to his religious parents home for Christmas after a three year absence begins to look like a foreseeable one. Right at that moment, writer and director Yen Tan adopts a much more subtle and tender approach to the secrets his central character is harbouring, resulting in a powerful and achingly beautiful film shot entirely in black and white. Reaches number 11 on my 2019 best film list!
The King – 3 ½ stars
If you can accept the questionable casting choices (especially Robert Pattinson, who plays the son of a French King!) and not be too distracted by his rendition of a French accent, director David Michõd’s (Animal Kingdom) historical drama is actually a really solid film. I felt intrigued by its story and enjoyed the very well written dialogue in particular. Available on Netflix.

Now add tension to that drama…

Dramatic Thriller

The Endless Trench – 4 stars
I have no right to ever complain about any self-isolation measures undertaken during COVID-19 after witnessing the forced hidden existence The Endless Trench’s lead character must endure to merely survive, beginning during the Spanish Civil War. This is one of the top, and certainly most tense, Netflix productions I’ve seen to date!

The Spy Gone North – 4 stars
An extraordinary story that is inspired by extraordinary real-life events. What starts out as a spy operation fascinatingly evolves into something far more complex, dangerous and compelling. It is a layered story full of depth and relies on this over any action it may contain. The Spy Gone North is an excellent and exciting dramatic thriller that notches up another high quality production from South Korea.

Some good ones above! But let’s see what’s on offer in the genre of…

Comedy/Horror with Zombies!!!

Little Monsters – 2 ½ stars
I was so excited to see Oscar-winning actress Lupita Nyong’o in an Australian film… with zombies!! At first, she is easily the best thing about this very hit-and-miss comedy. As it turns out by the end, she’s the only thing to like about Little Monsters. Hmm.
Zombieland: Double Tap – 3 stars
Starts off just as sharp and cleverly funny as 2009’s Zombieland, before it suddenly runs out of adventurous ideas! A strong cast who deliver some big laughs save it from becoming a waste of time.

Time for some…

Romance

The Keeper – 3 stars
A corny and predictable, but nonetheless likable biopic about German-born Manchester goal keeper Bert Trautmann.
Last Christmas – 3 stars
The chemistry between Emilia Clarke and Henry Golding is immediate and palpable, however, I can’t help but feel cheated by the unexpected developments that await us in Last Christmas. Throw on an extra half star to that rating if watching at Christmas time.
Sense and Sensibility – 4 stars
Director Ang Lee’s first English-speaking film boasts a stellar cast who all give fine performances and an involving story that is wonderfully written by lead actress Emma Thompson. An utter pleasure to watch.

Or perhaps, time for some…

Action

Terminator: Dark Fate – 2 stars
Worth watching if appalling acting finds your funny bone. Arnold Schwarzenegger and Linda Hamilton provide an abundance of it!
Angel Has Fallen – 3 stars
By now, you ought to know why and when to turn to the ‘Fallen’ films. Pick your need and timing for mindless action fluff just right, and Angel Has Fallen shall perfectly fulfill each and every one of them.
Birds of Prey: The Fantabulous Emancipation of One Harley Quinn – 3 ½ stars
So much cool and so much sass in this stylish and hugely entertaining action film that features outstanding action choreography and stunt work.
Bad Boys – 2 stars
I finally caught up with Bad Boys, largely before I watch the third installment released this year. I won’t even bother with the two and a half hour sequel after seeing this! Far too (vocally) noisy, boysy and to be frank… just plain sexist in its dialogue and depiction of women for me to be entertained by or appreciate.
The Gentlemen – 3 ½ stars
There’s plenty on offer to have fun with here; the vibe of the film, the characterisation of its very appealing ensemble cast, its playful and metaphorical manner of speech, and even its premise. I certainly enjoyed all of these aspects in The Gentlemen, but do understand its heavy use of strong coarse language and other offensive remarks made throughout has diminished or reduced that enjoyment.

A different form of escapism in…

Documentaries

The Edge of Democracy – 3 ½ stars
A very captivating and insightful Oscar-nominated Netflix production that is part personal memoir meets political documentary, which delves into the downfall of two Brazilian presidents.
The Biggest Little Farm – 4 ½ stars
The biggest little surprise so far in 2020. On paper, it might sound like something you don’t need to see or would easily give a miss. But take my word for it – you do not want to miss this utterly engaging, involving and beautiful experience. To further compliment the film, it also boasts stunning cinematographic work and imagery that is just visually stunning. A hidden gem.
Meeting Gorbachev – 3 stars
Offers just enough insight behind the upbringing and rise of former Soviet Union President, Mikhail Gorbachev, but surprisingly fell short of my expectations. Also, the filming and presentation of Werner Herzog’s interviews are of made-for-television quality.
I Am Not Your Negro – 3 stars
A subject and content that is and sadly remains of undoubtedly high importance is unfortunately largely and broadly inaccessible. An incredibly intellectual narrative that’s mostly impenetrable and chaotic directing are its key undoings. 3 stars is being generous.
Becoming – 3 stars
Becoming isn’t in depth in any way. Rather, former First Lady Michelle Obama shares several insightful perspectives during the release of her autobiography, with honesty and great clarity. Her down to earth nature truly shines through. By the end of Becoming, I was left to wonder how on Earth the U.S, a seemingly progressive nation at the time, has gone so steeply and rapidly backwards since.

In case zombies weren’t enough…

Thriller/Horror

El Hoyo/The Platform – 3 stars
Another Netflix production. Has an intriguing concept that kept me guessing and interested throughout, but all seemed rather pointless once the finale had arrived.

Misery – 4 stars
I wouldn’t have minded an extra few layers of psychological depth added to the mercurial and menacing lead character, but its genuinely thrilling scenes and the uniqueness given to that lead character in an Oscar-winning performance from Kathy Bates still uphold Misery’s might as a bonafide thriller 30 years on.

Or, for something completely different…

Arthouse

Birds of Passage – 4 stars
The authenticity of Birds of Passage and the time committed to its setting, and lifestyle and practices of its characters is what sometimes makes it challenging to watch, but sets it apart from others before then elevating it above so many films that share an otherwise familiar story.

High Life – 2 stars
Maybe I misunderstood something and needed to be high to appreciate this? Unfortunately for French writer and director Claire Denis, her first English-language film is more memorable for the atrocities committed and its bizarre encounters throughout than it is for any themes or meaning meant to be derived from it all.

The Last Black Man in San Francisco – 3 ½ stars
A somewhat (and seemingly) meandering narrative that takes considerable time to establish a discernible plot does initially make this drama a difficult one to penetrate. However, the originality of this semi-true tale and the bold and impressive directing debut of Joe Talbot garner the film a greater level of appreciation once the story does eventually come together.

The Lighthouse – 2½ stars
Robert Pattinson and the arthouse film genre should just stay away from each other! If your film fetish gets a kick out of questions above and without answers, and being in a constant state of confusion by what transpires, all done intentionally, then The Lighthouse is a black and white masterpiece waiting for you. But it’s not without intriguing elements and a superb Willem Dafoe performance.

Compiled by Leigh for Moviedoc

FOR SAMA

Directors
Waad Al-Kateab and Edward Watts

Debutant filmmaker Waad Al-Kateab presents her documentary using the same narrative concept that Australian filmmaker Damon Gameau did with his most recent feature, 2040. Nominated for Best Documentary Feature at the 2020 Academy Awards ® and winner of Best Documentary at BAFTA Awards, FOR SAMA is a love letter from mother to daughter that provides a first-hand account of ordinary civilian life during the five years of the uprising and violence in Aleppo, Syria.

Waad Al-Kateab’s story begins in 2012, when she was a student at Aleppo University at the start of protests against the government of Syria. Like several other activists at the time, Waad filmed the protests on her mobile phone without any plan to one day produce a feature documentary from her footage. The motivation for this only came when news broadcasters in Syria were making no mention of the atrocities occurring daily in Aleppo. As Waad’s fight for freedom of Syrian civilians continues for years, escalating every day, she is ultimately faced with an impossible choice – continue fighting at any cost for all that she has already sacrificed or abandoning the city and her home to protect the life of her daughter, Sama.

After watching this film, let me tell you that it’s a choice that certainly reads easier on paper than what it really is!

Though many images seen in this film are expectedly confronting and harrowing, FOR SAMA also importantly chronicles pure everyday laughter and happiness shared among its civilians and celebrates some of life’s key milestones. Some may question the decision to keep the camera recording (above all else) during a few of those truly harrowing moments, but full credit must be given to Waad Al-Kateab’s commitment and the direction she has chosen to take with what was once over 500 hours of footage. Her real-time work here showcases what can only be described as activism and journalism at its most perilous, bravest and truthful. It deserves any and all recognition it has been, and will hopefully continue receiving.

4 stars

Viewer Discretion
MA15+ (Strong themes and injury detail)

Trailer
FOR SAMA

Moviedoc thanks Umbrella Entertainment for the screener link to watch and review this film.

FOR SAMA is released in selected cinemas throughout Australia from 6th of February, 2020.

Review by Leigh for Moviedoc
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