MOVIE REVIEW

DreamWorks' latest animated film The Bad Guys is a crime-comedy based on the children's book series from homegrown Victorian author Aaron Blabey; featuring the world's most dangerous animal predators who have formed a notorious gang responsible for the biggest heists in town. Deciding to lean into the stereotype that society has placed upon them, Mr. Wolf (Sam Rockwell), Mr Piranaha (Anthony Ramos), Mr. Snake (Marc Maron), Mr. Shark (Craig Robinson) and Ms. Tarantula (Awkwafina) plan to pull off their biggest heist to date - only things don't exactly go to plan.

Directed by Pierre Perifel in his feature directorial debut, The Bad Guys tells the story of the gang who are forced to fool the world that they're turning good. Reforming as model citizens in the hopes of successfully finishing their heist to steal the prized Golden Dolphin from its rightful recipient, guinea pig philanthropist Professor Rupert Marmalade IV (Richard Ayoade), the gang humorously discovers what being good feels like. Kept under close watch throughout the film, the Governor Diane Foxington (Zazie Beetz) holds out hope that the gang can change, while the hilarious and fiery police chief Misty Luggins (Alex Borstein) dedicates her life to locking them away for good.

The film's animation style is one of its main highlights, taking the characters straight from the pages of Blabey's books, and bringing them to life on the big screen. Action sequences are as packed as any live-action movie; with car chases and heist scenes that will have you on the edge of your seat. At times the film is almost comic-book-like (not that we're complaining), and plays to its strengths that made the books so popular. Throw in the amazing voice talents of the cast, a few extra jokes for the adults, and DreamWorks have created yet another film that's sure to become a classic with audiences.

What begins as a film about a notorious gang consisting of a smooth-talking thief of a wolf, a fidgety piranha, a sarcastic snake, a chameleon of a great white shark, and a tech-expert tarantula - transforms into a film that shows the journey of a close group of friends becoming the animals they always hoped to be. This feel-good animation will steal your heart, and have you laughing from start to finish - keeping all ages throughly entertained with something for everyone.

The Bad Guys is in cinemas from March 31 2022. 

As the third entry in the Harry Potter spinoff saga, Fantastic Beasts: The Secrets of Dumbledore takes off after the events of the previous film, and jumps right into the havoc caused by the wizard Grindelwald and his followers. Unluckily for him, Newt Scamander and a team assembled by Albus Dumbledore himself are hot on his trail, and determined to put an end to Grindelwald's plans.

The film has David Yates once again at the helm, with his distinct style shining through; rich with political undertones and social commentary. His rather serious tone carries across from his previous Fantastic Beasts films, as well as the last four films from the Harry Potter series - and it's this tone that gives the film a very different mood to the others, playing out more like a political thriller than anything. With scenes that feel right out of a heist film, with a bit of magic thrown in, The Secrets of Dumbledore is easily one of the stronger (if not strongest) entries in the Fantastic Beasts saga.

Returning to the series once again is Eddie Redmayne as the awkward Newt Scamander, Callum Turner as his brother Theseus, Jude Law as Albus Dumbledore, as well as Dan Fogler (Jacob) and Ezra Miller (Credence). Joining the cast is the brilliant Mads Mikkelsen, now playing the part of Grindelwald, Jessica Williams as Professor Hicks, and Richard Coyle as the mysterious Aberforth Dumbledore. The strained relationship between Dumbledore and Grindelwald is at the forefront of the film, and is a catalyst of sorts; diving into many details that JK Rowling teased in her previous series.Sharing plenty of touching scenes together, the on-screen chemistry between Law and Mikkelsen is palpable, and adds yet another tragic layer to the character we've all grown up watching over the years. 

With well thought out pacing, enough twists and turns, and just the right number of new and fantastic beasts, The Secrets of Dumbledore gets the series back on track with an exciting new instalment. Given we're still a few films off from the conclusion to the Fantastic Beasts series, we're excited to see where the story goes next.

Robert Eggers' latest film The Northman sees the director's take on a viking epic; written by Eggers and Icelandic poet Sjón, and inspired by the legend of Amleth (which in turn borrowed elements from Shakespeare's Hamlet). Armed to the teeth with Eggers' trademark style, the film is a grisly tale of revenge and intertwining fates - with plenty of gratuitous gore and nerve-wracking moments.

When Amleth (Alexander Skarsgård) witnesses his father King Aurvandill's (Ethan Hawke) death at the hands of his traitorous uncle Fjölnir (Claes Bang), he vows to avenge his father's death, save his mother (Nicole Kidman), and kill his uncle. It is this vow to himself that he repeats as he escapes from the throes of his uncle and the danger he poses to him. Growing up years later as a berserker, he is reminded of this vow from the vision of a Seeress (Björk), causing the haunted Amleth to disguise himself as a slave and plot his revenge with the help of a captured Slav, Olga (Anya Taylor-Joy). 

Skarsgård's hulking Amleth is a sight to behold; with the actor captivating the audience in every scene, and playing the troubled prince with such a harshness and hatefulness, that can be felt throughout the film. Taylor-Joy's Olga in comparison, is quite the opposite - the graceful, stoic sorceress who is the yin to his yang. Supporting actors Claes Bang, Nicole Kidman and Ethan Hawke are as brilliant as ever, and round out the strong leads along with the legendarg Willem Dafoe, who makes a memorable appearance, albeit a short one, as Heimir - King Aurvandill's close friend and seer.

The film wouldn't be a viking film without plenty of brutality and gore - and The Northman does not shy away from this. Featuring action scenes that border on outrageous at the best of times, the audience can't help but groan out loud during some choice raiding and fight scenes. The film balances itself out with its fair share of gut-wrenching moments (quite literally for some characters); throwing in some twists that'll keep you on your feet until the very end.

Incredible scenery, beautiful framing and an insane, ethereal soundtrack are the cherry on top for the film - as the director has played to his strong suits here. Moody, emotional and at times just plain absurd, The Northman has everything you'd hope for in a Robert Eggers film. Despite its handful of strange and uneasy moments, it sure is one of the most entertaining films we've seen in a long time. The Northman is in cinemas now - so book your tickets now and avoid renorse.

Nicolas Cage is back (not that he ever went anywhere) in the actor's latest film The Unbearable Weight of Massive Talent. Directed by Tom Gormican and co-written with Kevin Etten, the film sees Nicolas Cage playing a fictionalised version of himself - so of course what ensues is some absolutely bonkers moments. 

When Nicolas Cage finds himself feeling unfulfilled in his career, and on the brink of a financial crisis, he unenthusiastically takes an offer to appear at a super-fan’s birthday for $1 million. What he doesn’t account for is becoming involved in a CIA plot to take down a notorious gang member - who just so happens to be his host. Pushed to play his most difficult part yet, and draw upon all his acting experience, Cage fights to take down the man who threatens the safety of his family. 

Nic Cage is as Nic Cage as you can get; leaning into his trademark acting method, ‘Nouveau Shamanic’, as much as he can - even going as far as referencing it by name several times. His penchant for his unhinged and manic moments are in full force, and make for some crazy scenes; especially when starring side by side with himself (a de-aged version going by the name Nicky Cage). 

Playing the part of Cage’s super-fan Javi is Pedro Pascal - whose venture into comedy is seamless and a welcome change to his usual roles. The on-screen buddy relationship between Cage and Javi is a rollercoaster - flip-flopping between schemes and wholesome moments. Rounding out the cast is the hilarious Tiffany Haddish and Ike Barinholtz, who play Cage’s CIA handlers, and Neil Patrick Harris, who is Cage’s yes-man of an agent. 

With a generous helping of meta moments, side-splitting jokes, and copious amounts of love for Paddington 2, The Unbearable Weight of Massive Talent is an absolute experience from start to end - making it one of our favourite Nic Cage films to date. The film is out in cinemas now - so make sure you catch the national treasure at his best. 

Easily one of our favourite comedies of the year, was The Lost City; an action-packed, laugh-filled romp, which plays on genre tropes like there's no tomorrow. Directed by Aaron and Adam Nee, who co-wrote the film with Oren Uziel and Dana Fox (What Happens in Vegas), which was based on a story from Seth Gordon (Horrible Bosses), The Lost City had us crying with laughter at the premiere. With a killer leading cast including Sandra Bullock, Channing Tatum, Daniel Radcliffe, and even a cameo by Brad Pitt, this was a popcorn flick we'd happily watch over and over again.

Loretta Sage (Bullock) is a widowed romance novel author, who is 110% done with her smutty series that she has grown to dislike. Regardless of her books having a massive following, it is her cover model Alan 'Dash' (Tatum) that gets all the attention from her fans. The cynical Loretta is nothing like the himbo Alan, who she finds unbearable, despite his seemingly unrequited love for her. When Loretta is kidnapped by billionaire Abigail Fairfax (Radcliffe), who believes her latest book is the key to locating an undiscovered treasure, Alan takes it upon himself to save his damsel in distress. Enlisting the help of his meditation buddy Jack (Pitt), what ensues is plenty of adventures and mishaps through the unforgiving jungle; causing the reserved Loretta to live out something straight out of one of her books.

This film really did allow Sandra Bullock and Channing Tatum to lean into their comedic talents - our only complaint being that we wish there was more comedies with this duo involved. The two play off each other so well, with an undeniable chemistry that lends itself to plenty of full belly laughs, with a few warming moments thrown in. Daniel Radcliffe takes his villain role and runs with it, giving us a spoilt brat who doesn't know when to quit; it's a role that we haven't quite seen him in before, yet his humorous takes as of late (Miracle Workers) have made us see him in new light. Rounding off the cast is Brad Pitt's Jack Trainer, an ex-special forces ball of muscle; Da'Vine Joy Randolph as Loretta's relentless publisher Beth; and Oscar Nuñez as a crazy cargo plane pilot.

While it may be predictable and full of plenty of cliches, The Lost City knows what kind of film it is, and completely goes with it. With mountains of laugh out loud moments, strong one-liners, and goofy escapades, this is a film we're already looking forward to rewatching. The Lost City is coming to cinemas April 14 - so make sure you find your way to your nearest screening.

After dealing with dementia for the past five years, June wakes up one day in a nursing home, to find that she is experiencing a moment of temporary lucidity. Confused as to her whereabouts, she plans her escape so she can get back to her life; only to find out that her family is falling apart, and the family business has gone downhill. Written and directed by JJ Winlove as his debut film, June Again is an incredibly moving Aussie dramedy that'll have you laughing and crying in the same beat.  

Aussie icon Noni Hazlehurst plays the titular character, June Wilton. Having regained some sense of herself, June works quickly and methodically - well aware that she is on borrowed time. Hazlehurst's transition from her state of dementia, to her usual self showcases the many facets and extent of Hazlehurst's incredible acting. Having to pull her family and business back together, her grip on reality is shaken as she begins to feel her lucidity slip away from her - which is expertly represented with Winlove's use of flashbacks and blurred memories. Hazlehurst is quick on her feet - throwing out sass and cheeky lines in every direction, as June tries to rebuild the life she left behind.  

June's two estranged children Ginny and Devon are played by the fantastic Claudia Karvan and Stephen Curry. With their relationship strained after the hospitalisation of their mother, the two siblings' stubbornness to make amends is hilarious to watch, especially with how well Karvan and Curry bounce of each other. With the two kids straying from the paths that June laid out for them, their bonds with their mother are tried and tested. It isn't until June realises that they need to forge their own future, that the family is able to move forward and accept the lives they lead. 

For many, June Again deals with such a personal subject, which is written so well by Winlove. June Again is a triumphant debut for Winlove, and one that makes us excited for what the director next has in store for us. As always, Noni Hazlehurst is an absolute gem - proving that she is easily one of Australian cinema's heavy hitters. With this winning combination, plus the overlying fact that family makes us what we are; we found ourselves loving every moment of this film. 

June Again is in cinemas now, so make sure you don't delay to seeing this touching film. 

From the brilliant minds of the original Saw team, Mark Burg and Oren Koules, comes Spiral: From the Book of Saw. Over the past year, a lot of interesting things have happened in the world, so hearing that Chris Rock and Samuel L. Jackson were teaming up to shoot the next Saw film was as big a surprise as they come. Going in with an open mind, the latest entry into the Saw universe contains the usual torture, all in the name of teaching valuable life lessons, while bringing a fresh perspective, and at times, a humorous take on the genre.   

While the previous films in the franchise have centered around the average wrong-doer, Spiral focuses on the actions and consequences of a particular police department. Detective Ezekiel "Zeke" Banks (Chris Rock) is partnered up with rookie William Schenk (Max Minghella) to investigate a series of murders against fellow police officers, which are believed to be the actions of a Jigsaw copycat. This neo-noir detective thriller takes the audience on a journey seeking truth and redemption, while providing the all too familiar gratuitous gore that we've a know from the film series.   

Directed by Darren Lynn Bousman and written by Josh Stolberg and Pete Goldfinger, these brilliant minds pull us yet again into the Saw universe in a way that only a Saw film can; with enough gruesome scenes to last a lifetime. Like any good film in the series, the journey comes full circle (or for a better word, full spiral), to leave us with a series of important messages aimed at eliminating corruption and unraveling the truth. In today's social climate, the film's stance against corruption in the police force was almost a commentary on recent news, and how the world needs to make changes. Admittedly, the film had us thinking about and replaying scenes in our heads for days, so we would definitely recommend it to anyone who has been able to stomach the previous releases. 

Arriving just in time for the school holidays, IMAX's newest doco Dinosaurs of Antarctica 3D will transport you to a prehistoric world now covered in ice. Spanning over 250 million years, from the Permian Ice Age, to the Age of Dinosaurs to now, the documentary follows a group of palaeontologists as they make incredible discoveries into the lush forest-laden environments that we now know as Antarctica.  

Introducing new-to-science dinosaurs Cryolophosaurus and Glacialisaurus, the film deals with how climate change and evolution impacted what was once the flourishing biome of the Antarctic continent. The evolution of the dinosaurs during the mesozoic era is brilliantly shown through CGI, and of course through the stunning 3D IMAX experience. The predatory Cryolophosaurus steals the show; regardless of whether it is flaunting its hunting tactics, or attracting a mate, the dinosaur is really something to behold on the big screen.  

Dr Nathan Smith, palaeontologist and Curator of the Dinosaur Institute at the Natural History Museum of Los Angeles County, features heavily in the film; guiding viewers through the journey the research team made discovering the new types of dinosaurs. Dr Smith himself was involved in the Cryolophosaurus excavations, and lent his knowledge of the dinosaurs to the doco's production film, to bring the mighty reptiles to life. As explained in the film, he expects many more discoveries to be made in the coming decades, which will further our understanding of the world the dinosaurs lived in, and what we expect to live in.  

Dinosaurs of Antarctica is screening exclusively to IMAX this school holidays, so grab the kids and get ready for an absolutely dinomite experience in 3D! Tickets are on sale now - head to the IMAX website for info on ticketing and COVIDSafe measures.

Canadian director Miranda de Pencier's debut film The Grizzlies takes us way past the Canada we know, and transports us to the unforgiving terrain of Nunavut. Graduate teacher Russ takes on a government teaching job to pay off his student fees, while waiting for a job to come through from an elite grammar school. Travelling to the town of Kugluktuk, Russ comes face to face with plenty of cultural miscommunications, and a community that is still recovering from a government that changed the ways they knew. With Russ trying and failing to get through to his students, he works out a plan to introduce his community to lacrosse. Based on a true story, The Grizzlies is an incredibly touching film that will stay with you.   

The film jarringly opens with a teenager committing suicide - which sets the bleak scene for the first half of the film. Caught off guard by this opening, de Pencier throws the audience into the harsh reality of what these people are dealing with. Faced with abusive family, youth suicide rates, alcoholism and poverty, the Nunavut students have no rest; dealing with challenges both in school and in their home. Having dealt with plenty of teachers who failed them, their attitude towards their education and life is threatened on the daily. It isn’t until they are introduced to lacrosse, that they begin to see some hope on the horizon.   

With standout performances from Ben Schnetzer (Russ), Booboo Stewart, Emerald MacDonald and Paul Nutarariaq (students Kyle, Miranda and Zach), the audience is moved as the relationship between student and teacher grows. With plenty of Inuit actors throughout the film, it is touching to see such a strong representation of their culture.    

Something the film does well, is that it delicately avoids Russ playing the part of the white man fixing everything - showing how the attitudes of the Kugluktuk youth changes when they are given a chance to make something of themselves. Their character development has the audience cheering them on; watching as the students stand up for themselves, and take the initiative to make changes in their lives.   

The Grizzlies isn’t your typical high school sports film - in fact, it takes the genre and flips it on its head; throwing in plenty of hurdles along the way. Regardless of this, it truly is a fantastic film in how its representation of the Inuit is shown - a culture not everyone would know much about. The Grizzlies is in cinemas now, so make sure you check it out while you can. 

Coming to theatres as quickly as the world's favourite blue hedgehog himself, is Sonic the Hedgehog 2; director Jeff Fowler's sequel to his 2020 film. As easily one of Sega's biggest game series, Sonic brings plenty of action-packed nostalgia to the big screen, for old and new fans alike. Picking up after the first film's events, the sequel sees the return of its main characters, joined by some new, yet familiar faces.

After being trapped on the Mushroom Planet, Dr Robotnik has been plotting his return to Earth and his revenge against Sonic. When he encounters the hostile and beefy echidna Knuckles, the two realise they share the mutual goal of tracking down Sonic, leading to the two baddies teaming up. Unluckily for Sonic, their attempt at taking him down just so happens to be when his family are out of town. Saved by Tales the fox, Sonic and his new friend race against Knuckles and Dr Robotnik to search for the legendary Master Emerald; a gem that grants its owner enough power to control the universe.

Ben Schwartz returns as the voice of Sonic, along with James Marsden and Tika Sumpter as his adoptive parents Tom and Maddie, and Jim Carrey who is back and balder than ever as Dr Robotnik. Joining the sequel's cast is Colleen O'Shaughnessey reprising her role from recent Sonic games as the voice of Tails, as well as Idris Elba as the tenacious Knuckles. Schwartz's Sonic is sarcastic and headstrong; wanting to take on a hero's role, while unintentionally putting many in harm's way in the process. Voiced with plenty of heart (with a Parks and Rec reference thrown in), Sonic goes through some massive character development in the sequel, as he learns what it means to take on the responsibilities of others. In comparison, Knuckles is everything Sonic is not; serious, aggressive, and gullible at the worst of times - and Elba plays his part perfectly. Carrey, as always, plays the unstable villain so well and so ridiculously, that the character is really just an extension of himself.

Sonic the Hedgehog 2 isn't necessarily the best video-game adaptation, but its heavy lean into fan-service territory sure does make it a hell of fun film. Filled with plenty of laughs, flashy CGI, heartwarming moments, and a few teasers for the next instalment, Sonic is an escape for all ages. So whether you grew up dashing along the slopes of Green Hill on the old Sega Genesis, or you or your kids are still playing the game today - race into cinemas from 31 March to catch the flick.

Josh Lawson’s second directorial effort comes in the form of Long Story Short; a refreshing entry into the time travel genre. A quirky comedy about the importance of time, the film leaves a lasting impression about living life to the fullest.   

Leading the cast is Rafe Spall as Teddy - a chronic procrastinator who has just married the love of his life, Leanne. Much to Leanne’s annoyance, Teddy is constantly putting off chasing his dreams, claiming that he has all the time in the world. It isn’t until he has a run in with a stranger (Noni Hazlehurst), that he realises he’s taken his precious time for granted. Jumping forward a year every few minutes, Teddy watches helplessly as his idyllic life crumbles around him, and he loses everyone he cares about.   

Lawson’s writing perfectly showcases the comedic prowess of Spall; who spends most of the movie in full freak out mode. Alongside theatre star Zahra Newman, who plays the cool, calm and collected Leanne, the two have undeniable chemistry. Rounded out with comedian Ronny Chieng and Lawson himself, the film cleverly picks its moments when it comes to having a laugh, or even a bit of a sniffle.   

The film even goes to the lengths of poking fun at other time travel films at times (we’re looking at you, Groundhog Day), Long Story Short finds the perfect balance of comedy, charm and pure emotion; making you question what really is important in life. Long Story Short hits cinemas February 11 - just make sure you check it out now, not later!

Given the never-ending #MeToo revelations that have surfaced throughout the years, Jay Roach's latest film Bombshell couldn't be more relevant in today's climate. Starring Charlize Theron, Nicole Kidman, Margot Robbie and John Lithgow, the film covers Fox News' 2016 sexual harassment scandal. Discrimination in the workplace is at times an unspoken evil - we all know it's there, but we don't like to talk about it. Bombshell delivers satisfaction from served justice - and we enjoyed every minute of this real life portrayal.   

Charlize Theron and Nicole Kidman star as Fox anchors Megyn Kelly and Gretchen Carlson, the two primary sources in the claims against Roger Ailes. After Gretchen is laid off after years of unfair treatment, she starts a fire under every woman working at Fox. What then snowballs is a mass court case, bringing the corporation's harassment and discrimination to light. Slipping in and out of documentary style retelling, the film deals with the seriousness of sexual harassment in the best way possible. Theron and Kidman bring the story to life, and alongside Margot Robbie's ficticious character Kayla, the trio highlight the heartbreaking scenes that occurred at Fox.   

One of the standout features in the film is the makeup, particularly John Lithgow as Roger Ailes and Charlize Theron as Megyn Kelly. The film deserves to be in contention for awards at the detail put into each character's appearance throughout the film. Alongside this, the other highlight is the film's ability to tackle the difficult issues in a serious but entertaining manner - encouraging us all to take a stand and making it clear that expectations in the workplace have shifted. While it is challenging at times to watch the behaviour of the Fox executives, from Roger Ailes telling a make-up free Carlson that 'no one wants to watch a middle-aged woman sweat her way through menopause', through to the secret arrangements made behind closed doors, the film doesn't try to paint anything but the truth and the importance of coming together to support what is right.  

Bombshell sets out to start a conversation, and we believe it delivers. The performances from each of the main characters tells their story in a film we will not soon forget. We hope as time goes on that movies like Bombshell are an important part of where we've come from, and that each film plays a part in changing where we are heading. 

A murdered millionaire and a malicious family with all the motives? Sounds like all the makings for a classic whodunit. In director Rian Johnson's (Looper, Star Wars: The Last Jedi) latest film, Knives Out is an Agatha Christie-inspired entry into the murder mystery genre that has survived all these years. Featuring an ensemble cast, plenty of plot twists, and some absolutely killer one-liners, Knives Out is definitely one of our favourite films of the year.  

When crime author Harlan Thrombey (Christopher Plummer) is found dead in his study, his suicide is investigated by the police. Each family member descends upon his property like vultures; all unknowingly with their own motives for Harlan's death. It is not until private investigator Benoit Blanc (Daniel Craig, featuring a thick, Southern drawl) steps in that these motives come to light, and it becomes known that there is more than meets the eye.  

Filling out the cast is Jamie Lee Curtis and Michael Shannon as Harlan's children, with Chris Evans, Toni Collette and Don Johnson playing other members of the Thrombey Family. Relative newcomers Katherine Langford (13 Reasons Why) and Ana de Armas (Blade Runner 2049) also round out the all-star line up. The chemistry between all characters is one of the film's many highlights, as they play off each other under Detective Blanc's watchful eye.  

Set in the Thrombey mansion, the film's setting is claustrophobic, cluttered, and rich with character. Filled with secrets, you'll find yourself scouring each scene for some sort of clue towards the murder, but will end up feeling overwhelmed by the sheer amount of detail being put in front of you. The detailing itself truly is amazing, and something that made the house feel almost like a den of treasures.  

The film really throws some amazing curveballs that you won't see coming; to the point of us constantly finding ourselves in a state of 'oh-no-they-didn't'. Backed up with some incredibly well written comedic moments, call backs, and foreshadowing, the film undoubtedly had the right recipe. Obviously we can't give too much away, as that would ruin the surprise, so you'll need to see it for yourself. 

Knives Out is now showing in cinemas, so make sure you do yourself a favour and get a ticket!

The Russian Resurrection Film Festival returns for a 16th year, with Melbourne hosting at the Capitol Theatre on Swanston Street. Bringing the best of Russian cinema to Australia, the film festival is one of the biggest and oldest festivals outside of Russia itself. Boasting a strong lineup of upcoming and classic films, the festival seeks to break down stereotypes and showcase their country's talent.

We were fortunate enough to be invited to the festival's opening night. Despite having a very limited understanding of Russian culture, we had an incredible time! The audience was treated to pre-show entertainment - Russian folk songs, performed by traditionally dressed band Carousel Folk Band. Following the opening speeches and an appearance by actor Yulia Aleksandrova, the festival was officially opened with a ceremonial bread and salt greeting. We personally hadn't been to a film festival that started like so, but it was nice to see tradition being carried out throughout the night.

The film chosen for the Melbourne opening was Hero; a new spy comedy directed by Karen Oganesyan. Starring Alexander Petrov in the lead role as Andrey Rodin, the film follows sleeper agents being reactivated. Of course with Hero being a spy film, double-crossing is bound to happen, much to the chagrin of the characters. With plenty of high-velocity action scenes and jokes galore, the film was a great choice for opening night.

Closing off the night was an after party, featuring traditional folk dancing and music. Those who were game enough (and energetic enough!) to join in really added to the vibe of the night. The after party was really high energy, and it was great to see everyone really getting into the celebrations.

The festival will be running throughout Australia on the following dates. Make sure you check out the film festival's website for more information on screenings and tickets.

Perth: Event Cinemas Innaloo from (25-30 October)

Brisbane: Event Cinemas Myer Centre Brisbane (5-13 November)

Canberra: Capitol Cinemas Manuka (6-10 November)

Sydney: Event Cinemas George Street & Burwood (7-17 November)

Melbourne: Capitol Theatre (8-17 November)

Adelaide: GU House Adelaide (14-17 November)

Making its grand return yet for another year, was the Astor Theatre's annual 'Spooktacular' Halloween marathon. Following last year's marathon of John Carpenter's Halloween series, the Astor's 2019 catalogue contained a series of screenings of the best and most interesting classic and cult horror films - with a few hidden surprises. 

Kicking off the marathon was George A Romero's Dawn of the Dead (1978); a film that the Astor had worked years on acquiring the screening rights to. We were privileged to see one of the four screenings that will eventually take place at the Astor, and appreciated the significance of the event and the hard work from the Astor team.  Romero's classic was then followed by Wes Craven's A Nightmare on Elm Street (1984) and The Texas Chain Saw Massacre (1974); two films that made a huge impact on the slasher genre. As the night grew later, it was great to have films that keep you on your feet with suspense. 

We'd now crossed over into Sunday, with Sam Raimi's instant classic Drag Me to Hell (2009) offering up some supernatural horror vibes, as well as some more early morning jump scares. Those who tried to nap during this film were out of luck - a first-hand experience for some of our team. Before the next film, and to lighten the mood, the Astor pulled out a surprise screening of It's the Great Pumpkin, Charlie Brown (1966). This was a welcome addition to the film catalog and while it was offered as a chance to stretch your legs as the evening progressed, the majority of film goers stayed for the full surprise screening. 

Next up, body horror film Society (1989) amps up the suspense, and ends with a scene that will be forever burned into our memories. You'll have to see it to believe it. The Slumber Party Massacre (1982) brings the audience back to the slasher genre, with plenty of laughable moments included. These films steered away from the classics and offered a unique perspective on what the horror genre has to offer. 

Wrapping up the marathon was The House of the Devil, Next of Kin and Scream; Wes Craven's 90s satirical masterpiece. In true Astor fashion, there was plenty of audience participation, movie trivia and prizes, and of course, an overwhelming love of film from all. We jumped, we laughed, and some of us definitely watched moments through our fingers. Either way, we're already looking forward to the selection for next year's Astor Halloween marathon!

The latest film from German director Michael Herbig is Balloon; a retelling of the 1979 East German balloon escape. Released as the opening film of this year's German Film Festival, Balloon follows the thrilling escape carried out by two families, in order to find a better life in West Germany.

The film opens with little introduction to the planned escapees - the Strelzyk and Wetzel families. Rushing right into it, Herbig races through the Strelzyks' first escape attempt, which visibly leaves the audience on the edge of their seats. It is then the two families working on their second attempt to escape to a better life, that fleshes out the rest of the film. Add in the fact that the Stasi is after them following their first failure, and that their own neighbour is also actively searching for them, and you've got a recipe for a nail-biting thriller.

Peter and Doris Strelzyk are played by Friedrich Mücke and Karoline Schuch; parents who wish to find freedom for their family from the communist regime. Aided by friend Günter Wetzel (David Kross) - the mastermind behind the balloon - the two families work together tirelessly. Their motivation and desperation is heart-wrenching, but relatable, as they only want the best for their children.

Balloon will hit cinemas at the end of October. Check your local cinema for screening times.

Pedro Almodóvar's Pain and Glory (Dolor y Gloria) sees the Spanish director once again work with longtime collaborator Antonio Banderas. The film revolves around Banderas' character Salvador Mallo - an auteur who, in his later years, begins to reflect on his childhood. His self-reflection is brought on by one of his first films being restored and re-released - prompting him to reconnect with the film's lead actor for the first time in 30 years. The film sees the internal battles Salvador faces; his declining physical and mental health, his creative block, and his battle with drugs.

Almodóvar's film is semi-autobiographical in a way; the aging director struggles with his identity alongside his creative output. It's an artist's hardship audiences can only imagine, as we see Salvador's failing health and creativity, which we can't help but wonder if they're related and stuck in some vicious circle.  Almodóvar switches seamlessly between Salvador's childhood memories and his current-day actions that spawn these flashbacks. At no point do we feel dragged between past and present - but it is those past memories Almodóvar uses to link up the film's narratives.   

Banderas' portrayal of Salvador is more than human and relatable in every sense - a big step away from the crooning Spaniard image most audiences would associate him with. His character is brooding; mad at life, confused and defeated. Banderas brings life to the struggling artist, so much so, that he rightfully won the award for Best Actor at the Cannes Film Festival for it. Supporting Banderas is Penelope Cruz as Mallo's mother, seen in flashback scenes, and Asier Etxeandia as the estranged actor from Mallo's early film.  

Once again, Almodóvar brings another masterpiece to the screen - one rich with vibrant character and feeling. Pain and Glory is a film that will stay with you; a narrative that will haunt you, yet remind you that things do in fact get better.

Official Secrets is a real-life true story about Katharine Gun, a British secret service translator whose bold efforts to thwart the Iraq War through whistle-blowing classified information challenged society to question the motivations of their government. The film paints a picture of a strong woman (played by Keira Knightley) whose single handed efforts blurred the lines of what is right and wrong to do what was needed. Through the many barriers put in her way, this story is about being faced with a decision to look after oneself or to stand up for what is true.   

Knightley's portrail of Gun is remarkable, managing to bring the fiery passion, smart wit and just nature of her story. As the world revolves around her, the film does an excellent job at highlighting the impact of events throughout the media outlets and in the legal system. Oscar-winning director Gavin Hood (Tsotsi, Eye in the Sky) incorporates real news footage from the time to best capture the reality characters were facing during their trials and tribulations. The all-star cast including Matthew Goode and Ralph Fiennes manage to highlight the good work that was done to help Katharine chase justice. The film manages to achieve all of its desired intentions, leaving the audience well informed. 

Directed by Jean-Pierre and Luc Dardenne, Belgian film Young Ahmed (Le Jeune Ahmed) tells the story of a young boy swayed by extremist ideas. Ahmed, a 13-year-old muslim boy, has radical thoughts after the influence of his imam causes him to make an attempt on his teacher's life. After failing to do so, he is sent to a youth rehabilitation centre, where he begins to question his religion, motives and the world around him.  

Despite being quite confronting at times, the Dardenne Brothers deal with will be seen as a controversial topic by some audiences in the best way possible; by showing each character as an everyday human being. The supporting characters simply reflect the effect Ahmed's change of mentality has had on them. From refusing to shake his female teacher's hand, to admonishing his French-speaking mother in Arabic for drinking - we see Ahmed's behaviour confuse his friends and family. It is this confusion that mimics the everyday lack of understanding between social, religious or cultural groups; the great fear of the unknown.  

Idir Ben Addi's portrayal of the title character is at times chilling and unnerving. Throughout the film, we see his behaviour change dependent on who he is around. When at school, we see a boy sneaking under the radar, with his head down and his routines in check. It is not until Ahmed is by himself, that we see the darker side to the character - one that might be past the point of no return. Each time the audience feels as though the character is on their redemption arc, or the right path, the Dardennes toy with the notion of 'will-he-won't-he'; which is further emphasised by the ominous ending.  

Young Ahmed is a rollercoaster of emotion from start to finish. Audience members will find themselves biting their nails, or even (like we were), cursing the Dardenne Brothers for not revealing what comes next. 

No MIFF would be complete without a movie marathon at the Astor Theatre. This year's treat was a 12+ hour round-up of prime Jeff Goldblum (AKA the internet's boyfriend) films. The world's interest in Goldblum has peaked over the past couple years, with the charming, yet kooky actor raking in the recognition he deserves. It was only fitting that the actor had his own movie marathon dedicated to him during the festival. With the marathon starting at 11pm on a Friday night, the event was opened with a special message from Jeff himself; a video welcoming the marathon-goers to the night, complete with his trademark delivery. With the message finished, the audience whoops and cheers - and everyone is ready for the marathon to begin.   

The first movie to be shown is Vibes (1988), a psychic rom-com also starring Cyndi Lauper. It's the perfect choice to start the night, with its campy, over-the-top comedy. Following up is Thor: Ragnarok (2017) and The Tall Guy (1989) - also starring Emma Thompson and Rowan Atkinson. Cronenberg classic The Fly (1986) marks the half-way point of the marathon. It's an essential Goldblum film, so everyone is on the edge of their seats, despite it being the very early hours of the morning. Another film also co-starring Geena Davis is next, with the super fun Earth Girls Are Easy (1988) shown on 35mm. Finishing up the night is Wes Anderson's The Life Aquatic with Steve Zissou (2004) and Independence Day (1996). By the time the marathon is over, everyone is all Goldblumed out (if it's even possible). We're keen to know what marathon MIFF and the Astor have in store for next year!

Keanu Reeves returns as semi-retired hitman John Wick, in director Chad Stahelski’s third instalment. Stahelski doesn’t fail to disappoint, delivering another brilliant entry into the John Wick universe.   

John Wick 3 picks up directly from the end of the second film, throwing the audience headfirst into a chaotic opening scene. After being excommunicated at the end of the second film, we see John rushing through the busy streets of New York, weaponless and with a $14mil bounty on his head. Everyone on the street seems to be an assassin, making for an incredibly tense few minutes as John ducks and weaves his way through the crowds.   

Keanu Reeves’ portrayal of the stoic titular character takes another turn as we find out more of the character’s backstory throughout the film. Reeves plays Wick with his trademark silent treatment, delivering one liners at choice times. The character almost seems an extension of Reeves himself; effortlessly cool and calculating.   

Returning to the screen is Ian McShane and Laurence Fishburne in their respective roles of the New York Continental manager Winston, and the Bowery King. Supported by Halle Berry, Anjelica Huston, and Game of Thrones’ Jerome Flynn, the audience is treated to a new range of characters - some that we hope will be revisited.   

What deserves a massive applause in the film series is the choreography. The action scenes (gun fights, hand-to-hand combat - you name it) have always been a highlight of the John Wick films, but the third film easily takes it up a notch. Ever seen someone in a film killed with a book? Or a fight scene in an antique weapon shop? Prepare to find yourself on the edge of your seat. 

Bordering on ridiculous at the best of times, John Wick 3 is flat out the most hard-hitting entry into the series. With the right balance of twists, action and dark humour, the film has it all for new and old fans of the series. Thankfully the film’s ending leaves it open enough for a sequel - we know we’d happily watch another three John Wicks. 

Long Shot is brought to you by the team of Seth Rogen and Evan Goldberg, made popular from comedy hits including Bad Neighbours and This Is The End. In this comedy epic, we see one of the most influential women in the world reconnecting with the boy she used to babysit in what seems like the world’s most incredible mismatch - an unexpected rom com that pushes the boundaries of what can and can’t be said in a film centred around the US presidency.   

Who better to play the lead roles than powerhouse Charlize Theron and lovable stoner Seth Rogen. Long Shot wastes no time in introducing the audience to the preposterous shenanigans of Fred Flarsky (Rogen). From the opening scene which shows Flarsky fling himself out of a building in the name of journalism, his life truly takes a turn when he has a chance encounter with his old babysitter Charlotte Field (Theron) at a function featuring Boyz 2 Men. The accomplished diplomat who is running through the motions at another function seeks to reconnect with Flarsky and as one thing leads to another, invites him to be her writer for her upcoming presidential campaign tour.   

In what would initially seem like the world’s most unlikely pairing, the chemistry between Theron and Rogen is undeniable, fueled by nostalgia, admiration and intimacy from understanding one another. The rom com delivers a constant barrel of laughs as the pair manage to get wrapped up in a series of unexpected and dangerous events. What we take away is the importance of truly understanding someone, as the pair manage to bring out the best in each other - Flarksy learning to take accountability for his actions and beginning to think about his future, and Field learning that it’s not just about the numbers.   

We highly recommend this film to anyone looking for an intellectual comedy, or for anyone who wants to see Bob Odenkirk perform the role of a US president, TV star elected to the oval office, who wants to throw it all away to start his career in the film industry. 

Showing at this year’s French Film Festival is Dumped, Eloïse Lang’s mother-daughter comedy, which is perfect for a night out. While Dumped is Lang’s first feature film release, it packs a punch, leaving you wanting more.  

After her husband leaves her for a younger woman, Françoise is taken on holiday for her 60th birthday to the tropical island of Réunion by her two daughters - with their goal being to “save mom” and prevent her from spiralling further into depression. What ensues is a gut-splitting rivalry between the two sisters, and antics that include a one-night-stand, and hotel staff being paid to romance their mother.   

The legendary Miou-Miou takes on the role of Francoise; the no-nonsense mother subjected to her daughters’ plan. Camille Cottin and Camille Chamoux play daughters Rose and Alice, who are the polar opposites of each other. The on-screen chemistry between the three leads is undeniable, lead by Cottin’s undeniable charisma, Miou-Miou’s quick-fire wit, and Chamoux’s hysterical. control-freak facade.  

With the success of director Lang and Cottin’s previous work together (Connasse and Harry Me!), Dumped once again showcases a director/actor collaboration that we would love to see more of. Throw in touching mother-daughter moments, and inflections into love lost and gained, and you’ve got a film with something for everyone. Check out where Dumped is next playing at the French FIlm Festival’s website. Get in quick - this entry into the festival is sure to sell out quickly.

If there’s one film you’re going to see at this year’s French Film Festival, make sure it’s Gilles Lellouche’s Sink or Swim. A laugh from start to finish, you’ll find yourself walking out of the cinema with a massive smile on your face.     

Sink or Swim follows a group of 40-something year old men, all on the verge of mid-life crises, and aspiring to compete in a men’s synchronised swimming competition. If only reading that makes you giggle, then you’re in for a treat.     

Led by Mathieu Amalric and Guillaume Canet (one facing a deep depression, the other in the middle of a broken family), the characters all have their own problems. We see these throughout the film, which contrast with each moment of hilarity. The audience finds themselves really caring for each character - to the point of a few audience members even cheering out at the climax of the film.     

Lellouche’s film is reminiscent of The Full Monty - but who needs this comparison? Sink or Swim is a fun, touching film; one that we’re glad we had the pleasure of seeing. Check the French Film Festival website for screening info - this is one you can’t miss!

Who You Think I Am is a cyber-thriller, that takes you on a journey into the life of literature professor and mother-of-two Claire, who seeks a human connection after her recent divorce. Claire, played by the one and only Juliette Binoche, brings the audience into her world as she seeks to make up for lost time. Through social media, her unintentional yearning to be desired soon leads to her unintentionally catfishing a younger man, as she is swept into a romance like never before.   

Writer and director Safy Nebbou takes the 2016 novel written by Camille Laurens and amps up the importance of human connection; painting a realistic picture of the realities men and women deal with, both in their youth and their aging. The plot line, continued through Claire’s repeat visits with fill-in psychologist (played by Nicole Garcia), directs the film through heavy topics surrounding aging, identify, and what constitutes as the self.   

As the film progresses, the audience sees Claire going further and further down the rabbit hole, as her actions become increasingly self destructive. Claire’s story and actions are humanised, as we see catfishing from the other point of view. In this day and age, our online profiles are (to some people) more important than how we present ourselves in public. It is how this is represented in the film that is so jarring, so truthful, and so frightening.  

Claire is used throughout the film as an unreliable narrator, as we learn more about her declining mental health. At one point in the film, her reality is so distorted from guilt and shame, that the audience is practically begging for another outcome. One of our reviewers even found themselves whispering ‘no, no, no’ repeatedly under their breath.  

The film is beautifully shot, and accompanied by a barely-there soundtrack by jazz musician Ibrahim Maalouf. The lack of sound throughout only intensifies the film’s revelations when they come to light. Nebbou throws in a few computer-illiterate jokes here and there, which resonate with older audiences. Claire adjusting her text language to appear younger also warrants a few laughs. 

All up, Who You Think I Am is a strong entry into this year’s French Film Festival, and a strong argument for this year being the year of Juliette Binoche. A must-see for those who want a bit of excitement in their lives. 

In a total of 110 sexually-charged minutes, Claire Denis’ High Life flips the sci-fi genre on its head. Filled with plenty of shock scenes and touching moments, the French director’s entry into the genre is one that most audiences will find unforgettable.   

High Life follows a group of death row criminals on an unending space mission, all in the name of science. During their trip, the convicts are subjected to the onboard doctor’s reproductive experiments, resulting in the birth of prisoner Monte’s daughter. After being left as the last survivors on the ship, Monte and his daughter Willow must prepare themselves for the black hole their ship is headed straight for.   

Denis’ film follows Monte and Willow’s relationship carefully; from the painstaking moments of being a desperate parent, to the tenderness of caring for one another. Their relationship, interjected with the film’s shock scenes of sexual violence and isolation is jarring and frightening at times, but only amplifies each contrasting moment more.   

Lead by Robert Pattinson as Monte, and Juliette Binoche as the ship’s doctor Dibs, the cast is rounded out with familiar faces Mia Goth and André Benjamin. Space itself plays a big role here (of course, given this is a sci-fi film) - one that has definitely played on our minds.   Needless to say, High Life was a roller coaster from start to finish. We 100% recommend seeing it while it’s screening during the French Film Festival - just don’t watch it with your mum. 

Impossible to look away .  

The Alliance Francaise French Film Festival launched this week with 54 films by the best French cinema has to offer, crowds begging for more with the opening night masterpiece The Trouble With You. This goofy comedy directed by Pierre Salvadori (Wild Target, Après Vous, Priceless) balances ridiculous adventures with true to life emotions, creating a movie with heart and a deeply human experience that stays with you after the credits have finished rolling.   

The Trouble with You follows detective Yvonne, played by Adèle Haenel, a French Riviera police officer who discovers that her late husband, and chief of police, isn’t the man she thought he was. In an attempt to atone for her husband’s mistakes, Yvonne decides to do everything she can to help Antoine, an innocent man who her husband sent to jail. Drawn to one another based on their shared experience, the film shows Antoine spiraling out of control, learning who he has become after 8 years in prison, while Yvonne is discovering who she wants to be, knowing her old life was a lie.   

The film is filled with memorable moments and even more memorable characters that will have to whole cinema in stitches. The mixture of the absurd and Pierre Salvadori’s awkwardly dark sense of humor manages to bring even the toughest of critics to tears and have you laughing at things that would make your grandma blush. There is never a dull moment on screen as you’re never sure what will happen next or how the situation could get any worse. It would be best to leave the children at home for this film to avoid any awkward conversations during the drive home.  

One of the funniest films we’ve seen in French cinema, this one is not to be missed. 

Why diamonds are a criminal's best friend.  

Based on a true story, King of Thieves, depicts widower Brian Reader (Michael Caine) at the ripe old age of 77, uniting a band of former misfit criminals to plot a diamond heist at the Hatton Garden Safe Deposit. Finding the most experienced men possible,  in credentials and age, the current and former criminals aged in their 60's and 70's bar one, seek to pull off what is likely to be their last big job of their careers/lives on a casual Easter weekend.   

Directed by Academy Award winner James Marsh (Man on Wire, Theory of Everything), the film chooses to take on a different approach to most heist films, choosing to glance over the job itself to instead focus on the aftermath - how to divide the stolen goods fairly and remain friends with your fellow criminals. As loyalties are tested, each character brings to the film personality and a clear motivation of why they are part of the heist and what they are hoping to gain from the experience. With a stellar performance from all involved, the all star cast (Jim Broadbent, Tom Courtenay, Charlie Cox, Paul Whitehouse, Michael Gambon, Ray Winstone) bring life to the characters and to the film, highlighting true personalities in each of the people who took part in the efforts.   

King of Thieves feels nostalgic, and takes your emotions on a rollercoaster ride where you want everything to work out, you just don't know for who exactly. When all of the characters appear to possess flaws, it's hard to spot a hero among them as these men grasp at straws to find their place in the world. The film did a fantastic job of highlighting the incredible feat that these men achieved in successfully robbing the jewellery store, and an even better job at identifying where it all fell apart, leading to their demise.   

Overall, we highly recommend seeing King of Thieves if you enjoy a good heist and an even better comedy drama. 

Revenge is best served cold.  

Director Hans Petter Moland makes his Hollywood debut with Cold Pursuit; a classic revenge film, with quirky dark comedy lying under the surface. The film is a remake of Moland’s own film In Order of Disappearance (2014), featuring Stellan Skarsgård in the lead role. Every great revenge film needs a strong lead, and Cold Pursuit managed to book the one and only Liam Neeson - starring in what seems to be his typical role (a la Taken) in this icy thriller.   

Neeson plays the lead role, Nels Coxman, a local snowplow driver in Kehoe - a resort town in the Rocky Mountains. After Coxman’s son dies of a suspect heroin overdose, Nels becomes obsessed with the details of his son’s passing and begins to realise something is amiss. As he begins to explore the drug market in Kehoe and its surrounding areas, Coxman stumbles into who he believes to be responsible and takes it upon himself to exact revenge on the local drug dealers and their lackeys. Wrapped up in a turf war and constant miscommunications between a spoilt and bratty young dealer and a Native-American mob boss, Coxman relies on his knowledge of crime from reading thriller novels to get what he came for.   

Remaking your own film, as Moland has done, is a gutsy move that proves worthwhile. Moving the setting from Norway to the Rocky Mountains in the States translates perfectly, in a beautiful film about tragic loss. The audience experiences the isolation felt in the film through the setting - vast landscapes of unending snow. The pristine, crisp snow is almost a character in itself, providing the film with not only a setting, but a soundtrack, and a masking device. Add a snowplow to the mix, and you’ve got intense feelings of claustrophobia as the raging machine pushes itself through the towering walls of snow.   

Neeson’s delivery of his character is a perfect fit for the film’s humour; his calm demeanour and overall cool quietly dishing out throwaway lines. The humour is very Coen-esque, especially through the use of repetition and deadpan deliveries. Neeson’s humour is mirrored by Tom Bateman, who plays the sociopathic drug dealer Viking. Bateman plays the character with an energy and craziness that is unhinged and entertaining to watch. Rounding out the cast is Laura Dern, starring as Coxman’s wife Grace, and Emmy Rossum and John Doman, as the two cops hot on the trail of the turf wars.  

While Neeson’s foray into action films over the last few years was a welcome change, it was great to see another side of the revenge genre. Moland’s film has Coxman bring a sense of realism to the table; we see an inexperienced, older man struggle to beat up a drug dealer, struggle to deal with the death of his child, and most importantly, struggle with the consequences of his actions. This sense of realism only adds to the film’s dark humour - it was good to see a character awkwardly work his way through a hit list.  

Overall, Cold Pursuit was a great take on the typical revenge film. We went in not exactly knowing what to expect, and left laughing - reminiscing on the film’s well-timed lines and quirky characters. Full of action, deadpan humour and just the right amount of badassery, Cold Pursuit has a little something for everyone.

For one magical night only.  

Jim Hosking’s second offering to cinema brings to the screen a tale of a love triangle and a magical night. Lulu Danger finds herself escaping a dead end town and husband (Emile Hirsch as Shane Danger), to see the mysterious Beverly Luff Linn (Craig Robinson), live for one magical night only.  

The film’s over-the-top characters and dialogue is awkward humour at its finest, reminiscent of The Lobster. Aubrey Plaza’s familiar deadpan delivery is once again present in her portrayal of main character Lulu Danger, while Jemaine Clement’s Colin is hopeless and socially inept , albeit a lovable dork. While both actors feature in roles typical to what they’ve played in the past (Plaza’s April Ludgate, and Clement in Flight of the Conchords), the typecast characters play off each other perfectly.  

The film’s absurdity is only amplified by the synth soundtrack and costumes - think tartan three-piece suits and striped one piece swimmers. Complete with Matt Berry playing the jealous partner and Emile Hirsch as Lulu’s loser husband, An Evening with Beverly Luff Linn is both a cringe fest and side splitter from start to finish.   

MEL Live saw the film at the Lido’s rooftop cinema, as part of the Paracinema Festival. Screened before the film was The Elderly MacDonald, local director Ben Volchok’s short film. A French New Wave take on the Old MacDonald nursery rhyme, the short film is a ‘restoration’, and packs in lots of laughs. For more on the the Lido Cinema, click here. 

The Astor Theatre has run their fair share of movie marathons; catering to all of Melbourne’s cinephiles, and offering a place to spend your weekend as you embark on a journey, day and night, to watch films as they were intended. Whether it be attending the Halloween ‘Spooktacular’, the Tarantino festival, the Sci-Fi marathon for MIFF, or full screenings of the Harry Potter and Lord of the Rings franchises, the Astor delivers to a niche audience of dedicated film lovers who are willing to go the distance to gain the full experience.   

When the Astor announced that they planned to run a 48-hour marathon dedicated to airing Marvel Studios’ ‘First Ten Years’, we knew this was going to be something truly special. Ambitious? Yes. Crazy? Of course! MARVEL-lous? Naturally.   

Day one’s screening started off at 11am with the first two Iron Man films, closely followed by Thor and Captain America: The First Avenger. If there’s one thing Marvel mastered early on, it was how to successfully set up a franchise. Even as die-hard comic fans, we totally forgot how interconnected everything in the first few films were - from every post-credit scene, down to vague mentions of locations and characters. Joss Whedon’s The Avengers followed after - seamlessly linking together Earth’s Mightiest Heroes.  

After The Avengers finished, day two began with Iron Man 3. At this point, we had to call it a day and get some sleep! This meant we missed Thor: The Dark World (no big loss), Captain America: The Winter Soldier (sadly), and fan-favourite, Guardians of the Galaxy. We returned to the Astor to catch Avengers: Age of Ultron and Ant-Man, leading into Phase Three of the MCU; Captain America: Civil War (AKA the real third Avengers film), and Doctor Strange. Capping off the night’s screening was Guardians of the Galaxy Vol. 2, bringing a close to the marathon’s second day.

Those that stuck out the whole weekend (and had the Monday off!) were in for a treat; the third day was kicked off with Thor: Ragnarok, and followed up with Black Panther - arguably two of Marvel’s best films. Avengers: Infinity War followed; the event that the MCU had been building up to for years. Closing the two, very long days was Ant-Man and the Wasp, the last released Marvel film.  

When the marathon wrapped, our brains and hearts had turned to dust, and it was 11am on the Monday morning - time to return back to reality. Not to the Marvel universe, but to our own. As we emerged into the real world, we looked back on the weekend with the Astor Theatre and thought about the real heroes - the heroes who worked the entire weekend to make this possible. Be they superheroes, gods, or simply people who really, really love cinema, we send a big thank you to the team and look forward to returning again soon. 

I’m not crying, you’re crying.  

The fourth remake of A Star Is Born is Bradley Cooper’s directorial debut; breathing new life into a familiar story. Stuck in development hell for years, Cooper seizes the opportunity to bring in a new perspective and stronger character development than the previous films - telling the story of a depressed musician and a songwriter destined for stardom.   

The chemistry between Cooper in the role of Jackson, a musician struggling to cope in the second half of his career, and Lady Gaga as Ally, a down-and-out songwriter who has almost given up, has the critics raving. The film paints a realistic picture of the ugly, vulnerable side of fame, as well as each characters’ motivations to maintain it. The film takes us on a journey into what love can do for someone - whether it be a rejuvenated perspective on life, or sacrificing everything to be with the one you love.   

The film’s soundtrack has rightly been at the top of the charts since before the film’s release, only adding to the film being heralded as Oscar-bait. From our perspective, this film is a must-see, and will have you feeling you’re on tour with front row seats. 

The Astor learnt something from last year’s Potterfest; that a crazy amount of people would happily sit through all (or as many as possible) of the Harry Potter films.   

Starting at 11am and consisting of all eight HP films, plus Fantastic Beasts and Where to Find Them, the marathon brought in massive crowds.   

Marathoners lugged in their pillows, blankets, and as many stacks as possible, and knuckled down for a solid 20-something hours of binging.   The cinema’s atmosphere is contagious - with the audience cheering out, clapping along and booing at all the right moments.   

There’s a good chance the Astor will be continuing Potterfest in 2020, so keep your eyes peeled, and don’t miss out on the next one!

Possibly our favourite Scottish-zombie-comedy-Christmas-musical.   

A cross between Shaun of the Dead and High School Musical, Anna and the Apocalypse was screened as part of this year’s British Film Festival program.   

Think catchy songs (including ballads, of course) played over footage of zombies being slain with a giant candy cane. The film has its touching moments, but that’s not what you’re paying to watch.   

Anna and the Apocalypse is a gorey, silly, over the top film - but god it’s a fun one. 

Iron man returns. 

Hawkeye decides to start using nerf guns instead of arrows. 

Doctor Strange must defeat 7 evil exes.

In another multiverse, any of the above could be possible - just not in this universe. 

Doctor Strange in the Multiverse of Madness is the 28th film in the Marvel Cinematic Universe and is centred around the decisions made by the title character in previous films Avengers: Endgame and Spider-Man: No Way Home, in addition to incorporating Marvel's TV-debut WandaVision. 

In the latest Marvel blockbuster, Stephen Strange is tasked with protecting a teenager with the ability to visit parallel universes from the evil that seeks to destroy her. Continuing to battle his own demons of the past, Strange must confront the decisions he has made while continuing to grapple with his duties and obligations to protect the timeline and save the multiverse. 

Directed by Sam Raimi (Spider-Man, The Evil Dead), the directors distinct style of horror comedy shines through, blending both elements without diluting from either genre. While this continues to be a superhero film, we explore more sinister undertones and darkness in the film - including appearances of zombies, demonic spirits, the dark hold and the concept of dream-walking. The film is strongly supported with an incredible score from Danny Elfman, who brings the music to life with some of the hardest hitting music in an MCU fight scene. 

Benedict Cumberbatch continues to flourish in the role of Doctor Strange, bringing a new level of complexity to the character who asks himself what it means to be happy. Sorcerer Supreme Wong (Benedict Wong) proves he is more than just a sidekick in this story, Rachel McAdams re-joins the story in the role of Christine Palmer, and Elizabeth Olsen's performance as Wanda Maximoff continues to leave the audience in awe. The stand out performance of the film is Xochitl Gomez (The Baby-Sitters Club) who introduces the world to America Chavez. 

Alike to any Marvel film, there's plenty of easter eggs for the comic book fans, and some cameos you'll have to see to believe. The latest instalment in the MCU promises to delve deeper into the multiverse, and we encourage you to come on another journey to save the world - all worlds. 

Doctor Strange in the Multiverse of Madness is out Thursday 5th May.

As the third instalment in the Kingsman series, it was only fitting that audiences were taken back to the very beginning - to the inception of the elite spy group. With director Matthew Vaughn once again at the helm, The King's Man follows a covert group as they work against a league of criminal masterminds whose end goal will lead to a world war.

The film is interwoven with the events of the First World War - as the UK, Germany and Russia are played off each other in a series of strategic moves made from the shadows. Unbeknownst to them, the leaders of the three countries are receiving so-called advice from their closest confidants, who are involved with the criminal mastermind known as 'the Shepherd'.

Leading the all star cast is Ralph Fiennes as Orlando, the Duke of Oxford - an aristocrat who takes it into his hands to prevent arising conflicts. Gemma Arterton and Djimon Hounsou star as Polly and Shola; the other members of what later becomes the Kingsmen Agency, along with help from Oxford's son Conrad, played by Harris Dickinson. There's plenty of familiar faces in the film, with a standout performance from Ryhs Ifans as the infamous Grigori Rasputin, and the always brilliant Daniel Brühl as the calculating Erik Jan Hanussen. In a play on the fact that European families were very close back in the day, Tom Hollander stars not only as King George, but also Kaiser Wilhelm and Tsar Nicholas.

The film's fictional retelling of events is well written (much in the vein of Tarantino's Once Upon a Time in Hollywood), as Vaughn has expertly entwined historic events, such as the murder of Archduke Franz Ferdinand, with a clever backstory involving the Shepherd and his lackeys. The film almost feels like a war-drama at times, and is quite a step away from film series' usual style found throughout. However, the intelligent humour, action-packed sequences and jaw-dropping moments are still there.

From start to finish, The King's Man is a wild ride through and through. With plenty of witty one liners, crazy weapons, suiting up moments, and even goats, the prequel masterfully fills in all the blanks in the agency's past, and has hell of a time doing it. 

The King's Man is in cinemas 6 January - book your tickets in today.

The premiere for Disney’s latest release Encanto started as many great Disney films do - with a short film. Far From The Tree is a Walt Disney Animation Studios animated short about a young raccoon whose parent attempts to keep them both safe from the dangers that surround them. The film centres around what it’s like to grow up, and while there are many reasons to be fearful and wanting to protect our children, it’s also important to embrace life and live with an open heart. 

Encanto is Disney’s 60th animated film, and starts with a magical and musical journey set in the mountains of Colombia in a magical town. We are introduced to 15 year old Mirabel Madrigal (Stephanie Beatriz) and the entire Madrigal family. The film wastes no time in their opening song, explaining how magic has influenced their lives and how they are each known for their special abilities and gifts that have been bestowed upon them once they come of age. The Madrigals' powers range, from Mirabel’s mother, who can heal people with her cooking, to her sisters who have super strength and can make flowers bloom, to her extended relatives who can control the weather, shape shift, or have super-hearing. Everyone has a special gift that makes them special. Everyone that is, except for Mirabel. 

Directed by Jared Bush and Byron Howard (Zootopia, Tangled), Encanto is a heartwarming tale about how you don’t need to have magical powers to be special. Mirabel is forced to face uncertain odds and must overcome a range of obstacles, resulting in her delving into her family history in order to save them and the magic that defines them. Star performances in the film include Stephanie Beatriz as Mirabel, as well as María Cecilia Botero as Abuela, and John Leguizamo as Bruno Madrigal. The soundtrack in the film is phenomenal, with a recognisable influence from the latest and greatest Lin-Manuel Miranda (Hamilton, In The Heights). Our favourite tracks included the opening song The Family Madrigal, the catchy We Don’t Talk About Bruno and of course, Colombia, Mi Encanto. 

While there are certain elements that are all too familiar in the Disney universe, an outsider heroine trying to save her family (Moana, Elsa from Frozen), the film finds a more relatable angle in a kind-hearted girl who just wants to care for her family because she loves them. Everything about the film, from the animation to the enchanting storyline and the magical soundtrack, point to Encanto being the next big hit. This fresh new take on a group of characters with special powers manages to exceed all expectations and deliver something truly special. 

Marvel Studio’s Eternals is an ambitious film about an immortal group of warriors sent to Earth by the Celestials to protect humanity from the evil apex predators, the Deviants. Spanning over 7,000 years, Eternals takes the audience on a journey to a post-Endgame world, where an event known as 'the Emergence’ begins to take hold on Earth. The team must band together after spending centuries apart to face their most ancient enemy once again. 

The film, directed by Chloé Zhou and based on the comics written by the legendary Jack Kirby, feels entirely different to any Marvel film we've seen before. As the second longest MCU film (a whopping 157-minutes run time), Eternals details the extensive lives of a 10-person immortal family, as we are taken on a journey into each character's in-depth backstory and their lived experiences throughout human history. While the film is mostly set in the characters' past adventures, these regular flashbacks to key moments in existence (Hiroshima, Babylon, Mesopotamia) are all pivotal in understanding the relationship between Earth, humans and the Eternals. This only adds to the gravity of what the team are fighting for and what is at stake if they fail. 

The strongest element in the film is the all-star cast with Salma Hayek (Ajak) and Kit Harrington (Dane Whitman), as well as Lia McHugh (Sprite), Brian Tyree Henry (Phastos), Ma Dong-seok (Gilgamesh), Barry Keoghan (Druig) and Lauren Ridloff (Makkari). Stand out performances included Sersi (Gemma Chan), Ikaris (Richard Madden), Thena (Angelina Jolie) and Kingo (Kumail Nanjiani), whose relationships, spirit and humour show you what it means to be human. 

At the heart of Eternals is the human emotions that shine through these immortal beings; going one step further than any Marvel film has, capturing the full extent of humanity. The film contains a number of 'firsts' for the cinematic universe in terms of representation - making the MCU a pioneering force in the world of comic-adaptations.

Throughout the film, the team are forced to decide whether to continue on their mission or risk it all. However, Eternals manages to continue to draw the audience in at every moment, and like every super hero film, we just have to hope that they manage to save the world. 

For those familiar with the original 1961 film version of West Side Story, directed and choreographed by Jerome Robbins, the latest take on the star-crossed lovers from 1950’s Upper West Side will not disappoint. As a passion project from the top-grossing director of all time, Stephen Spielberg takes this project to heart; demanding perfection as he brings all of the wonder of the original with a few important twists. 

Spielberg has always wanted to do a musical, and has said in the past if he were to take on the project, it would have to be West Side Story. Growing up with the soundtrack in his household, Spielberg understood the important messages intertwined with an incredible score and choreography to match. Teaming up with long-time collaborator, screenwriter and playwright Tony Kushner (Munich, Lincoln), the pair aimed to put a new spin on a classic tale of fierce rivalries, turf wars, racism, violence and above all else, young love. 

The Broadway spectacular with music from Leonard Bernstein, lyrics by Stephen Sondheim, and original book by Arthur Laurents, is a re-imagination of Shakespeare's Romeo and Juliet. The film follows the story of two lovers, Tony (Ansel Elgort), a former member of the Jets gang, and Maria (Rachel Zegler), whose brother Bernardo (David Alvarez) heads up rival gang the Sharks. Battling over the Robert Moses-led slum areas of New York, the pointlessness of the gangs' escapades against one another are highlighted throughout the film as both groups face the threats of gentrification. The pair of hopeful lovers get caught up in a war they do not wish to fight, and their love at first sight encounter pushes them down a path to overcome both racial and territorial tensions to protect their forbidden love. 

The casting in the film cannot be understated and is a testament to the importance Spielberg has placed on the success of this project. Casting Director Cindy Tolan explained that they spent over a year to make sure Rachel Zegler was absolutely the right person to play Maria. The time invested in this decision paid off as Zegler puts on a performance of a lifetime in her debut. Working alongside Ansel Elgort (The Goldfinch, Baby Driver, The Fault in Our Stars), the pair's chemistry manages to keep the audience constantly rooting for the hopeless romantics. From Elgort’s opening rendition of Something’s Coming, to the classic Maria, Elgort solidifies his position in a well deserved new direction. The duo's take on The Balcony Scene (Tonight) transports you into their world, and Zegler’s I Feel Pretty communicates the joy that Maria experiences from finding her true love. It is clear to see from her performance that there are big things to come in her future. 

What’s more incredible than the leads, is the sheer amount of talent in the rest of the cast. Ariana DeBose, known for her Tony-nominated role in Summer: The Donna Summer Musical, and her appearance alongside Lin-Manuel Miranda in the Tony-winning musical Hamilton, plays Anita; whose duet with Zegler in A Boy Like That / I Have A Love was a personal highlight. In a welcomed change to the original script, EGOT winner Rita Moreno plays a newly created character in the film, Valentina, who is Doc’s Puerto Rican widow. With the role being written specifically for her, Moreno is given the chance to perform Somewhere, and add an extra element previously missing in the original. Other special mentions include David Alvarez (Billy Elliott) who plays Bernardo, the leader of the Sharks and an intelligent prizefighter, as well as Mike Faist, a Tony-award nominee (Dear Evan Hansen) who plays the loveable rapscallion Riff. Both actors bring a great deal to the overall film, and are centric to the performances in each of the gangs. 

Finally, last but certainly not least, the choreography from Justin Peck and the score by Los Angeles Philharmonic conductor Gustavo Dudamel and composer/conductor David Newman takes West Side Story to new heights. While there was a lot of hype around this latest release, Spielberg managed to capture the essence of the original and bring his own take to life. You’ll be snapping your fingers and strutting down the aisles of the cinema in no time.

West Side Story is in cinemas from Boxing Day 2021. 

Following up the 80s classic we all know (and some of us grew up with), is the exhilarating Top Gun: Maverick. Pete 'Maverick' Mitchell (Tom Cruise) has reluctantly returned to train Top Gun graduates after more than thirty years of service. Tasked with teaching the best and brightest graduates for a specialised mission, the recruits are assigned a specialised mission - the likes of which have never been faced before. In order to ensure a successful mission and the safety of his students, the loveable rapscallion and one of the Navy's top aviators must confront his past, overcome his fears and achieve the impossible.   

Directed by Joseph Kosinski, Top Gun: Maverick is a callback film that blends the right amount of nostalgia, along with a glimpse into the future. The film is at heart, a love story - if the love interest were a squadron of F-18 fighter jets. The film manages to draw the audience into an exciting new storyline which relies heavily on the events of the past, but continues to excite from start to end. Things really kick into gear once the mission gets started, and the thrill seeking of pilots pushing the limits pairs incredibly with the amazing soundtrack - including the new track composed for the film, Hold My Hand by Lady Gaga.   

Much alike its original, the film is so much more than just aviation; following the lives of each of the characters both personally and professionally. The all star cast is rounded out by some big names, including Tom Cruise, Miles Teller, Jennifer Connelly, Jon Hamm, and Danny Ramirez, along with Ed Harris and Val Kilmer. While some characters have important cameos, some more central to the plot than others, the most important relationship focuses around Maverick's encounter with Lt. Bradley 'Rooster' Bradshaw (Teller) - the son of Maverick's late friend Lt. Nick 'Goose' Bradshaw.   

Top Gun: Maverick promises everything you'd expect in a Top Gun film, and both aims and soars past any expectations the audience might have from the original. Come for the nostalgia, stay for the air show.   

Top Gun: Maverick hits cinemas on May 26.  

Get your tickets now! 

A lot has happened since 1994 when Steven Spielberg’s blockbuster first hit screens and revolutionised cinema. Since the first entry in the franchise, Jurassic Park has tried to recreate the shock and awe of the moment the water ripples appear, and the T-Rex first escapes its enclosure. Eighteen years later, this has still not been achieved despite throwing everything into this latest series in the saga – Jurassic World Dominion.

After a five minute documentary-style introduction laden with exposition and a sweeping recount of characters that are recognisable (if not memorable), it takes this film some time to hit its strides. Dinosaurs are living with humans now – this is canon – and is a significant development to the story. The film does not focus on this however, and instead reaches deep into its nostalgic pockets for an adventurous tale, to an exotic location, to avoid more dinosaurs.

The nostalgia works. There is something pleasant about seeing Sam Neil and Laura Dern reunited on the silver screen – this is only elevated by the appearance of Jeff Goldblum who carries the film into (and throughout) its third act. Lewis Dodgson reprises his ‘blink and you’ll miss it’ role from the original film in a memorable manner, and BD Wong portrays his character, Henry Wu, with perhaps the most hear and depth in the franchise’s history. 

This film is good fun, and entertaining with some great chase scenes and nostalgic moments. Don’t expect too much, don’t expect it to hold up against the original, and you will be pleasantly surprised.  

Thor: Love and Thunder, storms into cinemas this week. For those familiar with director Taika Waititi’s alternative approach to the Thor franchise following Ragnarok, this movie has different expectations compared to previous offerings. Waititi completely shifted the tone of the Thor series with his previous instalment, and it came as a surprise. Love and Thunder faces the challenge of delivering an equally funny, warped adventure while not diminishing or disrespecting the immense grandeur of the Marvel Cinematic Universe. It is pleasing to say, that (for the most part) it succeeds.

The movie picks up with a summary of Thor’s adventures alongside the Guardians of the Galaxy. Somewhat pleasingly, this includes a large portion of what was seen in trailers and is resolved within the first 30 minutes – meaning most of the movie is an unpredictable and unique plot.

Christian Bale stars as the leading antagonist, Gorr. His character’s backstory provides significant depth the physicality Bale brings to the role is fantastic. Natalie Portman’s return as Jane Foster also satisfies a story arch that had been left open for some time. At this stage it goes without saying, but Chris Hemsworth has cemented himself as a headline act, more than capable of holding the franchise on his own (impressive) shoulders.

This film is very funny, and there are numerous laugh-out-loud moments throughout. Russell Crowe’s role as Zeus is entertaining, as are other various A-list cameos throughout. There are times when the comedy risks taking away from the severity of the moment, hence reducing the stakes. Despite this, there are truly heartfelt, sombre moments that are treated with warmth. In particular,  a very effective black-and-white sequence at the end of the second act effectively shifts the tone and highlights Waititi’s film-making ability. 

At this stage, Marvel movies are as certain as death and taxes. Thor: Love and Thunder is not some ‘cookie-cutter’ super-hero movie – it is unique, entertaining and includes enough significant moments to cement its footing as one of the strongest Marvel movies in this latest phase of films. It offers something refreshingly different and is well worth your time at the cinema. 

Maurice Flitcroft, a dreamer and unrelenting optimist, managed to gain entry to The British Open Golf Championship Qualifying in 1976 and subsequently shot the worst round in Open history, becoming a folk hero in the process. 

Mark Rylance embraces this role with endearing charm and humility throughout a film that is beaming with heart and a crowd-pleasing message surrounding family values. Rylance’s performance is consistent throughout, from the opening moment when he asks for six-sugars in his cup of tea to the satisfying final moments that allow you to admire the accuracy of his portrayal. 

The Phantom of the Open contains elements one has come to expect of a class-portrayal film set in a small English town. Like Billy Elliot, Kinky Boots and the Full Monty, this film is full of ‘fish-out-of-water’ moments led by incredibly likeable and unassuming characters. 

Coming into this film with little knowledge of Maurice Flitcroft, it was a refreshing take and a very comedic expose on the mentality and approach from Golf clubs and organisations. Not dissimilar to the message of Happy Gilmore, the Phantom of the Open takes a more measured approach to telling its story, letting the humility and arguable naivety of the Flitcroft’s drive the plot forward. 

Sally Hawkins truly shines in her supporting role as a (very) supportive wife and Rhys Ifans portrays the role of Keith Mackenzie, the all-important British Open official with the right balance of villainy and comedy. 

Without spoiling the film, this movie was truly enjoyable and one that can be enjoyed by all members of the family. You will enjoy this film whether you are an expert at golf or not – after all, practice is the road to perfection.

Yet another thrilling hit from horror experts Blumhouse Productions, The Black Phone reunites director Scott Derrickson (Sinister) with Ethan Hawke, who plays easily his most chilling role to date. Based on a short story of the same name by the brilliant Joe Hill (Locke & Key, Horns), and adapted by Derrickson and C. Robert Cargill, The Black Phone follows the survival of an abducted teenager, as he fights for his freedom with the aide of the serial killer's previous victims.

After several children in his town go missing, all thanks to 'the Grabber', 13 year old Finney and his sister Gwen are on high alert after one of their friends is taken as the next victim. When Finney is taken just days later, his survival depends on the help of the Grabber's past victims - who he speaks to via a disconnected phone in his prison. While each abducted child holds a clue to his escape, it is Gwen's clairvoyance that plagues her with visions of the Grabber's crimes, along with fleeting hints of Finney's whereabouts.

The film's breakout stars Mason Thames (Finney) and Madeleine McGraw (Gwen) are standout performances in the film, and are scene-stealing throughout. The reserved Finney and sassy Gwen play off each other brilliantly as siblings, which all in all makes their separation all that more heartbreaking. Starring as his creepiest character yet, is Ethan Hawke as the Grabber - whose calm and collected demeanour is goosebump-inducing. Hidden behind a mask for most of the film, Hawke's performance relies heavily on his body language, which is equally as terrifying.

As a welcome addition to the horror genre, The Black Phone has just the right amount of character-driven story, along with a lesson in resilience and the strength we find within ourselves. Throw in a few jumpscares (which saw the whole cinema launching out of their seats), a supernatural element, and a movie villain that'll stick in your head for years to come, and The Black Phone has found its formula. Check it out in cinemas July 21.

Set in South Africa's Mopani Game Reserve, Beast is director Baltasar Kormákur's latest survival thriller, with a screenplay by Ryan Engle, based on a story by Jaime Primak Sullivan. After the passing of his wife, widower Nate (Idris Elba) and his teenage daughters travel to South Africa for a well needed holiday. While staying with his old wildlife biologist friend Martin, the family find themselves caught in the middle of a savage lion's path of revenge.

With an already strained relationship with his daughters Meredith (Iyana Halley) and Norah (Leah Sava Jeffries), Nate's attempt to reconnect with them in his departed wife's homeland is put to the test when the family's safari goes terribly wrong. After discovering an entire village laid waste by the lion, Nate, his daughters and Martin are pushed to their limits by the stalking apex predator. The film plays out similarly to Jaws - with the ever-looming danger of the lion present, and the open ocean swapped out for the equally isolating sprawling landscapes. It's enough to keep you on the edge of your seat - especially given as disasters are director Kormákur's specialty.

Idris Elba takes the lead in Beast, and does so with his usual commanding presence; playing a protective father who will do anything for his daughters. In stark comparison, Sharlto Copley stars as Martin, who comes off as quite frantic next to Elba's typical stoic facade. Halley and Jeffries as Nate's daughters give a convincing performance, effectively showing the broken and tension-laden relationship they have with their father, and the resentment they harbour after their mother's death. Further emphasising this tension is Kormákur's sweeping shots that constantly build upon the importance of the family's fight for survival.

While this B-Grade film is predictable at the best of times, and tends to lend itself to some bizarre and completely unrealistic moments, Beast is still a decent thriller from start to finish. What it lacks in twists and turns, it makes up for in entertaining moments, typical of Baltasar Kormákur's style. Beast is out in cinemas 25 August, so quit lion around and catch it soon.

Mario Martone's latest drama Nostalgia sees sees the director returning to Naples, and taking the audience with him on a gritty journey through the past and present. Based on Neapolitan author Ermanno Rea's 2016 novel of the same name, the film is a slow burn with a gut-wrenching finale - one that had us sitting in silence moments later. As the only Italian film to screen in competition at this year's Cannes Film Festival, we caught a preview screening of Nostalgia as part of the ST. ALi Italian Film Festival 2022, which is being highlighted as the festival's 'Centrepiece' film. 

After living abroad since his childhood, Felice Lasco returns four decades later to his hometown in Naples. After visiting his elderly mother and becoming overwhelmed by memories of his adolescence and the state of his town, Felice struggles to accept being back. At first feeling like a stranger in his home country, Felice soon feels at peace with his return and begins to put his roots down, which unknowingly angers his childhood friend Oreste Spasiano, who has climbed the ranks over the years as a crime boss known as the 'Badman'. While finding solace in the friendship of a local priest, Felice is advised by those around him to only look forward and not dwell on the past. Unfortunately, Felice's nostalgia gets the best of him, and he finds himself battling ghosts of the past.

The incredible Pierfrancesco Favino (Padrenostro IFF21, The Traitor IFF20) stars as the stoic Felice, whose calm and collected demeanour perfectly plays off Tommaso Ragno's quiet and unpredictable portrayal of Felice's old friend, Oreste. The tension between the two is palpable and uneasy - which provides the main source of an overlying and intense feeling of suspense throughout the film. Playing Felice's mother is Aurora Quattrocchi, whose portrayal is the cause of many heartbreaking moments between mother and son. Francesco Di Leva rounds out the main cast as Father Luigi Rega, a local priest with an undying passion for helping his community, and a personal vendetta against Oreste. Di Leva is calculating in his role as Don Luigi, in a way that you find yourself constantly questioning his motives - and whether Felice is getting played from all angles.

Martone's camera work showcases the beauty of the Neapolitan neighbourhood of Rione Sanità, with all its chaos and charm intact. What starts out as Felice viewing his old neighbourhood through nostalgia-tinted glasses swiftly takes a turn, with Martone challenging that nostalgia is not always a good thing. This is evident throughout; with Felice's flashback sequences progressively getting darker as the movie goes on. Despite its jarring jumping back and forth, and initial slow pace, Nostalgia is a firm reminder that the future is always ahead of us - until it is not. Catch ST. ALi's centrepiece film Nostalgia at a Palace Cinema near you - screening until 12 October. 

Catch Nostalgia at the upcoming ST. ALi Italian Film Festival 2022.