The Socially Remote Antidote

Hello Readers,

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

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

Let’s start with….

The Classics

Rosemary’s Baby (1968) – 4 ¬Ĺ stars
This is how you do horror! Mystery that’s almost too much to bear and a riveting finish. A genuine classic.
Gone With The Wind (1939) – 3 stars
Am I the only person on this planet that was so underwhelmed from watching what I expected to be a timeless and sweeping FOUR HOUR epic? 

The Sound of Music (1965) – 5 stars
I am terribly ashamed to admit I hadn’t watched The Sound of Music in its entirety, until recently! Well, I’m glad that’s changed (thank you to my co-writer, Jell)! Here’s a movie that definitely did not let down! An instant classic that (I think) is now officially my favourite musical feature film of all time!¬†

The Maltese Falcon (1941) – 3 stars
Good, but rather odd. I’m glad I ate pastizzis (no, not paparazzi’s, auto-correct) while watching it ūüôā

Breakfast at Tiffany’s (1961) – 3 ¬Ĺ stars
So, so different to what I expected. Not much plot driving the film, but it somehow really grounded me in the present and I liked it for what it was.

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

For the Families

Missing Link – A very strong 3 ¬Ĺ stars
This underrated Golden Globe Winner for Best Animated Picture was up against Toy Story 4 for the Oscar in the same category, and lost. In my opinion, Missing Link deserved to win the major award for its originality and story that is rich in humor and hugely entertaining.
Aladdin 3 ¬Ĺ stars
Much like The Lion King (2019), Aladdin was the recipient of undue harsh critique from the critics. I thoroughly enjoyed this live-action rendition of the much-loved tale. It was what it needed to be and very unlike a typical Guy Ritchie film, which is a good thing in this case!
Toy Story 4 – 3 ¬Ĺ stars
Easily holds its own and was a pleasure to reunite with several cherished characters, but doesn’t have ‘that magic’ the very first Toy Story film did or of some of Pixar’s finest works (Wall-e, Up etc).
Maleficent: Mistress of Evil 3 stars
Ok, maybe this sequel isn’t so family-friendly, given its M classification. For most part, I thoroughly enjoyed this movie and especially the performances from its stellar female cast. Although, a few rushed and untidy developments in its latter half can’t go unnoticed.
Frozen II – 3 stars
I’m probably the last person left on Earth to see this by now! Credit goes to Frozen II for inventing a new and worthwhile story to that of the first part, but like Frozen, I find my ability to be engaged by these movies always very limited. Easy to do, but limited.
Wreck-It Ralph – 4 stars
Ingenious ideas intelligently conceived and crafted that offer an abundance of fun for the whole family. Can’t wait to check out its sequel, Ralph Wrecks the Internet.
Ralph Breaks the Internet – 4 stars
And just like that, the very next evening, I watched the sequel! Very pleased to say that this sequel is equally as intelligent, creative and funny as its predecessor. There is so much to admire and be amused by in the ‘Ralph’ films, but arguably nothing more so than certain very special appearances and the voice cast behind them in this sequel! If you haven’t seen Wreck-It Ralph and Ralph Breaks the Internet, then I strongly suggest you change that now!
Onward – 3 ¬Ĺ stars
On paper and visually, Onward’s appeal started on a downward trajectory for me. However, once its protagonist’s journey becomes the heart of the film, its sentimentality resonates and produces some truly beautiful moments.
A Shaun the Sheep Movie: Farmageddon3 stars
There are plenty of cleverly thought-out sci-fi references laden throughout, but overall the humour is less broadly appealing than Shaun the Sheep’s first excellent movie outing. This is a likeable sequel, though it’s noticeably targeted far less for adults compared to the predecessor.

Now for some…


After the Wedding – 3 ¬Ĺ stars
This underrated drama harbours several big secrets in its plot that have a big impact. Not much can go wrong either with the marvelous Julianne Moore leading the way.
Ford v Ferrari – 4 stars
An excellent all-round film that will more than satisfy motor enthusiasts and anyone else not so into cars, equally. There is plenty of appealing story and characterisation that fuel Ford v Ferrari to make it last the distance. Highly recommended!

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

Now add tension to that drama…

Dramatic Thriller

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

Antonio de la Torre and Belén Cuesta in La trinchera infinita (2019)

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

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

Comedy/Horror with Zombies!!!

Little Monsters – 2 ¬Ĺ stars
I was so excited to see Oscar-winning actress Lupita Nyong’o in an Australian film… with zombies!! At first, she is easily the best thing about this very hit-and-miss comedy. As it turns out by the end, she’s the only thing to like about Little Monsters. Hmm.

Zombieland: Double Tap – 3 stars
Starts off just as sharp and cleverly funny as 2009’s Zombieland, before it suddenly runs out of adventurous ideas! A strong cast who deliver some big laughs save it from becoming a waste of time.

Time for some…


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

Or perhaps, time for some…


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

A different form of escapism in…


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

In case zombies weren’t enough…


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

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

Or, for something completely different…


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

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

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

The Lighthouse 2¬Ĺ stars
Robert Pattinson and the arthouse film genre should just stay away from each other! If your film fetish gets a kick out of questions above and without answers, and being in a constant state of confusion by what transpires, all done intentionally, then The Lighthouse is a black and white masterpiece waiting for you. But it’s not without intriguing elements and a superb Willem Dafoe performance.¬†

Compiled by Leigh for Moviedoc



David F. Sandberg

Asher Angel, Jack Dylan Grazer, Faithe Herman, Ian Chen, Grace Fulton, Zachary Levi, Mark Strong and Djimon Hounsou

Based on the DC character of the same name, SHAZAM is the seventh instalment in the DC Extended Universe (DCEU) and is the first live-action film version of the character since the 1941 serial Adventures of Captain Marvel (the characters original name). On that note and for those of you who may not know (but care to), DC’s Captain Marvel is actually the original Captain Marvel, which first hit comic book stands in 1939. DC renamed their rebirth version of “Captain Marvel” to “Shazam” in 2012, due in part to Marvel holding the trademark on the name. Despite this and on a side note, DC still produces versions named Captain Marvel in print and animation.

Back now to the film, SHAZAM is about a boy named Billy Batson (played by Asher Angel from TV series Andi Mack) who gains the ability to transform into a fully costumed and adult superhero named Shazam (Zachary Levi) while remaining in the same location and present day. Billy’s ordinary adolescent existence begins to change after first meeting the Wizard Shazam (Djimon Hounsou) and the instant transition to becoming Shazam and returning as Billy happens each time that name is said out loud. When a nemesis named Thaddeus Sivana (played by Mark Strong) learns of his existence and powers, the safety of Billy and his family is placed into jeopardy.

Image result for shazam film stills

With its winning formula of consistent humour and an abundance of endearing character’s always at the forefront, SHAZAM is definitely one of DC’s better movies where the storytelling truly entertains.

The opening scenes of SHAZAM introduce its villainous character at a young age and sets the precedent for how chosen ones come to meet the Wizard Shazam while also validating the motivations for Thaddeus Sivana’s villainy to follow years later. Soon after, the tone is lightened significantly and will remain that way for much of the feature as the timeline shifts to depicting Billy’s life before his turn to meet the Wizard Shazam arrives. Even from these earlier scenes, it is clear that SHAZAM possesses an ideal measure of virtue versus villainy and humour to sync with its action. These characteristics truly come to the fore from the moment that audiences meet members of Billy’s foster family and witness the novice superhero Shazam getting acquainted with, testing and utlising his newfound weapons. The conception and writing work that’s been completed behind these scenes is noticeably creative, is visually well-executed and generates a lot of laughter. Many of the contributions made by supporting cast members, such as Faithe Herman as Billy’s sister Darla and Jack Dylan Grazer as his brother Freddy, are scene-stealing and totally crowd-pleasing. Speaking of cast, do not be put off seeing SHAZAM at the cinema by the absence of a single big name Hollywood star. Another ingredient in its winning formula is the freshness and energy that this lesser known (to a big screen) cast brings to this production.

3 ¬Ĺ stars

A note to viewers: There is a scene both during and also after the final credits that is worth remaining seated for!

Viewer Discretion
 (Mature themes and action violence)


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

Opens nationally on April 4

Review by Leigh for Moviedoc
Follow on Twitter ‚Äď Moviedoc / LIKE on Facebook ‚Äď @moviedoc13



Leigh‚Äôs Best Films of 2018, Plus Much More!

Hello everyone

Firstly, thank you for every review you have read, liked, shared, commented on and even chatted to me about in person. Thanks to your support and the help from my wonderful co-writer Jell, I was able to experience another very productive year of film watching and reviewing.

In total, I personally watched 161¬†films officially released in Australia in 2018 alone, which is 20¬†more¬†than I what I was able to see last year! And that isn’t even including movies that I’ve seen more than once (A STAR IS BORN, for instance) or releases from previous years!

It was a strong year. Thirty-four films received a minimum of¬†4 stars from me and just one was given 1 star or less. Therefore, I’ve now extended the top end competition to a¬†‚ÄėBest 22 of 2018‚Äô list and simply named my worst movie of the year.

As I write this post from the cold, grey-skied but beautiful country Germany, I trust that you will thoroughly enjoy the read below. I also hope that after reading through, you will add a few movies to your watch list to view over the Christmas break very soon. As always, feel free to drop a comment once you do.

Jell and I have BIG plans for Moviedoc in 2019. We look forward to these coming to fruition soon and throughout the year, and thank each of you for your continued support in 2019!

My Best 22 of 2018

Each of the following films received 4 stars from me.

Let’s begin with a film that is surely a heavy favourite for many of you this year! At number¬†22¬†(yes, 22, that is how strong the world of cinema is in 2018!)¬†is…


Rami Malek in Bohemian Rhapsody (2018)

There is just no valid reason as to why BOHEMIAN RHAPSODY wouldn’t feature somewhere in everyone’s best-of list in 2018. It achieves exactly as intended more potently than most other movies, is exhilarating to watch and what about that outbreak of acting from Rami Malek!? WOW!!!


John Cho in Searching (2018)

Why is SEARCHING in my top 20? SEARCHING deserves to be here due to the inventive and often innovative use of technology, screen imagery and social media to present and tell its utterly captivating and mystery-filled missing person story. Demands greater effort of its viewers than similar types of movies that is absolutely worth its while.


Steve Carell and Timothée Chalamet in Beautiful Boy (2018)

Drug addiction and death from drug overdose continues to worsen in numbers in the U.S, as well as in other parts of the world. This story, based on a pair of memoirs, is a tender, truthful and confronting journey through a young man’s battle with drug addiction and his father’s best endeavours to save him. BEAUTIFUL BOY is as heartbreaking as it is crucial and the performances from Steve Carell and Timothée Chalamet are outstanding.


Human Flow (2017)
The first of a small handful of documentary feature films to make my best 21. In HUMAN FLOW, Ai Weiwei demonstrates that you just do not know what life is like in someone else’s shoes, until you wear them. This film literally adopts a ground-zero approach to document the stories of displaced refugees in twenty-three countries around the world. If you don’t feel an ounce of empathy for what they are forced to endure during Ai Weiwei’s unforgettable film, then I’m afraid you are devoid of this essential human characteristic.


Elisabeth Moss, Claes Bang, and Terry Notary in The Square (2017)
You have never seen a man’s professional and personal life come undone in quite as bizarre and uniquely hilarious fashion as this. THE SQUARE is indisputably thinking outside of the square in its clear efforts to stun, enthral and unnerve its customers. A true arthouse great!


Niza Jay in Inxeba (2017)
This is the most courageous film to be released in 2018. The most internationally awarded film in South African history, THE WOUND¬†(INXEBA) tackles two very sensitive subject matters – the extremely private and traditional Xhosa initiation into manhood and the awakening of its gay male character‘s sexuality. If you admired Oscar-winning film MOONLIGHT, then you will appreciate THE WOUND (INXEBA).


American Animals (2018)
When a movie is unique, brings something new to the genre and is excellent, you can expect that movie to always make my ‘best of’ final cut. This true story is no exception. A heist film quite unlike any other, AMERICAN ANIMALS¬†is a seamless blend of feature film and documentary that is¬†perfectly balanced, well thought-out and a cleverly executed film. It‚Äôs also a seriously entertaining one. Recommended viewing!


Bradley Cooper and Lady Gaga in A Star Is Born (2018)
The second movie in my best 21 that will be a favourite of many this year and may also get some Oscar-love in February. The classic story of the simultaneous fall of one star as another rises is so engaging and involving and boasts beautiful performances from director Bradley Cooper and Lady Gaga, who share an immediately absorbing chemistry on screen. Here is Jell’s full review of A STAR IS BORN.


Diane Kruger in Aus dem Nichts (2017)
This gripping German dramatic thriller is inspired by actual events that tells of a fictional story about a woman who is seeking justice after losing her husband and young son in a targeted bomb attack. Diane Kruger gives a tour de force lead performance and IN THE FADE (AUS DEM NICHTS) is hugely accessible to
a worldwide audience.


David Kellman, Robert Shafran, and Eddy Galland in Three Identical Strangers (2018)
Regardless of exactly how much you know about the three subjects of this documentary and their story, you will experience a rollercoaster of emotions watching THREE IDENTICAL STRANGERS. 


Laurence Fishburne, Steve Carell, and Bryan Cranston in Last Flag Flying (2017)

One of the greatest surprises and most underrated movies of 2018, LAST FLAG FLYING is one of those movies that will be liked immensely by almost every person who sees it. Yet somehow, you probably haven’t heard of it let alone watched it! The three lead actors work brilliantly together as former marines – Reverend Richard Mueller (Laurence Fishburne) and alcoholic bar owner Sal Nealon (Bryan Cranston) who accompany Larry ‘Doc’ Shepherd (Steve Carell) as he prepares to bury his son who’s been killed in the Iraq War. This is not a heavy film, as it may sound, in the slightest. In fact, one of its great surprises is just how much hearty laughter is derived from the affectionately crafted script that makes every word and action matter. I could go on, but just see it for yourself already!


Matvey Novikov in Nelyubov (2017)

From Russia, without love. Director Andrey Zvyagintsev’s follow-up to the excellent 2014 drama¬†LEVIATHAN could only be produced in Russia with international financial support after¬†the Russian government disapproved of that film. In LOVELESS (NELYUBOV),¬†the son of a bickering married couple who are finalising their divorce while selling their large apartment goes missing. As gripping to watch as it is a driven film. Not far from being of the highest quality of a very similar French film lodged within my top 4. Highly recommended!


De sidste mænd i Aleppo (2017)
Ok, this isn’t easy to watch. But for those of us who care enough to witness real footage featuring a group of volunteers known as ‘The White Helmets’ saving hundreds of lives in their city during the Syrian Civil War, it is essential viewing. A confronting, harrowing but utterly inspiring documentary that should be watched prior to Australian documentary CHASING ASYLUM.


Isle of Dogs (2018)
The stand-alone stand-out in the animation genre for 2018. Wes Anderson’s near-masterpiece, ISLE OF DOGS features family-friendly animation work that is breathtakingly detailed, an intelligently conceived and written story and an outstanding score. All of which provide first class entertainment and are complimented by the iconic movie-making style of Wes Anderson. You will never, ever regret watching ISLE OF DOGS.

Each of the following films received 4 ¬Ĺ stars from me.


Marina de Tavira, Marco Graf, Yalitza Aparicio, Daniela Demesa, Diego Cortina Autrey, and Carlos Peralta in Roma (2018)
Named after the neighbourhood in Mexico City it is set, ROMA is a semi-biographical journey into the upbringing of writer and director Alfonso Cuarón (GRAVITY). Patience is required as ROMA does take time to form a discernible narrative and is visually drawn-out. However, no other film released this year overwhelmed me with utmost appreciation post-credits quite like this one. Set in the early 1970s, filmed in black and white and available now on Netflix, allow yourself to fall under the irresistibly immersive spell cast by Cuarón. But please, do so in the right mood!


Rachel Weisz, Emma Stone, and Olivia Colman in The Favourite (2018)
It’s not new news that Yorgos Lanthimos’s (THE KILLING OF A SACRED DEER) period comedy/drama THE FAVOURITE boasts three outstanding performances from three outstanding actresses. Jell’s review also supports this. But what also elevates this ripping movie from being great to reigning supreme is its piercing writing, flawless character development and innovative score. THE FAVOURITE is just as fresh and jaw-dropping to the period drama genre as last year’s LADY MACBETH.


Sam Neill, Bryan Brown, and Hamilton Morris in Sweet Country (2017)

Released very early this year, award-winning indigenous filmmaker Warwick Thornton’s (SAMSON AND DELILAH) SWEET COUNTRY is a masterful work of striking authenticity and raw storytelling. Our country has home-grown a healthy number of films that boast these characteristics, but rarely at the consistently high standard so prevalent in this ‚Äėmeat-pie‚Äô Western.¬†


Tom Cruise, Angela Bassett, Henry Cavill, Rebecca Ferguson, and Simon Pegg in Mission: Impossible - Fallout (2018)

Well, well, well! Perhaps some of you expected MISSION: IMPOSSIBLE РFALLOUT
to be as spectacular a movie, not just a spectacular action movie, as what it is. Credit to you if so. But for me, this, along with AVENGERS: INFINITY WAR (which narrowly missed my best 21) were some of the most pleasing surprises of 2018. The secret to its success?¬†Tom Cruise has sprinted a little over 24,000 feet on screen throughout his 37 years in the movies. In summary, the more Tom Cruise runs, the better his movies are. In summary, MISSION: IMPOSSIBLE ‚Äď FALLOUT races towards the finish line a victorious movie in every possible way, with Cruise in first place. The best action film since MAD MAX: FURY ROAD.

The top 4 is so incredibly tight, you could just about consider each of these films equal for claiming best film of the year. I had to be VERY picky to not award 5 stars to these movies below.


Léa Drucker, Denis Ménochet, and Thomas Gioria in Jusqu'à la garde (2017)

I had knots in my stomach from beginning to end in this searing and utterly realistic fictional French drama about a mother and father’s bitter dispute over custody of their young son. The opening act, which is intentionally ambiguous in deciphering which parent is genuine, is immediately engrossing. Once this piece of detail has become completely clear, CUSTODY (JUSQU’√Ä LA GARDE) casts an ominous tone and a stranglehold upon the viewer that leads to finale more heart-stopping than¬†any other you will see on the screen this year.¬†Riveting. Gut-wrenching. Unmissable French cinema at its finest.


Christine Choueiri, Adel Karam, Kamel El Basha, Diamand Bou Abboud, Camille Salameh, and Rita Hayek in L'insulte (2017)

In this Lebanese drama, two men – a Lebanese Christian and a Palestinian refugee – have a heated exchange that lands them both in court in a case that gets national attention. THE INSULT (L’INSULTE) conveys its story and messages so precisely and powerfully. This outstanding movie is a prime example of how to take an issue that is more personal and specific to the country it hails from and extract essential key themes to make the film pertinent and hugely involving to people belonging to every race, religion and ethnicity.

For those of you who don’t (ordinarily) watch subtitled films, I guarantee you that the stories told in THE INSULT, CUSTODY, LOVELESS and IN THE FADE are far from being foreign and will immediately arouse your interest. Give them each a go, at the very least. You’ll thank me later!


Glenn Close and Jonathan Pryce in The Wife (2017)

From scenes very early in this film, it is obvious that Joan Castleman‚Äôs (Glenn Close) calm exterior is harbouring tension that is gradually rising. Tensions triggered by long-time husband, Joe (Jonathan Pryce) that rise furthermore during a business trip to Stockholm. The build-up and revelations to follow are sublimely structured and written in this¬†riveting and outstanding drama that features impeccable acting performances from Pryce and Close. I left the cinema in such awe of what I just saw and was moved emotionally for days after. Do not miss THE WIFE, which I believe is Glenn Close’s greatest opportunity yet to win her a very first Academy Award.


Daniel Day-Lewis and Vicky Krieps in Phantom Thread (2017)

I’ve selected PHANTOM THREAD my best movie of 2018, partially on the basis of being bias. It is the epitome of the exact type of character-driven drama that is right up my alley. This film maintained a certain unparalleled connection with me that was last achieved by 2012 Danish drama, THE HUNT. A story set in 1950s London featuring multi-layered and psychologically complex characters at its fore, PHANTOM THREAD is about a male dressmaker (played by Daniel Day Lewis in his typically finest form) whose very particular habits and structured living of life undergoes drastic and unpredictable change when he meets a younger woman and romantic interest (played by an electrifying Vicky Krieps). This outstanding film’s production is as flawless as its narrative. Production design, cinematography and the score are of the highest possible quality, just to name a few. A treasure to every sense for cinema aficionado’s and fans of this genre especially.

Some films that I am yet to see that are/will be released in 2018, which may occupy a place in my best of list are:


As they say, what goes up must come down. Now, let’s get right to the bottom of my list. Here is….¬†


Suspiria (2018)

How did one of my most anticipated films of the year result in easily being the worst? How is it even possible that director Luca Guadagnino hits rock bottom with this SUSPIRIA “remake” after his five-star masterpiece still sitting at the top of my “Best Films of 2017 List”, CALL ME BY YOUR NAME? This intentionally grotesque and absurd film is the most divisive and the most pretentious movie of 2018. The fleeting moments of impressive imagery and whispers of a comprehensible plot never make so many of the dreadful scenes you must endure and cannot unsee over a painstaking two and a half hours worth their while. On a positive note, at least the poster for the film isn’t misleading – SUSPIRIA really is as big a mess as it suggests! Read (or re-read) Jell’s hilarious review of¬†SUSPIRIA and watch the Italian original from 1977 instead.

Now, we move along to plenty of additional stand-outs, highlights and low-lights in cinema throughout 2018…


ROMA (4 ¬Ĺ stars)
(4 stars)
(4 stars)

The acting stand-outs

*OF refers to being my Oscar favourite
*OW refers to being Oscar worthy

Best Actress and/or Supporting Actress Performances

Glenn Close – THE WIFE (OF)
Lady Gaga – A STAR IS BORN (OW)
Olivia Colman, Rachel Weisz and Emma Stone – THE FAVOURITE (All OW)
Emma Thompson – THE CHILDREN ACT (OW)
Millicent Simmonds Рfor her debut performance in WONDERSTRUCK
Thomasin McKenzie – LEAVE NO TRACE
Keira Knightley – COLETTE (OW)
Amy Adams – VICE (OW)

Best Actor and/or Supporting Actor Performances

Jonathan Pryce – THE WIFE (OW)
Denis Menochet – CUSTODY (JUSQU’√Ä LA GARDE)
Bryan Cranston, Laurence Fishburne and Steve Carell – LAST FLAG FLYING
Bradley Cooper – A STAR IS BORN (OW)
Nick Robinson – LOVE, SIMON
Timothée Chalamet РBEAUTIFUL BOY (OW)
Charlie Plummer – LEAN ON PETE
Christian Bale and Sam Rockwell – VICE (OW)

These movies might have missed out on a spot in my best 22, but they are each very good, deserve a mention and you might like to check these out further…

(A very strong 3 ¬Ĺ stars)
(A very strong 3 ¬Ĺ stars)
(3 ¬Ĺ stars and perfect to watch this Christmas!)
(3 ¬Ĺ stars)
(3 ¬Ĺ stars)
 (A very strong 3 stars)
(A very strong 3 stars)

These films also missed my best 22, but were much better than I had expected…

DEN OF THIEVES (4 stars)
BLOCKERS (3 ¬Ĺ stars)
GRINGO (3 ¬Ĺ stars)
GAME NIGHT (3 ¬Ĺ stars)

And these movies ended up being some of the biggest let downs and/or are the most overrated films of 2018…

SUSPIRIA (1 star and I just had to mention it once more!)
THE 15:17 TO PARIS (2 stars)
RED SPARROW (2 ¬Ĺ stars)
HEREDITARY (3 stars)

Without spoilers, here are just some of the most memorable and/or greatest moments and highlights in cinema in 2018…

A couple of heated verbal exchanges inside the hotel room in THE WIFE
The finale of
The set-piece sequences, chase and fight scenes in
Two harrowing sequences involving the main protagonist that I cannot describe without including spoilers in
ROMA (but you will know of which ones I speak of once you’ve seen the film!)
The conversation and laughter shared by the three lead actors of
LAST FLAG FLYING during a loss of virginity discussion
The utterly bizarre sexual encounter and the performance artist “entertainment” sequence in
The breaking of new ground in mainstream cinema by
The depiction of drug addiction, the diner scene and the final scene in
The final performance sequence at Wembley in
The mathematical whiz chicken from the “Meal Ticket” story & the imagery, location and music scored for the “All Gold Canyon” story in the film
The more frequent appearance of black & white cinematography used to perfection in
The depiction of motherhood in
The appearance of Cher in
The brothel sequence filmed via security cameras in

And some low-lights of cinema that I’d like back please…

143 of the 152 minutes of SUSPIRIA
Anne Heche’s horrible attempt at acting in MY FRIEND DAHMER
The bodily sensations and dispensing of bodily fluids from Muppets in THE HAPPYTIME MURDERS
All of the excruciating and lame performances in IN LIKE FLYNN
All of the awkward and poor acting on display in
The nun in THE NUN
The lack of promised genuine scares and the laughable ending of HEREDITARY

For some fun to compare opinions, here are five films that I nominate Jell to watch and rate sometime in 2019…


Highest grossing film ‚Äď Worldwide

AVENGERS: INFINITY WAR ($2,048,815,482)

Highest grossing film ‚Äď In Australia


Compiled by Leigh for Moviedoc
Follow on Twitter¬†‚ÄďMoviedoc¬†/¬†LIKE on Facebook¬†‚Äst@moviedoc13


The 2018 Spanish Film Festival – ABRACADABRA

Pablo Berger

Maribel Verd√ļ,¬†Antonio de la Torre, Jos√© Mota and Priscilla Delgado

When viewing the trailer and reading the synopsis of this Spanish fantasy-comedy, a light-hearted and crowd-pleasing showing is on the cards. Soon after those cards are flipped, a few less promising numbers appear. It’s permissible to overlook these blemishes from the deck for there are several other options available that if picked, will surely lead to a stronger hand. But no, each new turn that is had lessens the overall worth before your eyes, until one final curse of fortune ends it all.

Don’t be fooled into taking a gamble with ABRACADABRA, for if you do, it will leave you feeling as perplexed and deliberately misled as a Spanish bull charging towards a red flag that turns rainbow!

Neglected housewife, Carmen (Maribel Verd√ļ fromBLANCANIEVES), and her misogynistic,¬†soccer-fanatic husband Carlos (Antonio de la Torre fromTHE LAST CIRCUSand Pedro Almodovar‚ÄôsVOLVER) attend the wedding of her cousin together with their teenage daughter,¬†To√Īi (Priscilla Delgado from another excellent Pedro Almodovar film,JULIETA), who’s addicted to her phone.¬†During the celebrations, an apprentice magician, Pepe (Jos√© Mota) hypnotises¬†Carlos, who returns home as a completely different man. Driven by curiosity for separate reasons, Carmen and Pepe team up to discover the spiritual being that has embodied her husband.¬†

Image result for abracadabra spanish film movie stills
Though in possession of an abundance of improbabilities and absurdities, ABRACADABRA is fairly easy to enjoy during most of its opening half, courtesy of its decidedly mirthful tone and appealing comedic premise. As its improbabilities begin to turn nonsensical and some unusual behaviour creeps its way in, the joyful facade of this film soon fades away. A random and bizarre series of events grow further in their frequency and at this point it is evident that this misguided comedy is not only exhibiting a dreadful lack of direction but is also (probably inadvertently) having a failed crack at the same type of surreal humour that Swedish art film,THE SQUARE is fondly remembered for. The entertainment to be derived from the second half of ABRACADABRA vanishes just as rapidly and inexplicably as Carlos’s (unappealing but true) personality. Ending all hope of a final act improvement is the horribly out-of-place decision to give the film a macabre mood swing. Audiences are left in genre-limbo as writer and director Pablo Berger illustrates just how out of touch he is with the crowd he is aiming to attract.

ABRACADABRA is anything but magical.

1¬†¬Ĺ stars

Don’t let this uneven mess allow you to avoid this year’s Spanish Film Festival though! There are many appealing films on offer for all tastes, including the female-driven musical comedy THE TRIBE, gripping mystery MIST & THE MAIDEN and even a special screening of Guillermo del Toro’s superb film, PAN’S LABYRINTH.

Full details including dates and the program are available right here:

Image result for abracadabra spanish film PEPE movie stills

Viewer Discretion
M (Mature themes, violence and coarse language)


Moviedoc thanks Asha Holmes Publicity, The Spanish Film Festival and Palace Cinemas for the invite to the screening of this film

Review by Leigh for Moviedoc
Follow on Twitter ‚ÄstMoviedoc¬†/¬†LIKE on Facebook ‚Äst@moviedoc13


BEST & WORST MOVIES OF 2017 including the highlights and some low-lights

Hello everyone

Firstly, a huge thank you for every review you have read, liked, shared, commented on and even chatted to me about in person. Thanks to you and your incredible support, I had a very productive year of film watching and reviewing!

In total, I got to see and review 141¬†films officially released in 2017 alone, which is 15¬†more than I was able to see at this same time in 2016! Of these, more than 25¬†movies received a¬†4 star¬†rating from me, so I have compiled a ‚ÄėBest 25‚Äô list this year as well as a ‚ÄėWorst 5‚Äô.

I hope you thoroughly enjoy reading this post. I also hope you take away a handful of films to see that you’ve never previously heard of or watched!
As always, please get in touch to share your views and best & worst movies.

I look forward to your continued support and interaction in what will be an even bigger and busier year of film watching & reviewing in 2018, where I hope to review a monthly classic and bring a review or two fresh from my attendance at film festivals!

Moviedoc ūüôā

Moviedoc’s Best 25 Movies of 2017

4 stars

A beautiful and meaningful story featuring a great cast that will make you cry a little but feel plenty of joy

4 stars

As sweet as marmalade itself and a sequel that’s every bit as good, if not better, than the first film. Paddington is no one-trick teddy bear!

4 stars

Arguably and in my opinion, this is the best rendition of Batman, ever! Utterly hilarious at times and scores Moviedoc’s #1 spot (just!) for best family film of 2017!

4 stars

All at once, this is an uncomfortably funny, dreadfully saddening and downright frightening exposé of just how far a social media addiction and obsession can take a person. Highly recommended!

4 stars

A splendid drama! One of the most underrated films of 2017! If you haven’t already, it is time to unwrap this true gift of a film.

4 stars

A broadly appealing and wholly accessible romantic comedy-drama that’s not only based on a true story but even stars one of the real-life subjects; stand-up comedian, actor and writer,¬†Kumail Nanjiani

4 stars

It’s been a solid year for heist movies and this is the best of them. Flawless car chase sequences and an outstanding music score drive this slick and unique heist film. Hopefully BABY DRIVER won’t lose popularity due to co-starring Kevin Spacey, for it absolutely deserves to be seen.

4 stars

Enthralling! I’ve been told those who are into TV Series “House of Cards” will want to see this. Sorry for making another connection to Kevin Spacey!


4 stars

Can be a challenge to watch, especially during the first half. However, Denzel Washington’s Oscar-nominated performance playing a character he’s portrayed on Broadway 114 times before and Viola Davis’s Oscar-winning acting are so stellar in a movie that becomes absolutely riveting

4 stars

Beautifully filmed and impeccably acted by one of the stand-out ensemble casts of the year. An excellent film from director Sofia Coppola.

4 stars

You haven’t seen a story quite like the one told in MOONLIGHT before. This is the Best Picture Winner at the 2017 Academy Awards earlier this year. Brave and heartfelt storytelling.

4 stars

A majestic and breathtaking cinematic experience. The Australian-made MOUNTAIN is 2017’s best documentary feature.

4 stars

This is acclaimed¬†Iranian director Asghar Farhadi’s (THE PAST, A SEPARATION) latest feature film. An immaculately devised and strongly executed domestic drama with a gripping finale.

4 stars

A minimalist war film that draws maximum anxiety and exacts a claustrophobic stranglehold over its viewers from start to end thanks largely to the ever-present score by Oscar-winning film composer, Hans Zimmer

4 stars

A similar breed of film to 2011’s SNOWTOWN, HOUNDS OF LOVE is an unnerving and tense dramatic thriller that showcases an outstanding music score, cinematography and acting. The best Australian film of 2017.

4 stars

An Oscar-nominated foreign film taking place after WWII, which depicts a group of very young German POWs sent to Denmark to clear thousands of hidden land mines. Stomach-turning tension is guaranteed.

4¬Ĺ stars

The first-ever oil painted feature film about Vincent van Gogh is never solely limited to its visual capabilities. A sublime film.

4¬Ĺ stars

Martin Scorsese’s passion project and three-hour epic is a bravely written piece that is expertly penned toward the most religiously devout. A near-masterpiece.

4¬Ĺ stars

The PLANET OF THE APES film series is now officially one of my favourites, if not my absolute favourite film franchise. Combines mesmerising CGI and cinematography with a powerful and relevant story that has a strong message for humankind. I just love it!

4¬Ĺ stars

The storytelling structure, its well-studied account of key themes and the honesty of its writing and character depiction achieves MANCHESTER BY THE SEA A-grade status.

4¬Ĺ stars

What happens when a close-knit group of friends meet for dinner and share every text message, email and phone call received with one another? You will want to find out! Italian comedy PERFECT STRANGERS features one of the most cleverly conceived and carefully-considered screenplay’s of the year.

4¬Ĺ stars

Movies as genius as this are few and far between. Masterfully and studiously crafted, intelligently written and flawlessly executed,¬†GET OUT¬†is a broadly appealing and accessible horror film at heart that functions as a menacing mystery invite to all. If you haven’t already, please accept your invitation, pronto! You will not regret it.

4¬Ĺ stars

Witness one of the most conceivably written, daring and exciting character transitions seen in recent years. This fierce, fearless and electrifying film turns the period drama genre on its head in near flawless fashion and is the breakout film for its star, Florence Pugh, who is scintillating. Unmissable!

5 stars

The last film to receive 5 stars from me was THE HUNT in 2013! Well, it had to take something very special to break that lengthy drought. Simply put, you have never seen a film quite like DOWNSIZING before. It is extraordinary. I admired its continual refusal to¬†yield to any form of mainstream cinema convention, despite being a mainstream-friendly release. It also unearths¬†one of the truest & most beautifully conceived and written characters I’ve seen in any film. Hong Chau (from acclaimed TV Series Big Little Lies)¬†is just superb as Ngoc Lan Tran, in what is one of this year’s acting highlights.¬†Absolutely amazing in every way imaginable.


5 Stars

It took me until February, 2018 to see this sensual and picturesque masterpiece. CALL ME BY YOUR NAME not only met my high expectations, it by far exceeded them. This slow-building drama set in northern Italy during a hot summer in 1983 is so precise and honest yet powerfully subtle in its articulation of the complex emotions and sensitive scenarios involving its characters. It takes some time for the forthcoming relationship to develop, yet does so organically and in complete avoidance of all stereotypes. By the time its extraordinarily moving and meaningful finale arrives, CALL ME BY YOUR NAME simply overwhelms. The ultimate meaning and key themes of this beautifully produced film earn an equal amount of appreciation as the stunning production, stand-out score and immaculate performances achieve.

Armie Hammer and Timothée Chalamet in Call Me by Your Name (2017)

Moviedoc’s Worst 5 Movies of 2017

1¬†¬Ĺ stars

Not even the charismatic Dwayne Johnson can save BAYWATCH from drowning in its own dump.

1¬†¬Ĺ stars

Unfunny. Sexist. Nasty. Avoid!

1 star

Jigsaw may do a Jesus by way of his resurrection, however he is certainly no saviour to the eternal damnation sentenced upon the viewer in this dreadful reboot. Now, please stay dead.

1 star

Goldie Hawn should have remained in her fifteen-year movie hibernation. Terrible movie.


T H E  M U M M Y
1 star

An unacceptable first instalment in Universal’s¬†rather forced Dark Universe film series that seemingly exists purely to rival Marvel and the like. Yet sadly, THE MUMMY still grossed $409.1 million worldwide, which means there’ll probably be more to come. A score of just 5.5 on IMDB and 16% on Rotten Tomatoes more than justifies why this utterly dreadful reboot is the worst of the 141 movies released this year I have seen.

Still with me? Good! Now we go to some highlights and low-lights of 2017

The acting stand-outs of 2017

Timothée Chalamet in CALL ME BY YOUR NAME
Florence Pugh – LADY MACBETH
Danielle MacDonald – PATTI CAKE$
Emma Booth and Stephen Curry – HOUNDS OF LOVE
Naomie Harris –¬†MOONLIGHT
Denzel Washington and Viola Davis –¬†FENCES
Aubrey Plaza –¬†INGRID GOES WEST
Teresa Palmer –¬†BERLIN SYNDROME
Sonia Braga – AQUARIUS
Oscar Isaac – SUBURBICON
Hugh Grant – PADDINGTON 2
John Lithgow and Salma Hayek – BEATRIZ AT DINNER
Dev Patel and Sunny Pawar –¬†LION
Pierre Niney and Paula Beer –¬†FRANTZ
Brian Cox –¬†CHURCHILL
Jessica Rothe –¬†HAPPY DEATH DAY
Tiffany Haddish –¬†GIRLS TRIP
Sally Hawkins –¬†MAUDIE
Hugo Weaving –¬†JASPER JONES

Films to add to your watch list not in my Best 25 from 2017

THE DISASTER ARTIST (But watch clips from YouTube of THE ROOM first, if you haven’t already seen it!)

Most over-rated and/or most disappointing films from 2017


The highlights in films from 2017

Hong Chau’s character in DOWNSIZING
The uniquely hand-painted visual experience in LOVING VINCENT
The extreme slo-mo’s in HOUNDS OF LOVE
The development of the relationship and the first intimate scene between Elio and Oliver in CALL ME BY YOUR NAME
The atmosphere and the battle sequences staged in DUNKIRK
The real footage of a tightrope walk between two mountain peaks in MOUNTAIN
The final dinner table scene in THE BEGUILED
The car chase sequences and the music score in BABY DRIVER
A reaction from a particular water monster in THE LEGO BATMAN MOVIE
The birthday party sequence & guest arrivals in TONI ERDMANN
The visual and aural experience in GHOST IN THE SHELL
The dialogue and its delivery from Tiffany Haddish in GIRLS TRIP
The final action sequence on the ice in Iceland in THE FATE OF THE FURIOUS

Best horror film

(A clear stand-out, however if that’s not scary enough for you, then try out IT COMES AT NIGHT, HAPPY DEATH DAY and IT. None of these films managed to scare me though!)

Best crying film
(Even though its title suggests this belongs in the above category! Not the first time director J.A. Bayona has claimed this spot at the end of the year. THE IMPOSSIBLE was his previous movie)

Best lol film

(However, if you want something more mainstream, then try THE DISASTER ARTIST and GIRLS TRIP)

Best love story or romantic film


Most unique/strange films


Highest Grossing Film ‚Äď Worldwide

($1.26 Billion)

Highest Grossing Film ‚Äď In Australia

($36.3 Million)

Compiled by Moviedoc
‚ÄúLIKE‚ÄĚ on Facebook ‚Äď Moviedoc



Stars/ Dane DeHaan, Cara Delevingne, Clive Owen, Sam Spruell, Ethan Hawke and Rihanna

Costing as much as ‚ā¨197.47 million (U.S $210 million) to produce, most of which was personally funded by director Luc Besson, VALERIAN AND THE CITY OF A THOUSAND PLANETS is easily the most expensive film ever to be made in France.

Based on the French Science-Fiction Comic Book Series “Valerian and Laureline” written by Pierre Christin and illustrated by Jean-Claude M√©zi√®res, the plot for¬†VALERIAN AND THE CITY OF A THOUSAND PLANETS¬†is loosely based on the sixth album in the series.

It is the 28th century in Alpha, a space station where millions of species, including humans, from a thousand planets all peacefully coexist. Special agents Valerian (Dane DeHaan) and Laureline (Cara Delevingne), who belong to the human division, are assigned a new task by Commander Filitt (Clive Owen), who has identified a dangerous and dark presence within the space station. Valerian and Laureline must travel to this section of the station and stop the unknown force from spreading before it threatens to cause harm to Alpha’s entire population.

Truth be told,¬†VALERIAN AND THE CITY OF A THOUSAND PLANETS isn’t at all difficult to like.

Its intentionally broadly accessible plot and structure will understandably be labelled as unoriginal. And sure, this aspect of the film is surprise-free. Visually however, there can be no arguing that Besson’s film is attention-diverting at the least and unique at its best. How could it not be? In total, there are 2,734 special effects shots and 200 alien species! Luc Besson was inspired by what was achieved by James Cameron in AVATAR. Although this science-fiction action-adventure movie is never really magical to witness as Cameron’s epic film was for many, there are other means to credible entertainment constantly on offer. Take the film’s temperament for instance, which is often light-hearted and incorporates a sufficient supply of sometimes lame, albeit funnier moments. Legendary music composer Alexandre Desplat’s score for the film is customarily brilliant and DeHaan & Delevingne, who share solid chemistry, work surprisingly well together.

This entry-level¬†sci-fi/fantasy flick finds the right balance for a varied audience. The straightforward storytelling and mainstream characterisation won’t make any newcomers to the genre feel too out of this world. As for genre aficionados, although these aspects of the movie certainly won’t blow them out of this world, the more specific details and the cosmic aura of the film is likely to compensate for any lack of imagination in storytelling that is detected.

3 stars


Viewer Discretion/ M (Science-fiction violence) 


Moviedoc thanks entertainment One for the invite to the screening of this film.

Review by Moviedoc / ‚ÄúLIKE‚ÄĚ on Facebook ‚Äď Moviedoc




Stars/ Lewis MacDougall, Felicity Jones, Sigourney Weaver, Toby Kebbell and the voice of Liam Neeson

A monster is indeed calling, but not with the same intentions that most monsters are noted for. 

The original idea for¬†A MONSTER CALLS¬†began with British writer and activist Siobhan Dowd, who was sadly unable to finish her novel of the same name due to the terminal illness that claimed her life. From there, the writer of this film’s screenplay,¬†Patrick Ness took over.

The monster that inhabits A MONSTER CALLS comes in the form of a very large and branchy motion-captured tree voiced by Liam Neeson. In a tone that is just as potent as he adopted over the phone in¬†TAKEN, the tree monster sternly advises twelve year-old Conor O’Malley (Lewis MacDougall) that he will tell him three true stories, each with a separate meaning very relevant to Conor’s current existence. After the three stories have been told, Conor must tell a fourth, which will reveal the truth behind his greatest fear.

Featured on the 2013 Blacklist of most liked unmade scripts, A MONSTER CALLS is a beautifully rendered motion picture.

As most of you reading this will likely be aware, one of the central characters in this film is succumbing to a terminal illness. Understandably, parents may feel that a movie with such a sombre theme that also features a monster as the main character is definitely not for children. Though there should be considerations made for younger audiences heeded as suggested by its PG classification, A MONSTER CALLS is in fact a mightily accessible, involving and valuable film for most age levels. Just how this has been achieved is why this is such a great film. The writing is honest and mature, the visual work has been compellingly detailed and young Lewis MacDougall gives a gutsy lead performance, to name a few reasons.

Quite astonishingly and respectably, A MONSTER CALLS refrains from being saddening throughout. Rather, emotions are kept at bay until just when the timing is right for the inevitable emotional catharsis that awaits. However, thanks to its structure and fine execution, even these heartfelt moments of the film are therapeutic in nature. Any concerns that may be had regarding what sort of mood this wonderful film will leave at its conclusion can be erased by the role of another essential character, played by Sigourney Weaver. Although she possesses a hardened exterior, Weaver’s kind-hearted grandmother is a vital contributor towards enabling Conor to overcome those fears in his own story.¬†

This film is definitely worth seeing, even if that has to be once its run at cinemas is complete.

3¬†¬Ĺ stars

Viewer Discretion/ PG (Mild themes and violence, some scenes may scare children) 


Moviedoc thanks entertainment One for the pass provided to see and review this film.

Review by Moviedoc / ‚ÄúLIKE‚ÄĚ on Facebook ‚Äď Moviedoc





Director / Michael Bay (Every TRANSFORMERS feature film on the planet and THE ISLAND)
Stars/ Mark Wahlberg, Laura Haddock, Anthony Hopkins, Josh Duhamel, Isabela Moner and the voices of Peter Cullen, Gemma Chan, Erik Aadahl and Frank Welker

As TRANSFORMERS: THE LAST KNIGHT begins, you can be forgiven for thinking that you’ve entered the wrong cinema. Set thousands of years ago and featuring mythical characters who usually reside in completely separate movies, it becomes evident from early that we are being treated (or burdened, pending your feelings) to a double feature for the price of one, over the next two and a half hours.

This fifth film in the franchise is set to be the final TRANSFORMERS film for series director Michael Bay. But it is far from being the final TRANSFORMERS film! In fact, rumour has it that this franchise will be getting inducted into its own cinematic universe! So while there is clearly an endless supply of CGI and budget ($260 million alone for this instalment, making it the most expensive film of the series so far!) allocated to TRANSFORMERS, it looks set to stomp into a new direction, as indicated by THE LAST KNIGHT. To back that statement up, there are no writers from previous TRANSFORMERS films contributing to the screenplay or the story conjured up in this fifth chapter.

Finally, to the plot. And yes, there indeed is one! In fact, there are many! It goes something like this РTransformers are no longer living among us. Optimus Prime (still voiced by Peter Cullen) has returned home to Cybertron, which has been destroyed and is in need of repair. If he can obtain a certain artefact from Earth (also known as Unicron) and bring it to Cybertron, then he will save his planet and further empower its leader, Quintessa (voiced by Gemma Chan). If successful, humans and Earth will be destroyed. To save our world will require the combined efforts of a few familiar faces including Cade Yeager (Wahlberg), an inventor, and William Lennox (Duhamel), who now works for the newly assembled TRF (Transformers Reaction Force). They will eventually meet and partner with new additions to the franchise, which include astronomer and historian Sir Edmund Burton (Hopkins), a 14 year-old orphaned girl, Izabella (Moner) and an English professor, Viviane Wembly (Laura Haddock who you know as Meredith Quill from the GUARDIANS OF THE GALAXY films).

A decade has already elapsed since TRANSFORMERS first premiered on the big screen. Since then, the next three films in the franchise – REVENGE OF THE FALLEN, DARK OF THE MOON and AGE OF EX-STINKS-ION (see what I did there!) – have been just okay, at best. For its truest fans, TRANSFORMERS: THE LAST KNIGHT could very well be the most divisive movie of the lot. It is also marginally better than the three films before it!

But first, in order to grasp such feelings towards¬†THE LAST KNIGHT, audiences must surrender to the unapologetic ridiculousness of it all. Should you understandably choose to be resistant to its¬†ridiculousness, you will struggle to enjoy a single minute of the next 149 ahead of you.¬†One counteractive mechanism employed by the script in order to quash any upheld resistance are its regular humourous interjections. Though less of a majority of them will actually strike a chuckle, they do continually remind us that above all else,¬†THE LAST KNIGHT is never trying to be anything beyond purely lame fun.¬†If the going is better than expected for you, there’s a strong chance that the¬†utterly incredulous plotting has something to do with that.¬†Unlike the very recent release THE MUMMY,¬†TRANSFORMERS: THE LAST KNIGHT doesn’t take itself seriously at all, nor does it over-complicate its several plot strands. Furthermore, considering its lengthiness, which doesn’t really hit until the two hour mark has arrived, the individual plot trajectories keep the film moving at a reasonable pace. Even the action sequences feel a little¬†less repetitive than what we’ve seen previously from this franchise and contribute slightly towards the mediocre entertainment on offer.

Admittedly, some things never change. TRANSFORMERS is still overlong and self-indulgent. Probably more so in THE LAST KNIGHT than ever before РThe hyper-extended last half hour being the epitome of just that and having you wish that Michael Bay would get it over with already. But much to my surprise, there is more amusement and mild entertainment made available than expected.

2 ¬Ĺ¬†stars

Viewer Discretion/ M (action violence and coarse language)


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

Review by Moviedoc / ‚ÄúLIKE‚ÄĚ on Facebook ‚Äď Moviedoc




Director / Alex Kurtzman (PEOPLE LIKE US)
Stars/ Tom Cruise, Annabelle Wallis, Sofia Boutella, Russell Crowe and Jake Johnson

Universal Pictures commence their Dark Universe film series, which will revive its monster characters over past years, with this third remake of THE MUMMY. The very first cinematic production of THE MUMMY in 1932 received both positive reviews and success at the box office. Although gathering mixed reviews, the 1999 remake starring Brendan Fraser and Rachel Weisz grossed over $400 million worldwide off an $80 million budget. Back then, it was a lot of fun to watch. Despite already earning back what it cost to produce, this $125 million re-telling of THE MUMMY starring Tom Cruise is easily the worst of them all.

An unnecessarily, overly convoluted plot begins with an ancient Egyptian princess, Ahmanet (Sofia Boutella) who is discovered in present day Iraq by a soldier, Nick Morton (Tom Cruise), and his partner, Chris Vail (Jake Johnson), after being buried alive thousands of years ago. Soon after the discovery, archaeologist Jenny Halsey (Annabelle Willis) and Dr. Henry Jekyll (Russell Crowe) join forces and must try to stop Ahmanet from carrying out her evil plans.

At best, THE MUMMY should have been (almost) two hours of entertaining escapism. At its worst, that escapism you’re seeking is the exit sign in the cinema. So bad is this shoddy remake, it may even trigger the hierarchy of Scientology to revisit Cruise’s association to them! Although the lacklustre performance from Tom Cruise is the most annoying he’s been since that infamous couch jump on Oprah, THE MUMMY has several head-scratching outcomes to blame for the mess that it is.¬†

If there is just one lesson to be learned from 2017’s THE MUMMY, it’s that more isn’t always merrier. Split between writing the screenplay and the story, there are a total of six writers that have worked on this fantasy/action movie. Experienced hands that have penned the script for a number of very good movies that include WAR OF THE WORLDS, EDGE OF TOMORROW and DOCTOR STRANGE. One of those writers happens to be the director of MISSION IMPOSSIBLE: ROGUE NATION and the first¬†JACK REACHER film too. Even director Alex¬†Kurtzman, whose name you may know from the STAR TREK and STAR TREK INTO DARKNESS writing departments, has partly written THE MUMMY. Their combined efforts has executed a script filled with many absurdities, has minimum sense of adventure, just one action sequence (set on a plane) that is worth remembering and is barely about its titular character. Contributing to the carnage is Kurtzman’s continuous misjudgement of the use of several flashbacks and visions had by Cruise’s character. In particular, the attempts to inject out-of-place humour involving Jake Johnson’s character pull up every centimetre as short as Johnson’s co-star.

An unacceptable first instalment to a rather forced movie universe that seemingly exists purely in order to rival Marvel. KONG: SKULL ISLAND, all is now forgiven.

1 star

Viewer Discretion/ M (supernatural themes, violence and sustained threat)

Trailer / THE MUMMY

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

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Director / Patty Jenkins (MONSTER)
Stars/ Gal Gadot, Chris Pine, Danny Huston, David Thewlis and Robin Wright

The newest superhero to join the cinematic universe is unveiled in this fourth instalment of the DC extended universe. WONDER WOMAN,¬†which is the first female-dominant superhero film since 2005’s ELEKTRA, has¬†been in development for over 20 years. In that time, plenty of names have been attached to direct, including Ivan Reitman and Joss Whedon. After accepting the offer in¬†2015, Patty Jenkins is the¬†first woman to direct a superhero film with a female protagonist.

An origin story for Wonder Woman, Diana Prince (Gal Gadot, who stars in several films belonging to the FAST & FURIOUS chain) is an Amazon princess living on an island paradise, which is inhabited by female warriors. A trained and highly-skilled fighter, Diana learns of World War I when a pilot, Steve Trevor (Chris Pine), crashes his helicopter nearby. Enraged by the destruction that is occurring on the planet, Diana leaves her idyllic abode to use her superpowers and bring peace to the people, fulfilling her destiny to become Wonder Woman.

Like most origin stories, WONDER WOMAN travels right back to Diana’s upbringing and childhood years. During the opening act, we learn of the influence that her Aunty (Robin Wright) and protective mother (Connie Nielsen) have on her¬†as a child. The script moves along quite swiftly during these earlier sequences,¬†which also explains how their island nation came to existence. The introduction of Chris Pine’s character brings with it a more¬†light-hearted approach and adds¬†plenty of playful humour to the mix, a welcomed facet that remains intact as Diana acquaints with Steve’s secretary, Etta Candy (Lucy Davis), in war-ravaged London. As it continues, the plot gains some extra muscle as Steve resumes his mission and by more heavily involving the films antagonists.¬†

Everything happens mostly as expected in WONDER WOMAN. The closer it gets to arriving at that¬†141 minute duration, the further away it is from its best work. The final hour, which goes heavy on the special effects, does contain some well-choreographed stunts, but shifts gears into auto-pilot action mode and overdoes it as a result. Partly written by¬†BATMAN V SUPERMAN: DAWN OF JUSTICE and MAN OF STEEL director Zack Snyder (who is set to direct the upcoming films¬†JUSTICE LEAGUE PART 1 & 2), the script can’t camouflage its formulaic structure or its¬†clich√©s as strongly during this latter¬†stage of the film. However, just as expected,¬†the constant presence of an iconic and strong female cast in a role¬†normally occupied by the opposite gender¬†is always refreshing to watch, sweeping aside anything and anyone who dares¬†to stand¬†in her way.

3¬†¬Ĺ stars

Viewer Discretion/ M (mature themes and action violence)


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

Review by Moviedoc / ‚ÄúLIKE‚ÄĚ on Facebook ‚Äď Moviedoc