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Directed by : Christopher Figg, Roger Lanser, Peter Carrodus, Dean Murphy, Dean Murphy, Dean Murphy, Robert Whitehouse, Ralph Moser, John Foreman, Nigel Odell

Produced by : Christopher Figg, Roger Lanser, Peter Carrodus, Dean Murphy, Dean Murphy, Dean Murphy, Robert Whitehouse, Ralph Moser, John Foreman, Nigel Odell

Starring : Paul Hogan, Shane Jacobson, John Cleese, Chevy Chase, Olivia Newton-John, Rachael Carpani, Jim Jefferies, Kerry Armstrong, Nate Torrence, Jacob Elordi

Company : Piccadilly Pictures, Kathy Morgan International, Salt Media & Entertainment, Clock Sounds Productions Pty

Release date(s) : 2020-07-17

Running time :88 Minutes

Country  : United States

Language :English

Budget : 

Storyline :

Directed by : Hannah Marks, Benjamin Kasulke, Brendan Walsh, Darin Moran, Joey Power

Produced by : Hannah Marks, Benjamin Kasulke, Brendan Walsh, Darin Moran, Joey Power

Starring : Hannah Marks, Liana Liberato, Dylan Sprouse, Addison Riecke, Haley Ramm, Jacob Batalon, Luke Spencer Roberts, Jessica Hecht, Ben Konigsberg, Meagan Kimberly Smith

Company : American High

Release date(s) : 2018-09-22

Running time :88 Minutes

Country  : United States

Language :Deutsch

Budget : 

Storyline : Good watch, might watch again, and can recommend if you're considering it.

The "feel" of the movie reminds me a lot of "Booksmart", but almost more "versus" than "cooperative", if that makes sense to you.

I'm a big fan of Hannah Marks, and less so of Liana Liberato, and while the focus is typically on April, it really felt like they should have been cast in each others's roles, and it's not like Liberato can't carry a lead role. The roles just didn't feel intuitive, and the movie does one of those things where I feel like it's trying to tell me who's hotter, and (for me) Hannah Marks makes more sense as the "hot new thing", and she's the stronger personality. But that's probably why she has the lead here.

It was also frustrating to watch the characters do "stupid high schoolers with too many options" mistakes over and over, letting such a jerk control any level of validation in their lives, and I suppose that's the point that I'm missing is how to relate to it as a young woman that can't control what her wants are, even if they are bad for her.

I have similar stupid things I did when I was younger as a guy, and I think that's what frustrated me. The point in saying any of that is that that "frustration" is what takes this movie from potentially great to a more average viewing experience.

While it's a fine movie, with good characters, acting, and writing, it doesn't feel uplifting or hopeful, the "intensity in battle" is social in nature and not what I'm looking for in a movie, but that doesn't mean that others won't like this much more than me.

Directed by : John Lasseter, Ren Klyce, Ren Klyce, Ralph Eggleston, Rick Sayre, Bud Luckey, Nathan Stanton, Gregg Olsson, Louis Gonzales, Mark Sanford

Produced by : John Lasseter, Ren Klyce, Ren Klyce, Ralph Eggleston, Rick Sayre, Bud Luckey, Nathan Stanton, Gregg Olsson, Louis Gonzales, Mark Sanford

Starring : Craig T. Nelson, Holly Hunter, Sarah Vowell, Huck Milner, Catherine Keener, Eli Fucile, Bob Odenkirk, Samuel L. Jackson, Michael Bird, Sophia Bush

Company : Walt Disney Pictures, Pixar

Release date(s) : 2018-06-14

Running time :118 Minutes

Country  : United States

Language :English

Budget :  $200,000,000

Storyline : A good sequel.

'Incredibles 2' isn't too far away from the preceding film, which is always a big plus for a follow-up. This one is definitely the more funnier of the two, there are some very amusing moments; especially with Jack-Jack (Eli Fucile/Nick Bird).

From a plot point of view, the antagonists are better though unfortunately they do go down the obvious direction with them. I felt a few pacing issues too, it's a slow burner. The animation is very solid, as are the voice cast.

Speaking of the cast, all of the main lot return with the exception of Spencer Fox (Dash) - whose absence I didn't really notice in truth. Everyone's as good as they are in the original, while the additions of Winston (Bob Odenkirk) and Evelyn (Catherine Keener) are welcomed. There's also a small yet nice role for Odenkirk's 'Better Call Saul' co-star Jonathan Banks (Dicker).

This does some things greater than 'The Incredibles', but other things less so. Nevertheless, it's a very respectable Disney sequel.

Directed by : Jon Harris, Danny Boyle, Danny Boyle, Gail Stevens, Eric Fellner, Richard Curtis, Richard Curtis, Glenn Freemantle, Bernard Bellew, Nick Angel

Produced by : Jon Harris, Danny Boyle, Danny Boyle, Gail Stevens, Eric Fellner, Richard Curtis, Richard Curtis, Glenn Freemantle, Bernard Bellew, Nick Angel

Starring : Himesh Patel, Lily James, Ed Sheeran, Kate McKinnon, Joel Fry, Meera Syal, Sanjeev Bhaskar, Harry Michell, Sophia Di Martino, Sarah Lancashire

Company : Working Title Films

Release date(s) : 2019-06-27

Running time :116 Minutes

Country  : United States

Language :English

Budget :  $26,000,000

Storyline : ‘Yesterday’ takes its genius idea and unfortunately turns it into a generic film. Both director Danny Boyle and writer Richard Curtis have proven their creativity before, but here it's just wasted along with everything else.
- Chris dos Santos

Read Chris' full article...
https://www.maketheswitch.com.au/article/review-yesterday-great-concept-disappointing-execution

Head to https://www.maketheswitch.com.au/sff for more Sydney Film Festival reviews.
I really enjoyed this movie. Right out of the gate, you must accept that it is a fantasy rather than science-fiction, because the latter genre usually tries to give some sort of explanation for why something happens, but here we just take it as it is.

The dialogue is mostly witty and fun, and the characters got my sympathy. I had a slight problem with the two lead characters having always been platonic, as it was never fully explained why that was. But I was able to put that aside. Plus I really liked seeing the third lead character, the Mini Cooper (okay, yes, I have owned one for nearly twenty years).

Part of the ending could be considered predictable, and part of it was, but another piece of the conclusion astonished me in its originality, so it worked for me. One interesting subplot revolved around a couple of people who shared the knowledge about the Beatles that drives the story, and I was surprised and pleased at how they resolved that subplot.

And yes, to deal with the elephant in the room, most of the songs presented in the movie were better when the Beatles performed them, but isn't that the point? I had no problem setting that fact aside and enjoying this harmless and entertaining film. Oh, and I appreciate what a good sport Ed Sheeran is in this movie, allowing the lead character to more or less beat him in a songwriting contest (though of course Ed really won). In this movie, everybody wins (Well, except of course for the fictional Beatles, unless you can imagine they would prefer where the fantay lands them.)

Directed by : Andrew Stanton, Bob Peterson, Bob Peterson, Bob Peterson, John Lasseter, Ben Burtt, Darla K. Anderson, Ralph Eggleston, Daniel Gerson, Harley Jessup

Produced by : Andrew Stanton, Bob Peterson, Bob Peterson, Bob Peterson, John Lasseter, Ben Burtt, Darla K. Anderson, Ralph Eggleston, Daniel Gerson, Harley Jessup

Starring : Ed Asner, Jordan Nagai, Christopher Plummer, Bob Peterson, Delroy Lindo, Jerome Ranft, John Ratzenberger, David Kaye, Elie Docter, Jeremy Leary

Company : Pixar

Release date(s) : 2009-05-28

Running time :96 Minutes

Country  : United States

Language :English

Budget :  $175,000,000

Storyline :

Directed by : Kristian Eidnes Andersen, Kristian Eidnes Andersen, Patrick Ghislain, Tony Cranstoun, Brendan McCarthy, Niamh O'Loan, John McDonnell, Catherine Marchand, Colin Jones, Philip Murphy

Produced by : Kristian Eidnes Andersen, Kristian Eidnes Andersen, Patrick Ghislain, Tony Cranstoun, Brendan McCarthy, Niamh O'Loan, John McDonnell, Catherine Marchand, Colin Jones, Philip Murphy

Starring : Imogen Poots, Jesse Eisenberg, Eanna Hardwicke, Jonathan Aris, Senan Jennings, Molly McCann, Danielle Ryan, Olga Wehrly, Jack Hudson, Michael McGeown

Company : Fantastic Films, Frakas Productions, PingPongFilm, Lovely Productions, XYZ Films

Release date(s) : 2019-09-07

Running time :97 Minutes

Country  : United States

Language :English

Budget :  $4,000,000

Storyline : ‘Vivavirum’ slots in neatly next to Jocelyn DeBoer and Dawn Luebbe’s ‘Greener Grass’ and Richard Stanley’s ‘Color Out of Space’ to form a loose trilogy of deeply surrealist releases in 2019 that skewer our perceptions of suburbia and the family unit. Director Lorcan Finnegan has brought to life a disturbing, thoughtful and bleakly funny mutant of a movie.
- Jake Watt

Read Jake's full article...
https://www.maketheswitch.com.au/article/review-vivarium-what-makes-a-house-a-horrific-home
Pretty pointless movie. Signed up to review because I couldn't believe the rating this received. Yes, you get a weird realtor and a creepy kid but other than that you just watch the couple basically repeat each day hating being stuck. You're not going to learn anything more about the weird freaks or why they're doing what they're doing and will end up feeling like you just wasted your time. Yeah, I get it's supposed to be satire but pass.
> **_Review on Horror Focus_**

This indie sci-fi thriller Vivarium from Irish filmmaker Lorcan Finnegan is many things, one definitely being quite the head-scratcher. Not because of it being an intellectually challenging story, or one that is laced with twists and turns to create an unpredictable viewing, but a film that delivers a narratives so peculiar that it is like something you've never seen before. Take this with a pinch of salt, as there's certainly aspects which don't make the landing of such an ambitious plot, but let it also be known that Vivarium contains some impressions visual and narrative storytelling, enough to forgive some of the mid-act waffle that cripples the films momentum.

Finnegan gets the ball rolling with power, keeping the story taught enough that we are thrown straight into the mystery early doors. This works extremely well as the tension begins to bubble within the first ten minute mark. The performances here from our main cast member already begin to show their brilliance, especially Jonathon Aris who sets a chilling foreshadowing tone with his appropriately eerie character Martin. The small (yet effective) amount of screen time we have with Martin is enough to set the tone, and we, like Tom and Gemma are forced to endure something that is so ominously intense that it leaves a lingering sense of dread.

Unfortunately, this soon begins to simmer once Finnegan establishes the plot in its whole, and realisation settles on the simple fact that, after the 30 minute mark, there really isn't much else for the story to go. Yes the labyrinth maze of suburbia is strangely terrifying, and the strenuous repetition is effective, but after 15 minutes of having the child introduced, Vivarium begins to fall flat, and grow increasingly more stale up until after the sixty minutes in. The fantastic Poots and Eisenberg, and the deadpan humour do prevent this film from becoming a little too one-note, but this doesn't exuse more than a few scenes that will be a task to sit through, even in these current homebound world we are living in.



There is a glimmer of brilliance in Finnegan's choice of release here, as what our main couple are enduring is poetically reflective of the life we are living in this mad pandemic virus. I found myself identifying with the irritated attitude our characters develop, and sympathised with them when their child (the boy) was well deserving of a slap. Vivarium is intelligently relative right now, and can definitely be perceived as as Finnegan holding a mirror up to the idealistic yet treacherous concept of what makes the perfect home, and the urge to be the perfect family.

In fact, there's so much underlying aspects of Vivarium that are so incredibly reflective of the inevitable repetition that comes once a spunky couple are weighed down by family life, securing their "ideal" home and tolerating each others impurities under the same roof constantly. Finnegan exposes the dangers of the nuclear family here, and forces us to endure it too, warts and all. We even get those little moments in which Tom consistently chips away, digging a whole, not to be talked to, helped or interrupted by Gemma, who becomes a slave to ensuring nothing but contentment for their boy. This moment is humourous with a dark sting, and will be reflective of reality to many, but to those inside Vivarium is nothing but a nightmarish loop.

This distorted utopia Finnegan creates is what's most effective, orchestrated by a Burton-esque palette that is as gorgeous as it is hauntingly off-kilter. The early 80's, Romero's Day of the

Dead-like synth is undeniably effective, and carries the tension through to the final act, which although doesn't hit a payoff point that excuses the slow middle act, does add to the bankers reality Finnegan has crafted, and highlights the eeriness established from the beginning. While Vivarium does lose a tone of momentum when it hits the mid-way point, by the time it reaches its end, I can't shake the distinct feeling of unease I had to endure for over eighty minutes, and I can't deny that a film like this was an experience I have quite been exposed to before. I have been feeling really under the weather these past few days, and let's just say this only made me feel worse. Great job, I guess?


VERDICT
Vivarium is a simplistically disturbing suburban nightmare with a captivating story and little room for growth. Enduring its drab middle act may prove tricky, but once Finnegan blows the dust of the eerie intensity established from the beginning, you'll find there is much to be desired with this unsettling little indie-sci-fi thriller.
Amazing watch, will watch again, and can recommend.

Imogen Poots and Jesse Eisenberg (both from "The Art of Self Defense") are amazing in their roles as an abducted couple force to raise a child.

This is an amazing premise (see "Solar Opposites" for something similar), and one that is extremely hard to discuss without spoilers. This is a wonderful mix of tropes. There is a prisoner / abductee trope, there is "adoption of a strange child" trope, there is a "troubled couple" trope, there is even a mystery trope.

I'm fully of the opinion that the right thing to do in any abduction situation is to not reward the criminals with what they want because there is no reason that while they have all the power that they're going to do anything to benefit the victims. We get see an exploration of what people do in a dire situation and given a task, similar to a couple different "Twilight Zone" episodes.

The production value is clearly here, and while they appear to have saved some money on limited locations, it clearly put to good use as the movie delves deeper into its story.

I can't recommend this enough, please give it a shot all the way through.

Directed by : Anna Pinnock, Jina Jay, Simone Bär, Alexandre Desplat, Scott Rudin, Antoinette Boulat, Wes Anderson, Wes Anderson, Wes Anderson, Wes Anderson

Produced by : Anna Pinnock, Jina Jay, Simone Bär, Alexandre Desplat, Scott Rudin, Antoinette Boulat, Wes Anderson, Wes Anderson, Wes Anderson, Wes Anderson

Starring : Ralph Fiennes, F. Murray Abraham, Tony Revolori, Mathieu Amalric, Adrien Brody, Willem Dafoe, Jeff Goldblum, Uwe Holoubek, Harvey Keitel, Jude Law

Company : Fox Searchlight Pictures, Scott Rudin Productions, Studio Babelsberg, Indian Paintbrush, TSG Entertainment, American Empirical Pictures

Release date(s) : 2014-02-26

Running time :100 Minutes

Country  : United States

Language :English, Français

Budget :  $30,000,000

Storyline : Yet another well crafter Wes Anderson's movie. Fiennes and Revolori perform well and the amount of well known actors and actresses is incredible but we have seen similar ways and scripts in his previous movies.

It's entertaining, though.
Wes Anderson's THE GRAND BUDAPEST HOTEL is the director's celebration of Central Europe culture and fashion in the years between the World Wars, and an elegy for what was lost with the rise of fascism and communism. Set in 1932 in a fictional country called Zubrowka, the streets, military regalia and (ersatz) German names we are shown could have come from anywhere between Germany and Estonia. Its protagonist Gustave H. (Ralph Fiennes) is a concierge at the eponymous luxury hotel, the splendour of which disappeared, we are told, with World War II. Gustave H. is known publicly as one of the best concierges in the business, able to dash around the hotel at lightning speed to satisfy the most varied guests of the elite clientele. Privately, he's a rake with a rather foul mouth, and fond of bedding the rich old women who patronize the establishment. When one of those old ladies, Madame Céline Villeneuve Desgoffe und Taxis (Tilda Swinton) dies and Gustave is framed for her murder, he must evade the law and unmask the true culprit, with the help of newly hired lobby boy Zero Mustafa (Tony Revolori).

The films of Wes Anderson are known for their immense visual detail, and THE GRAND BUDAPEST HOTEL is no exception. The elaborate framing of shots, the myriad cute items to look at on every set, and the architectural detail are like a diorama blown up to the big screen. Curiously, that visual detail is matched to a real slackness in the human characterization. Anderson has brought in a large number of actors he had worked with before, including Adrien Brody, Jeff Goldblum, Ed Norton, and Bill Murray, for roles that range from the main villain to little more than cameos. These characters are never fleshed out like Gustave H. or Zero Mustafa, and the actors don't even try to pass themselves off as Central Europeans from the entre deux guerres. Instead Adrien Brody plays Adrien Brody, etc.

There are two supporting roles that I felt were stronger. William Defoe plays a nearly mute henchman whose look is a nod to early vampire films (Transylvania was Central Europe, too). More remarkable is Harvey Keitel's turn as an old prisoner: when so many handsome leading men try to hide the effects of time after they enter their sunset years, 75-year-old Keitel was not afraid to show the ravages of old age here.

Unfortunately, I found the 21st-century Americans strutting about (and a few speaking in rough New York accents) in a historical drama to be jarring. I was also disappointed by the resort to Hollywood tropes here, when Anderson's earlier films managed to be very quirky and sui generis. For example, did we really need not just one scene where a character is hanging off a cliff's edge as the villain stands over him, but two? And the amount of plot details that are introduced but never really explained makes one feel that the work was subject to some heavy cuts to please a studio.

Still, if you liked Wes Anderson's earlier films, you'll find much to enjoy in his dollhouse approach, and it is amazing how every one of his films has a completely new and fresh visual theming even if his quasi-autistic obsession with prettiness never changes. Another thing I liked about the film is its "story within a story within a story". The entire plot of Gustave H. is, we are shown, taken from a fictionalized treatment by a writer who met a middle-aged Mustafa (F. Murray Abraham) in the 1960s. Befitting this novelistic layer -- and the work of Stefan Zweig that Anderson credits for inspiration -- this framing story is written in stilted, unrealistic dialogue like an old-time novel. And the aspect ratio changes for each layer of the film, a little treat for cinema anoraks.