We Live in Time (2024), directed by John Crowley

Almut and Tobias are a young couple facing a significant health challenge. Their love story is told over three timelines, flashing back to how they first met and got together, how they cemented their relationship and how they each deal very differently with an uncertain future. This is confusing at first as it is sometimes difficult to distinguish between the timelines, until some radical changes in Almut’s appearance make it unmistakeable. Florence Pugh shines as Almut and there is sufficient chemistry between her and Andrew Garfield to believe they are soulmates. Their story is tender and often funny, with the ending more subtle than it could have been, but somehow the emotional punch doesn’t quite land.

Conclave (2024), directed by Edward Berger

The Pope has died and the world’s Catholic cardinals are converging on the Vatican to vote for his successor, while myriad nuns are bussed in to feed and water them. The task of organising it all falls to Cardinal Lawrence, who must navigate the various factional interests and power plays to ensure a smooth transition. Ralph Fiennes, as Lawrence, makes great use of his furrowed brow as the cardinals undermine each other and a newcomer puts forward the proposition that Lawrence himself could be a contender. The strong supporting cast includes Stanley Tucci and John Lithgow as rival cardinals and Isabella Rossellini as a quietly influential nun. This timely film gives a fascinating insight into how the conclave possibly operates, using elements of mystery, thriller and humour to leaven the politics. It looks amazing, with clever use of colour; a deeply ironic and highly unlikely twist at the end highlights that this is indeed fiction, not documentary.

Aftersun (2023), directed by Charlotte Wells

Young dad Calum takes his 11-year-old daughter Sophie on holiday to Turkey. He seems caring and devoted, but there is an undercurrent of darkness to the seemingly idyllic trip. The story is interspersed with flash forwards to present-day Sophie reliving childhood memories and found footage of the holiday captured on a hand held movie camera. Callum is clearly troubled and a sense of foreboding haunts the film. You somehow sense he will die young – will it be on this trip? Is he ill? Will he suicide? But you actually never discover his fate. Paul Mescal and Frankie Corio are mesmerising as father and daughter in what should be a haunting tale, but too much is left unexplained, with too little context to make a complete story.

Dumb Money (2023), directed by Craig Gillespie

This is the true story of a challenge to the bully-boy tactics of the big players on Wall Street by small individual investors – known disrespectfully as ‘dumb money’. Small time investment analyst and nerd hobbyist Keith Gill feels the video game chain store Game Stop is undervalued. When a Wall Street hedge fund starts to sell the business short, which will likely destroy it, Keith calls them out and goes viral. He sparks a little-guy rebellion that saves the company from the wolves and shines a light on the broken system that enables the uber-wealthy to get away with monetary murder. The film starts slowly as it wades through a welter of financial details, which can be gobbledegook to those uninitiated in the share market. It attempts to counteract the dull detail with gratuitous sex scenes. Thankfully it gets past both sets of awkwardness to tell a story of how finance Goliaths can be beaten up by Davids, if not totally defeated. Paul Dano carries the film as Keith, ably supported by America Ferrera, Shailene Woodley, Seth Rogan and Pete Davidson. The filmmaker wisely avoids claiming total victory - not all the small investors made their fortunes and the fattest cats avoided any punishment more than embarrassment. But the film celebrates a small win against a corrupt and broken system that is behind many of the world’s ills.

Call Jane (2021), directed by Phyllis Nagy

Unable to legally terminate a pregnancy that threatens her life, suburban Chicago housewife Joy turns to the Jane network for help. It’s 1968 and the world is changing, but not fast enough to help women who need abortions. Joy is drawn to join the Janes, who help make it safer, accessible and affordable until the 1973 Supreme Court Roe V Wade ruling renders their risky work no longer necessary. The film starts slowly but builds interest and tension as Joy is drawn deeper into the network of brave feminists and activists, testing her nerve and her marriage as she grows and takes a leading role in the organisation. Elizabeth Banks and Sigourney Weaver head a strong cast in a timely film that offers a glimmer of hope that such a network could rise again to offer strength in these regressive times. What a shame that after 50 years it is so badly needed again.

A Good Person (2033), directed by Zach Braff

Allison is a successful pharmaceutical sales rep and talented musician, blissfully engaged to Nathan. The couple aspires to move into New York from rural New Jersey, for a more cosmopolitan lifestyle far away from their troubled childhoods. A moment’s inattention while driving causes a terrible crash with fatal consequences, sending Allison into a spiral of self-loathing and addiction. Told in a linear fashion, the film takes a while to set up the story and it all gets rather grim before a glimmer of hope shines through to make a new start seem possible. Director Zach Braff also wrote the film and he makes it crystal clear that this is the kind of thing that could happen to anyone. He shows that that resilience, redemption and recovery are not just a matter of personal strength, but also of background, support and circumstance. Florence Pugh is so good as Allison and Morgan Freeman is great as Nathan’s estranged father Daniel, a man who must find a way to both forgive and complete his own redemption. The film is not without flaws, but it is a thoughtful and moving vehicle for Pugh to demonstrate her A-list credentials.

Empire of Light (2022), directed by Sam Mendes

In a small town on the south coast of England in 1981, the Empire cinema is past its glory days. Only two of four screens operate and the old bar, restaurant and ballroom have been left to the pigeons. Duty manager Hilary Small lives in a similar state of neglect with neither friends nor family and a problematic relationship with the old school cinema manager. New employee Stephen brings light into her life, but also throws it off balance - again. The themes of mental illness and racial and social division in Thatcher’s England sit a little oddly within a sentimental homage to cinema. This makes the film extraordinarily powerful and moving in parts, amid strange little flat patches. Olivia Coleman gives her usual strong performance as the struggling Hilary. She is well matched by Micheal Ward as Stephen and ably supported by Colin Firth and Toby Jones. The cinematography is superb and the soundtrack is killer. The essential message of the vital importance of kindness manages to shine through what is overall an uneven film.

The Lost Daughter (2021), directed by Maggie Gyllenhall

A professor of Comparative Literature, Leda is holidaying alone in a quiet Greek coastal resort. Her idyllic break is marred by a series of disturbing events, at first small but soon escalating, which trigger flashbacks of her life as a young wife and mother and aspiring academic. Her troubling interactions with various members of a large and disruptive Greek-American family showcase all Leda’s qualities and faults and may end up threatening her life. Maggie Gyllenhall wrote and directed this thoughtful film that focuses on the push and pull of motherhood. Olivia Colman brings her usual charm and skill to the older Leda, while Jessie Buckley is luminous as the younger version., Dakota Johnson plays a strong hand as Nina, the young mother Leda identifies with and both helps and undermines. Sympathies ebb and flow for this very real character, whose story lingers long after the film ends.

Juniper (2022), directed by Matthew Saville

Sent to boarding school by his grieving father, teenage Sam has been lost since the death of his mother. Suspended following a violent incident on the rugby field, Sam is contemplating suicide. His attention is diverted by the arrival of his estranged alcoholic grandmother, former war photographer Ruth, from England. She has broken her leg and needs care, but her spiky personality makes everyone’s life difficult, especially her nurse Sarah. When his Dad goes to England to sort out Ruth’s affairs, Sam is left to reluctantly help Sarah care for his grandmother. Slowly Sam and Ruth build a bond, which may help them both come to terms with life and death. This strange little New Zealand film has some profound things to say about love, grief, and family relationships. There is a sense that it is an autobiographical piece by the writer/director, as it is a period piece – 80s or 90s, judging by the technology or lack thereof. Charlotte Rampling is fabulous as the independent, take-no-prisoners Ruth. The chemistry with newcomer George Ferrier, as Sam, carries the film. Martin Csokas doesn’t have enough to do in the rather thankless role of son and father. Sometimes slow, occasionally clunky and disconnected, the film is nevertheless moving and the rural NZ setting is beautiful.

Dog (2022), directed by Channing Tatum and Reid Carolin

Army Ranger veteran Jackson Briggs was invalided out with a brain injury, but is trying to get clearance to get back in. His only possible route is by agreeing to take a 1500km road trip to deliver retired Ranger dog Lulu to the funeral of her handler, his former colleague. The mismatched pair of damaged vets form a bond as they find trouble along the way and Jackson comes to realise has a choice between the well-worn path of self destruction or a difficult way forward to a healthy future. This is Channing Tatum’s film in every way, but he is almost upstaged by the dog. It had the potential to be sentimental, pseudo-patriotic trash, but the film does not shy away from the hard and dirty work they had to do in Afghanistan and the damage it has done to both man and dog. There are lighter moment and laughs, but it is clear on the reluctance of veterans to seek help and their tendency to self-medicate rather than communicate. So many people along the journey tell Jackson to get help, but will the message finally get through? Dog knows.

Never Rarely Sometimes Always (2020), directed by Eliza Hittner

Autumn is 17, living in rural Pennsylvania with her mother, deadbeat stepfather and two, much younger stepsisters. There is something NQR about the stepfather, which probably explains why Autumn can’t turn to her seemingly loving mother when she hits trouble. Talented and sensitive, life in a small town doesn’t offer her much and the only person totally in her corner is her resourceful cousin and best friend Skylar. The two scrape up the money to get to New York, two very long bus rides away, but the task turns out to be even more expensive and difficult than they realised. It’s one thing to be aware of how difficult it can be to access abortion in the US, especially when you are underage, poor and live in a rural area, it’s quite another to watch it unfold in all its stark reality on screen. Getting basic health care is a monumental quest for these young women, on top of the constant low to mid-level sexual harassment that is a daily hazard for them. The film gives a bleak view of their world that rings heartbreakingly true. The minimalist and matter-of-fact style, with little dialogue, feels almost more like a documentary than a drama, especially in the sequences featuring NY health care professionals and the local ‘women’s centre’. Compare and contrast. Newcomers Sidney Flanigan and Talia Ryder excel as the cousins; Theodore Pellerin is very good as the least worst option; and Ryan Eggold plays against his TV type as the creepy stepfather. This is a timely exposition of an intolerable situation, in a country where women’s rights are increasingly under threat. It makes an interesting companion piece to Promising Young Woman. The film underlines the vital importance of female friendship, support and advocacy as the key to survival and to making change to a society not built for women.

The Dry (2020), directed by Robert Connolly

An horrific murder-suicide in a drought-stricken country town brings federal finance detective Aaron Falk back to the place he was drummed out of 20 years earlier. His childhood friend Luke is accused of killing his wife and son before turning the gun on himself, leaving only his baby daughter alive. Luke’s parents beg Falk to stay in Kiewarra and investigate. Could there be a link to the crime he was accused of long ago? The film is very true to Jane Harper’s bestselling book, possibly too much so, as it emulates the plot elements that stretch credulity. The cinematography is spectacular, painfully evoking the parched landscape. Frequent flashbacks threaten to become intrusive but just manage to punctuate Falk’s state of mind and provide a heartbreaking contrast between then and now. Ironically the only jarring note in the casting is Eric Bana as Aaron Falk, he is visibly older, darker and somehow less vulnerable than the character as written in the novel. But an actor as good as Bana makes it work. The film is as dark and downbeat as the book, leaving many issues realistically unresolved.

Words on Bathroom Walls (2020), directed by Thor Freudenthal

Adam is in his final year of high school and aiming to attend catering college and become a chef. Cooking has been the only thing that calms his increasingly troubled mind, but he’s fighting a losing battle and winds up with a diagnosis of schizophrenia. A new drug trial and a new school offer a final chance at ‘normality’, but the side affects stop him cooking so he faces an impossible choice. This film is an extraordinary achievement in portraying the reality of schizophrenia and dealing with mental illness. It is credible, funny and heartbreaking. The interesting technique of Adam addressing the camera as his psychiatrist, whom the audience never sees, allows a great deal of exposition and for the most part works well. The embodiment of the voices in Adam’s head gives true insight into the conflicting chaos he deals with. Charlie Plummer is astoundingly good as Adam, evoking a young James Spader or Paul Dano. The solid supporting cast includes Molly Parker as Adam’s loving and supporting mother, Taylor Russell as his confident prospective girlfriend and Andy Garcia in a surprising cameo as a helpful priest. This is a brave film, tackling a challenging subject in a sensitive manner that can only assist wider understanding. The only quibble is a slightly saccharine ending that is out of sync with the bulk of the film, but it would have been very hard to create a genuine ending that wasn’t a complete downer. The Chainsmokers’ soundtrack is a good fit.

Judy & Punch (2019), directed by Mirrah Foulkes

There is a fairytale quality to this reimagining of the Punch and Judy puppet show. The setting is long ago and far away, in a country town possibly in 17th century Europe. All the familiar characters are present – the dog, the baby, the policeman, but there is a twist in the traditional tale of alcoholism and family violence. Writer/director Mirrah Foulkes makes it a story of overcoming prejudice and groupthink, as well as vengeance on a violent and manipulative abuser. Mia Wasikowska and Damon Herriman are terrific as the title characters dealing with love gone wrong. The film is beautifully shot, with an almost dreamlike quality that is at odds with its sometimes brutal content. Interesting and entertaining, this is yet another example of an Australian film that did not receive the distribution or attention it deserved.

Eighth Grade (2018), directed by Bo Burnham

This film does not really have a plot; it’s a snapshot of a week in the life of Kayla, who is about to finish the eighth grade. This marks the end of middle school, before moving on to high school. The 13-year-old lives with her overprotective and very patient single dad and is subject to all the highs and lows of early adolescence. She navigates acne, mean girls, a crush on a jock and dealing with potential friends who are too old for her. The week starts slowly as we get to know Kayla in all her teenage awkwardness; her attempts at becoming a YouTube influencer are excruciating to begin with. But it gathers momentum as she finds her feet and demonstrates some hope that the future will be brighter. As painful as it is funny, the slice-of-life style is reminiscent of Linklater’s Boyhood. It rings true in the same way and is, if anything, more moving. Elsie Fisher is astonishingly good as Kayla.

The Farewell (2019), directed by Lulu Wang

Struggling writer Billi emigrated from China to the US with her parents when she was six years old. Her grandmother – Nai Nai - was left behind, but Billi remains as close to her as is possible from so far away with infrequent visits. When Nai Nai is diagnosed with Stage 4 lung cancer the family conspires to keep it from her, as is Chinese custom. They arrange a family wedding to allow everyone to say a covert farewell, but Billi struggles with the deception. The film starts by declaring it is based on a real lie. Written by director/producer Lola Wang, it provides an interesting meditation on cross-cultural differences and the divided loyalties of child migrants who struggle to retain their culture. It also paints a picture of how rapidly China has been changing as it develops economically. It has wry and funny moments, none more so than the laugh-out-loud twist at the very end of the film. But at times it is slow moving to the point of tedium, with far too many long lingering shots of faces expressing sadness as soaring strings play. Awkwafina does a great job as Billi and there is a fine, largely unknown, supporting cast – especially Shuzhen Zhao as Nai Nai. Special mention should be made of the Japanese actress who plays the bride and has hardly a word to say, as she speaks no Chinese. The dialogue is largely in Chinese with English subtitles, which are done very well. This is a thoughtful film, which could have been better; possibly the director is a little too close to the material.

Downton Abbey (2019), directed by Michael Engler

It is 1927 and the King and Queen are to visit Downton Abbey as part of their Yorkshire tour. The household is naturally all of a tizzy, but the servants are most miffed to find the Royal household staff will supplant them. This is the last golden age of the great house and the film perfectly captures that sense of an end of an era and the dawn of change. The period details are sumptuous, from the ball gowns to the trolley cars and almost all the old familiar faces from the TV series are present. The rather lightweight plot is inconsequential as the important thing is to check in with favourite characters and be sure all is well. Everyone gets a happy ending, even footman turned-butler Thomas, to the point where it is laid on a little too thick. Maggie Smith’s Dowager Countess gets all the best lines and her barbed exchanges with Penelope Wilton’s Lady Merton create laugh-out-loud moments. Everyone looks like they’re having a lot of fun putting the Downton saga to bed in a most suitable fashion.

A United Kingdom (2016), directed by Amma Assante

Based on a true story of a romance between a middle class English girl and an African chief, A United Kingdom shines a light on the politics of post-colonial Britain. Ruth Williams met Oxford law graduate Seretse Khama in 1947 and fell hard for him, only to find he was the king of Bechuanaland – a UK protectorate in the shadow of apartheid South Africa. The couple met opposition to their marriage at every turn, from their families, from British authorities and in Seretse’s tribal homeland. They faced separation and years of exile, with Seretse forced to give up his royal heritage to retain his wife and family. Rosamund Pyke and David Oyelowu have the chemistry to make Ruth and Seretse’s relationship totally convincing and the film is beautifully shot. The couple overcame all obstacles to help Botswana to independence and prosperity and Assante does a good job of highlighting a little-known African success story.

Red Joan (2019), directed by Trevor Nunn

In the year 2000 a woman in her 80s is arrested in London and charged with passing classified information to the Russians. As Special Branch police question her, Joan Stanley flashes back to her Cambridge studies in 1938 and her experiences during and after World War II. Based on the true story of Melita Norwood, Joan is portrayed as neither a communist nor a traitor but as a scientist and an idealist who wanted peace. Judi Dench eschews all makeup and is a convincing old lady, bewildered by her arrest for, as she tells her barrister son, “I’ve done nothing wrong.” Sophie Cookson is suitably wide-eyed as the younger Joan, seduced by charismatic communists Sonia and Leo. The very good-looking supporting cast includes Stephen Campbell Moore, Tom Hughes and Ben Miles in a solid film that is sometimes a little slow, but is always interesting.

The Chaperone (2019), directed by Michael Engler

Aged 16 in 1922, future silent movie star Louise Brooks travelled from her home in the mid-west to New York to join a prestigious dance school. This movie is the story of the middle-aged woman who chaperoned this journey, Norma Carlisle. Norma undertakes the task as a break from her marriage and to research her origins as an orphan in New York. Small flashbacks gradually reveal the trouble in her marriage and her time in the big city resolves some issues for her and allows her to make some changes. Young Louise Brooks is almost peripheral to the main story, but Norma both helps and learns from her charge in a way that enables her to assist again when Louise hits trouble 20 years later. Elizabeth McGovern is charming as Norma and Hayley Lu Richardson is radiant as the young Louise, although slightly less convincing as the older version. The fingerprints of Downton Abbey writer Julian Fellowes are all over this film, which has marvellous costume and production design.