Only Daughter, by Anna Snoekstra

Homeless, hungry and on the run from her past, a young woman takes advantage of her resemblance to a girl who went missing 11 years ago. She treads a precarious path, feigning amnesia to get by, figuring it’s worth the risk to be safe in a loving family. But Rebecca’s life before she went missing was not exactly a bed of roses, as her imposter starts to discover. An interesting premise is handled well for two-thirds of the book; alternating between the two girls’ stories builds tension and suspense, as more is uncovered about each of them. Rebecca’s tale is particularly involving and the reader’s sympathy is very much with this 16-year-old whose world is falling apart. The backdrop of a sweltering Canberra surrounded by bushfires adds to the fear of her fate. The imposter’s story becomes less successful as it continues and this is eventually the downfall of the book. We never discover her name and don’t learn enough about what led to her situation to excuse or understand her appalling behaviour. Even though she eventually does the right thing the plot holes gape so wide she falls into them and the ludicrous ending leaves a bad taste after such a promising beginning. Use of the American ‘mom’ is irritating in an Australian novel but is explained by the discovery that half of the book is made up of three ‘taster’ stories from the same publisher, by American authors. This is an odd marketing technique that makes Only Daughter appear to be twice as substantial as it actually is and comes across as deceptive.

Etched in Bone, by Anne Bishop

New Anne Bishop novels are long awaited and eagerly consumed. This fifth chapter in the story of the Others focuses on the politics of negotiating a new relationship between humans and the Terra Indigene, following the necessary clearout of radical human first groups. The Lakeside Courtyard provides a unique testing ground that could influence the future of the world, because of its trailblazing culture of tolerance between the species. But the arrival of police officer Montgomery’s brother throws a spanner into the works. Could one bad apple wreck the future of humanity? It has always been clear that Thaisia is an alternate North America, but in this novel the hint is dropped that the setting may actually be the far future, where many large cities have been long depopulated after humans went too far in their destruction of the environment. The glacial pace of the romance between Lakeside leader Simon Wolfgard and prophet Meg Corbyn increases slightly in this outing as her abilities once again put her in extreme danger. The story of the Others may well have concluded with Etched in Bone, which is a little sad, but allows excitement about what new worlds may be created by Ms Bishop.

Clouds of Sils Maria (2015), directed by Olivier Assayas

Stunningly beautiful, complex and intriguing, this play within a film within a play takes a thoughtful look at a woman coming to terms with ageing. Filmed in Germany, Italy and Switzerland, it holds up a mirror to the life and career of successful actress Maria Enders (Juliette Binoche). Twenty years ago she played the part of Sigrid, a young and manipulative woman, on stage and in film. Now she has been asked to play the part of the older woman, Helena, in a revival of the play. As she runs the lines with her competent young assistant, Valentine (Kristen Stewart), she struggles to accept her change in role and the approach of troubled starlet Jo-Ann Ellis as the new Sigrid (Chloe Grace Moretz). Is life imitating art, or art life? And is generational change always inevitable? Echoes of the classic film All About Eve resound in Maria’s relationships with both Val and Jo-Ann. A mystery at the end of the play is also reflected in life, with both the playwright and Valentine. Kristen Stewart was the first American to win a French academy award for her role. Binoche and Moretz are excellent, as is the mostly European supporting cast.

This Beats Perfect, by Rebecca Denton

The ambitions of aspiring singer-songwriter Amelie are crippled by stagefright. Talented musician Max is trapped in declining boy band The Keep. They meet through Amelie’s sound engineer Dad and the stage is set for a musical partnership that could become much more. This rather standard teen romance has an interesting take on the modern music world, with manufactured sounds up against ‘truth’. The author clearly knows her stuff musically, but a decent edit would have remedied some of the jarring technical errors. All in all it is a fun story that moves along at a cracking pace and leaves the reader wanting to know what happens next.

Lisette’s Paris Notebook, by Catherine Bateson

On a gap year after finishing school, Lisette travels to Paris to spend three months soaking up the city’s art. She is fulfilling her mother’s dreams rather than her own, but just a few weeks in Paris sees her finding her own feet and making her own decisions. The story has some interesting and quirky elements, including a focus on fashion as art. The lived experience of Paris is convincing, unfortunately the characters and emotions not so much as both lack depth. This is not helped by the sloppiness of the editing and proofreading, which has left several names of key characters wrong. Such sloppiness is becoming more common in modern publishing and is both intensely annoying and likely to get even worse as standards drop and those making the money don’t care.

Wonder Woman (2017), directed by Patty Jenkins

There are a lot of things to like about the long-awaited film incarnation of Wonder Woman. Gal Gadot is just right as Diana, bringing a refreshing naïveity to the super hero role; the island of the Amazons is a delight; and Chris Pine makes an attractive Steve Trevor. Unfortunately the sum is ultimately less than its parts as the film is too long and drags in parts. It looks beautiful, with the colour palette a key to this. In supporting roles Lucy Davis as Trevor’s secretary and Robin Wright as an Amazon warrior are highlights. But the dialogue is clunky and there are continuity glitches and plot holes that grate as the film is just not sufficiently entertaining to suspend disbelief. The moments of humour are few and far between but provide blessed relief from what is essentially a rather grim war story.

The Musketeers series 3 (BBC)

Another series another arch villain, this time Rupert Everett plays the King’s illegitimate brother Feron. Governor of Paris, head of the Red Guard and crippled junkie, he has an endless supply of evil henchmen to combat our intrepid musketeers, but an even more evil puppetmaster, Grimaud, is found to be pulling his strings. The musketeers have been away at the war with Spain for four years and in their absence Paris has gone to the dogs of the Red Guard. Very dark in tone, with less humour than the first two series, the signs of an incipient revolution are ever present, stirred up by war refugees, corruption and power plays. Strong women are again to the fore - D’Artagnan’s wife Constance has become a de facto musketeer, Queen Anne is battling for her son’s future and a new feisty girl, Sylvie, takes Athos’s fancy. Even Milady makes an appearance. The fights and explosions are bigger and bangier than ever, with the musketeers escaping beatings, stabbings and burning buildings with barely a scratch. The final episode makes it clear the series has come to a close, with all loose ends tied up neatly and satisfactorily.