Three Wishes, by Liane Moriarty

It can be problematic looking up the back catalogue of an author at the height of their success – expectations are almost certain to be unrealistically high. Three Wishes was Moriarty’s first published novel and inevitably fails to measure up to Big Little Lies. The bones of success are there and it’s clear that she was always good at depicting relationships, which ring very true, but a rather meandering storyline lacks direction. The story revolves around triplets – uptight perfectionist Lyn, brash rule-breaker Cat and daffy dreamer Gemma. To some extent all three are playing out their assigned roles and are trapped by them, especially Gemma and Lyn, who have secrets they keep from everyone. Short vignettes that give an outside view of the triplets over the years by independent observers punctuate the narrative. This intrusion of other viewpoints doesn’t quite work; it is often unnecessary, and sometimes creepy. It is a strength that Moriarty’s characters are less than perfect, making them more identifiable, but in Three Wishes the flaws are possibly taken a bit too far. While all three sisters engender huge sympathy they are not very likeable, especially Cat.

The Big Sick (2017), directed by Michael Showalter

Billing this film as a comedy sets it up for false expectations. While it is often wryly amusing, the storyline is more sad than funny despite being set in the world of stand-up comedy. It follows the story of how comedian Kumail Nanjiani got together with his wife Emily V Gordon and, as the couple wrote the screenplay, it does ring true, with warmth and humour informing the narrative. Playing himself, Nanjiani does a great job of depicting the difficulty of defying family expectations around career and relationships, especially when that family is Pakistani and Muslim. Zoe Kazan is perfect as Emily, her brand of quirky appeal making her seem just right, despite being in a coma for a good portion of the movie. Among a universally solid supporting cast Holly Hunter and Ray Romano add tragi-comic depth as Emily’s stricken parents, while Bo Burnham and Aidy Bryant help bring to life the world of struggling stand-up comics. So many issues are touched on lightly beneath the overarching story of love, illness and commitment, making this a fully fleshed film with some laughs along the way that is far more than just a comedy.

Frogkisser, by Garth Nix

Princess Anya is a bit over being the responsible sister, but someone has to save the kingdom from the evil sorcerer duke Rikard. Initially setting out to find the ingredients for a lip balm that enables recovery of people transformed into frogs, Anya finds her quest expanding beyond anything she could have imagined in her cosy library in the castle. Along the way she finds help from royal dogs and robbers, wizards, dwarfs and otters and hindrance from sorcerers, witches and weasels. Can she rescue her sister, save the kingdom and transform a growing number of frogs? And will her lips ever recover from all the kissing? In a delightfully fractured fairytale Nix creates a flawed but loveable team of heroes, led by a capable and admirable princess.

Equals (2016), directed by Drake Doremus

An excellent cast faces an uphill battle to achieve a coherent narrative from this slow and beautifully shot sci fi tale. In a futuristic society people are genetically modified to suppress emotions. It is never made entirely clear why, but presumably life runs smoother and more efficiently without them. Coupling and even touching is forbidden; individuals must serve conception duty. Every aspect of life is regulated and controlled; aberrations must be reported. Transgressors are considered diseased and are treated until the inevitable requirement for them to be put down. Suicide is encouraged. The genetic modification appears to be a dismal failure as those pesky emotions keep cropping up and suicides abound. Nicholas Hault and Kristen Stewart make a good fist of the star-crossed couple Silas and Nia, despite having to convey emotions almost entirely via his intense blue eyes and her intense green ones. Guy Pearce and Jacki Weaver provide solid support, but all battle with an inadequate and careless screenplay with giant plot holes. Hault and Stewart manage to make it moving nevertheless, extracting the maximum possible from thin material and looking lovely amid a gorgeous production design.

Hidden Figures (2016), directed by Theodore Melfi

The most remarkable feature of this film is that it is based on true events. For those who haven’t lived it the endemic racism in 1960s Virginia, which permeates every aspect of life, culture and work, is truly shocking. Octavia Spencer, Janelle Monae and Teraji P Henson shine as the three feisty women who overcome barriers of gender and race to play important roles in the NASA space program. Spencer is especially good as the inspiring and resourceful Dorothy Vaughan. Among a strong supporting cast Kirsten Dunst is very good and Mahershala Ali is mesmerising in a small role. The film does a good job of balancing the science and numbers with the human stories. It hits every beat, perhaps a little too precisely and perfectly at times but is genuinely enjoyable and thought-provoking without preaching.

Who’s Afraid? by Maria Lucas

A young woman looks into the mystery of her absent father and discovers she is part of a family of werewolves. It’s not exactly happy families though and Tommi has a tricky path to tread figuring out exactly who she is and what she wants. Lewis has constructed a complex supernatural hierarchy that she is in too much of a hurry to impart. She tells rather than shows and the constant exposition gets very dull. A better edit could have improved this aspect and also picked up some of the poor typos and odd word use. There is some vivid writing, particularly about the change process to werewolf, but an interesting start devolves into a plot that becomes very predictable – budding romance with mentor – tick; girl goes stupidly alone into danger – tick. The pace picks up again towards the end, the action is violent and bloody and Lewis does not shy away from hard choices, providing a more satisfying read and neatly setting up the next book in the series.

The Unmourned, by Meg & Tom Keneally

In this second instalment of the Monsarrat series the ticket-of-leave convict is back in Parramatta, with Hannah Mulrooney installed as his housekeeper. The colony is awaiting arrival of a new governor and Monsarrat has secured a position as clerk to the governor’s secretary. He finds this provides only limited protection from old enemies and not quite enough income for his needs, despite the extra duties assigned that make use of his special skills. These are called on to investigate the murder of Robert Church, superintendent of the Parramatta Female Factory. In this interesting examination of another aspect of early colonial life, history takes precedence over the murder mystery as the Keneallys expose the corruption of the system. Can the two unusual investigators clear the name and save the life of activist convict Grace O’Leary? And can they avoid making more trouble for themselves while they do it? At the end of the tale a third book is flagged, with Monsarrat and Mrs Mulrooney dispatched to investigate a crime in Van Diemen’s Land, as a ‘reward’ for their success.