‘Lost in Space’ (Seasons 1-3)

Loosely based on the popular 1960s television series, Lost in Space sees the Robinson family stranded on an alien planet with a small number of other colonists on their way to a new life on the distant Alpha Centauri.

With Earth less and less habitable, colonisation in space is a means to survival. Following rigid testing, the Robinson family are selected to travel to the distant planet light years away from their home. No surprise – Maureen Robinson (Molly Parker) is a brilliant scientist and estranged dad John (Toby Stephens) a former US Navy SEAL. Muscle and brains provide the perfect balance for their hyper-intelligent teenage kids Judy (Taylor Russell), Penny (Mina Sundwall) and Will (Maxwell Jenkins). But en-route, an alien robot breaches the mothersip’s hull, forcing a number of passengers and crew to evacuate. Circumstance on the surface of the planet sees the family partnered with the manipulative and self-centred Dr Smith (Parker Posey) and highly skilled engineer (and part time smuggler) Don West (Ignacio Serricchio). One of the alien spacecraft crash lands nearby and, broken, the robot aboard is helped by Will. A bond is formed between the two which sees aggression change to protection.

Three seasons of relatively entertaining but mindless television follows. The survivalist Robinson family and the rest of the colonisers look to get back to the Resolute mothership (season one) without radio contact and little fuel along with the need to survive a dangerous alien environment. Inevitably, everything centres around the family members either singularly or collectively as the trained brawn of John, the scientific mind of Maureen, the medical training of Judy and Will’s protector are all in demand. So much so, family arrogance seeps into the narrative, with their will and decision forced on those around them.

A mix of adventure and family drama as the Robinsons navigate an alien world, the expectations of others, the fathomless behaviour of Smith and the demands of each other is the core of Lost in Space. Most scenarios are contained within a given episode resulting in a fast-paced, somewhat breathless 28 fairly predictable and exhausting episodes.

Rating: 57%

‘Total Recall’

A remake of the 1990 Schwarzenegger star vehicle, the more contemporary telling is a high-energy, sci-fi visual feast as a dystopian future has left the Colony a source for workers and minerals for the all-powerful United Federation of Britain on the other side of the planet.

Living in the Colony with a secure job and wife Lori (Kate Beckinsale) a member of the security police, Douglas Quaid (Colin Farrell) decides to indulge in an espionage adventure virtual vacation. But things go awry as unexplained events and memories are triggered. He becomes a person of interest to the security police – with an obsessed Lori leading the search for him and the headquarters of the resistance movement headed by Matthias (Bill Nighy).

Fast-paced chock full of thrills, director Len Wiseman choses not to dwell, rarely taking breath as Quaid discovers more about himself and his past as the tyrannical Chancellor Cohaagen (Bryan Cranston) makes plans to invade the Colony. It’s engaging enough as a big, loud romp – nothing more, nothing less.

Rating: 50%

Director: Len Wiseman (Live Free or Die Hard, Underworld)

Writer: Kurt Wimmer (Salt, The Recruit), Mark Bomback (Live Free or Die Hard, The Wolverine) – based on the 1990 film

Main cast: Colin Farrell (In Bruges, The Lobster), Kate Beckinsale (Underworld, Love & Friendship), Jessica Biel (Hitchcock, Elizabethtown), Bryan Cranston (Argo, Trumbo)

‘Mrs Harris Goes to Paris’

It’s the frocks that shine in this cute but shallow remake of an earlier tv movie as Christan Dior beckons a cockney cleaning lady.

A regular cleaner for Lady Dant (Anna Chancellor – Crush, TV’s The Split) gains few benefits (and late wage payments) except exposure to Dior haute couture. On learning the current beauty hanging in the wardrobe cost a staggering £500, Mrs Harris (Lesley Manville – Phantom Thread, Maleficent) is determined to purchase her own in time for the 1957 annual local town hall social. Scrimping and saving follows, supported by best friend, Violet (Ellen Thomas – The Love Punch, TV’s Eastenders). Ada gets to Paris eventually where, in spite of the snobbish Madame Colbert (Isabelle Huppert – Elle, The Piano Teacher), she gets her way – and changes the lives of those she comes into contact with as well as the future of the House of Dior itself.

Charm incarnate as directed by Anthony Fabian (Skin, Louder Than Words), Mrs Harris Goes to Paris is the saccharine-sweet embodiment of a fairy-tale as the good-natured Ada (a delightful Lesley Manville) tires of being invisible.

Nominated for 2023 Best Costume Oscar (Jenny Beaven).

Rating: 61%

‘Heartbreak High’

A reboot of the immensely popular 1990s Australian TV series, Heartbreak High follows a group of Gen Z students navigating love, sex, friendship and life in general whilst attending the same Sydney school.

It’s a fluid, light melting pot of a tale of sex and sexuality, gender and cultural identity, race and disability flowing side by side with the understanding of friendship, love and loyalty. As Year 11 starts, best friends from pre-school Amarie (Ayesha Madon) and Harper (Asher Yasbincek) have had a serious falling-out. Amarie has no idea why and Harper refuses to talk to her. The situation is further compounded by the discovery of the huge ‘love map’ and the interconnected sexual exploits of the Year 11 students. The authors are Amarie and Harper – with Amarie choosing to carry the blame alone.

As with the love map, over its eight episodes, Heartbreak High follows those interconnected relationships between the students. Adults are generally secondary as friendships and attractions shift, love wanes, dynamics change. Social commentary is ever present but the series avoids agit prop, presenting ‘as is’ the gender fluid Darren (the immensely likeable James Majoos), the autistic Quinni (Chloe Hayden), the indigenous new boy, Malakai (Thomas Weatherall).

An Australian Sex Education, Heartbreak High is readily enjoyable that is likely to grow in terms of depth of characterisation should a second series (deservedly) be commissioned. Not everything works – the presentation of the school Principal, Woodsy (Rachel House) is mind-bogglingly bad – but, as seen principally from the perspective of Amarie, the gentle humour in complex situations results in an immensely accessible eight part series.

Rating: 68%

‘Ghostbusters’

Without question, Ghostbusters is one of the least comedic comedies around, a poor choice all-female remake of the classic 1980s Bill Murray starrer (which itself was not that funny).

Serious physicist Erin Gilbert (Kristen Wiig – Bridesmaids, Wonder Woman 1984) loses her university tenure and finds herself collaborating with old mate Abby Yates (Melissa McCarthy – Bridesmaids, Spy) in the paranormal and the ghost invasion of New York. Teaming up with subway worker Patty (Leslie Jones – Coming 2 America, TV’s Saturday Night Live) and nuclear engineer Jillian (Kate McKinnon – Bombshell, TV’s Saturday Night Live) with her increasingly bizarre weaponry, the intreprid four set out to rid the city of the ghoulish threat.

Unfunny scenarios and misfiring jokes, with even the subversive hiring of the male dumb blonde eye candy, Kevin (Chris Hemsworth – Rush, Thor) quickly falling flat, results in a Ghostbusters as directed by Paul Feig (Bridesmaids, A Simple Favour) full of noise and chaos but with neither spirit nor thrills.

Rating: 30%

‘Nightmare Alley’

With its tonally limited palette and celebration of 1930s Art Deco juxtaposed with Depression-era poverty, Nightmare Alley is a visually sumptuous feast. Sadly, a strangely vacuous narrative with emotionally inert characterisation ensures that feast is pure artifice.

A miscast Bradley Cooper (A Star Is Born, Joy) as Stanton Carlisle picks up work at a travelling carnival. Picking up the tricks of a clairvoyance act, he strikes out, heading off to New York with Molly (Rooney Mara – Carol, A Ghost Story), where success soon comes their way. Clashing with audience member Dr Lilith Ritter (Cate Blanchett – Don’t Look Up, Carol) one night, Carlisle finds himself involved in a game of deadly fraud.

A comment on the human condition, director Guillermo del Toro (Pan’s Labyrinth, The Shape of Water) pays homage to a scheming neo-noir in his adaptation of William Lindsay Gresham’s 1946 novel. Typical of his work, it’s a dark hybrid of fantasy, horror, gothic and noir. Atypically, it’s hollow, a deadend misfire.

Nominated for 4 Oscars in 2022 including best film, production design & costume design.

Rating: 46%

‘A Star is Born’ (1954)

With Judy Garland at her peak, the first remake of the non-musical 1937 tearjerker is the seminal version of the price of success and fame, Hollywood-style.

With his successful career on the cusp, Norman Maine (James Mason) helps make Vicki Lester (Judy Garland) a star. But in spite of their marriage, alcoholism contributes to Maine’s self-destruction.

With some glorious song and dance routines, A Star Is Born packs more than just the emotional punch of Maine’s decline and the desparation of his wife. Director George Cukor, with a 176 minute running time, draws out the narrative to excess but there’s no denying its good old fashioned entertainment value.

Nominated for 6 Oscars in 1955 including best actor, actress and musical score.

Rating: 70%

Director: George Cukor (My Fair Lady, The Philadelphia Story)

Writer: Moss Hart (You Can’t Take It With You, Gentleman’s Agreement) – adapted from the 1937 screenplay

Main cast: Judy Garland (Meet Me at St Louis, The Wizard of Oz), James Mason (Odd Man Out, North By Northwest), Jack Carson (Cat on a Hot Tin Roof, Mildred Pierce)

‘The Lion King’

There’s a lot of angry naysayers out there to this 2019 digital remake of the earlier, traditionally animated The Lion King. Not having seen the original, no comparison can be made.

In a battle for supremacy within the pride between brothers Musafa (James Earl Jones) and Scar (Chiwetel Ejiofor), the young Simba, the rightful heir, finds himself outcast on the murder of his father, the much-loved Musafa. Making a pact with hyenas, Scar now controls the pride and the kingdom. A growing Simba (Donald Glover), meanwhile, learns the true meaning of responsibility and humility.

The special effects are quite extraordinary in the rendition of the animal kingdom and the telling of its story. The music and voices have mostly been changed, a welcome move away from the whitewashing of an African-set narrative (James Earl Jones does return as Musafa). Yet whilst the Jon Favreau directed version is technically perfect with humour aplenty provided by warthog Pumbaa (Seth Rogan) and meerkat Timon (Billy Eichner), there is a strange lack of emotional connection.

Nominated for the 2020 best visual effects Oscar.

Rating: 58%

Director: Jon Favreau (The Jungle Book, Iron Man)

‘Dinner For Schmucks’

Laughter at the expense of others is the foundation of director Jay Roach’s 2010 feature. An indication of what to expect is provided by a director’s resume that includes both Austin Powers and Meet the Parents/Fockers.

Ribald humour, a little slapstick, many misunderstood moments and eventual atonement is thrown into one very large pot as ambitious executive Paul Rudd looks to gain promotion to the eighth floor. Only to achieve that, he must win the dinner for schmucks award. To achieve that, he must attend a dinner with the biggest idiot as his guest. Not something the well-mannered Rudd would contemplate. But he wants his partner of three years (Stephanie Szostak), herself an ambitious gallery manager and curator, to say yes to his proposal of marriage. Then along comes Steve Carrell….

An adaptation of the original Francis Verber French farce Le diner de cons, the Amercian version Dinner For Schmucks is, at times, genuinely funny. But it’s about moments – the premise of the narrative itself is questionable. Whereas the original looked at the ability to laugh at oneself, this looks at naked ambitiion, its consequences alongside pretentiousness and ridiculousness of others (although Octavia Spencer’s moment as a guest is priceless).

Rating: 50%

Director: Jay Roach (Meet the Parents, Bombshell)

Writer: David Guion (Night of the Museum: Secret of the Tomb, The Ex), Michael Handelman (Night of the Museum: Secret of the Tomb, The Ex), Francis Veber (The Birdcage, The Valet)

Main cast: Paul Rudd (Ant-Man, The Fundamentals of Caring), Steve Carrell (Foxtrot, The 40 Year-Old Virgin), Stephanie Szostak (The Devil Wears Prada, We Bought a Zoo)

‘Tomb Raider’

A complete load of twaddle. Not sure why the need was felt to reboot the Lara Croft adventures orginally brought to the screen by Angelina Jolie back in 2000 – other than financial. But a better narrative with a stronger, more convincing lead than Alicia Vikander would have possibly helped.

With Lara’s adventurer father (Dominic West) missing presumed dead, his life work lies dormant. But when Lara discovers clues as to his possible last sighting, she ignores all instructions and heads for a fabled tomb on a mythical island somewhere off the coast of Japan. But she’s not alone in looking for the tomb.

Director Roar Uthaug ebbs and flows with the action – and the first ten or so minutes with Lara independently surviving in London as a bicycle courier draws you into the storyline. But that’s about it as the reboot of a video game-turned-into-a-feature film like the original fails to ignite.

Rating: 34%

Director: Roar Uthaug (The Wave, Escape)

Writer: Geneva Robertson-Dworet (Captain Marvel), Alastair Siddons (Trespass Against Us, TV’s Small Axe)

Main cast: Alicia Vikander (The Danish Girl, Ex-machina), Dominic West – Testament of Youth, Pride), Walton Goggins (The Hateful Eight, TV’s The Shield)