Perhaps the most impressive thing about Freeheld – the based-on-a-true-story tale of a New Jersey cop (Julianne Moore) who, when diagnosed with terminal cancer, was not allowed to transfer her pension to her partner (Ellen Page) – is the many angles it finds to make an audience cry.
Ah, horror punk. To be honest, I’d forgotten this genre of music had existed, despite being super into it back in early to mid-high school. Mixing the “screw you” attitude of punk with anything and everything horror-themed, bands like The Wrath – a quintet from the Gold Coast – specialise in music that’s designed to freak you out as well as make you have a good time.
In the never-ending struggle to find new ways for a rom-com couple to “meet cute”, Man Up stands out. When committed, yet somewhat unhappy, singleton Nancy (US actor Lake Bell) is mistaken for his blind date by Jack (Simon Pegg), she decides to go along with it, leading to a fun time with a pretty big sword of doom hanging over it.
It’s easy to forget just how much the James Bond movies have improved in the Daniel Craig era – or it is until you see Spectre, which might not be a bad Bond movie but certainly has the kind of flaws that make it a less than brilliant outing for the UK’s number one spy.
As a band from the ’90s, Suiciety are one of those bands that definitely still have it all these years later. Since releasing their debut record Deeper Vision and making the top 10 list for The Age’s Albums of the Year.
It’s 1957, and Cold War tensions are high, which means defending an accused Soviet spy is a bad look for insurance lawyer James Donovan (Tom Hanks). But with the world watching, the Americans feel that justice has to be seen to be done, even with a guilty verdict locked in.
Twelve years ago at university Lainey (Alison Brie) and Jake (Jason Sudeikis) lost their virginity to each other. Now Jake is a happy and financially successful womaniser, while Lainey is sabotaging any chance at a real relationship by clinging to the man (Adam Scott) she was originally trying to sleep with 12 years ago.
When you think “Australian film” and stop thinking about grim tales of inner-city junkies, The Dressmaker is probably the kind of film that comes next: a big, sprawling, uneven but well-costumed, tale of Aussie-as types making jokes then getting serious at the drop of a hat.
Tracy (Lola Kirke) is an 18-year-old university student struggling to fit into a New York that doesn’t seem all that interested in her. Her classes don’t excite her, her literary dreams are flailing, her fellow students largely ignore her, and so when her mother suggests she call up her soon-to-be sister (Tracy’s mother is marrying her father) Brooke (Greta Gerwig), she figures she’s got nothing to loose.