The Wonderful Story of Henry Sugar (2023)

Dir: Wes Anderson

A very faithful adaptation of the Roald Dahl short story. Only 40 minutes long, and most every minute is filled with dialogue that is often word-for-word from the book. Doesn't deviate from the Wes Anderson formula—clever sets, colour, lighting, a (small) ensemble cast—but the short duration means he doesn't wear out his welcome.

Maestro (2023)

Dir: Bradley Cooper

Brilliant lead performances from Carey Mulligan and Bradley Cooper who steal every moment of the film. Lovely to watch and, more importantly, hear—some of the musical performances are breath-taking. Only not five stars because I would have loved more on the creation of Leonard Berstein's music, particularly West Side Story et al.

The Expanse (S1 - 2023)

After three attempts I finally got past the first episode which in turn led to watching the entire thing (prior watches of Ep.1 were always derailed by Thomas Jane's overacting). Solid sci-fi with a confusing as hell plot that ends up making enough sense to work. Refreshing switches between the Belt and Earth help, and presumably later series will venture deeper into to the so far enigmatic third vector (Mars) too.

Joker (2019)

Dir: Todd Phillips

Holy crap Joaquin Phoenix. A one man movie, brilliantly carried. So far from a regular superhero (or supervillain) as to be a different genre—the Dark Knight without a cape in sight. Basically a violent mediation on depression and helplessness, sustaining a dark tension and horrible sense of inevitability.

Lessons in Chemistry (2023)

Super disappointing adaptation of the novel. Elizabeth Zott is reduced from a sharp-witted scientist to a barely functional grump for the first half of the series, Brie Larson overplaying the dysfunctional (as does Lewis Pullman as her lover) at the expense of a real character. A unnecessary new subplot is added at the expense of a on-target feminist one in the book, Six Thirty the dog is bizarrely only present for half an episode, and the whole things feels rushed despite TV allowing the luxury of time. The second half is more forgiving, and Alice Halsey great as Madeline Zott, but overall it is a badly missed opportunity.

Barbie

Dir: Greta Gerwig

Wonderfully madcap adventures of Barbie in a pastel wonderland—and LA. Gerwig brilliantly creates a world out of the Barbie universe that doesn't shy from targeting Mattel, capturing the confusion and complexity of being human (and particularly a woman) via plenty of pink and plastic. Margo Robbie is splendid inhabiting a perfect mix of plastic doll and confused human. Ryan Gosling is good but I was sad he turned out to be a lot of a dick for much of the film. A perfect riposte to Oppenheimer's male-dominated world view.

Oppenheimer

Dir: Christopher Nolan

Two thirds of a good movie, one third of a dirge about US politics. The science of the bomb and the lead up to the first test are typically well executed, but the dénouement fails to explore what we surely are most interested in: the impact of the bomb on those that worked on it (and the world at large). Instead if focusses on the minutia of US congressional wrangling. Yawn. And the entire thing without a woman of substance, unless they're undressing or going mad. Nolan fails badly again, embarrassingly so given there were plenty of women that could have been escalated to a leading role in the scientific endeavours.

Jury Duty (2023)

Not being one for reality TV, this walks the line just right, following a gormless real person (Ronald Gladden) who is plonked on a fake jury trial. Hi-jinks ensue as the cast does their best to keep a straight face, and the crew thanks fate for sending them Gladden who plays the entire thing straight.

Anchorman: The Legend of Ron Burgundy (2004)

Dir: Adam McKay

First watch, last watch. Some funny stuff, and interesting seeing so many now established comedians and actors, but I guess you had to be there.

Licorice Pizza (2021)

Dir: Paul Thomas Anderson

A highly watchable coming-of-age story, with Alicia Haim and Cooper Hoffman excellent as the two leads finding their way. A killer cameo from Bradley Cooper almost steals the show. I was recently ruing the end of gritty 70s LA/NY cinema, but Paul Thomas Anderson is carrying the torch admirably.

Frances Ha (2012)

Dir: Noah Baumbach

Classic low-budget, low-fi, witty indie cinema, bobbling through the early days of a woman finding her life. Sharply shot and sharply observed. Interesting to think how Gerwig co-wrote this and ended up directing Barbie: obviously a totally different style of movie but her themes are and concerns remain remarkably similar.

The Banshees of Inisherin (2012)

Dir: Martin McDonagh

I went into this expecting a gentle lyrical Irish tale, and got something *quite* different. Colin Farrell and Brendan Gleeson are magic as an odd couple in an odd county in a very odd predicament. Gleeson was always a great actor, but after this and *The Lobster* Farrell is reaching similar heights.

Everything Everywhere All at Once (2012)

Dir: Daniel Kwan, Daniel Scheinert

Magical realism meets absurdist surrealism amongst martial arts and family. Terrific performances from Michelle Yeoh and Ke Huy Quan and the rest of the cast (though Jamie Lee Curtis feels slightly out of place). Rollicks at a great pace though it did seem to drift occasionally, but it is a unique cinematic vision.