Lee opens in the South of France 1938, where Lee Miller, a former model and now determined photographer, vacations with her artistic friends.

With war looming, she follows her love, art dealer Roland Penrose, to London, where she struggles against the restrictions on female photographers at British Vogue.

She eventually secures her own US War Accreditation and heads to Europe alone. Partnering with fellow photographer David E. Scherman, Lee captures pivotal moments of WWII, including the liberation of Paris and the horrors of the concentration camps.

Directed by Ellen Kuras and written by Liz Hannah, John Collee, and Marion Hume, Lee showcases the resilience of women in a male-dominated field, featuring standout performances from Oscar winner Kate Winslet, Marion Cotillard, Andrea Riseborough, Andy Samberg, and Alexander Skarsgård.

In Cinemas October 24!
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It’s been years since middle-aged restaurateur Max (François Cluzet) has received his friends at his gorgeous summer house in the chic beach community of Cap Ferret. The group have traditionally reconnected there for his birthday, but since things didn’t exactly go as planned last time, they haven’t seen much of one another. It turns out Max is divorcing and his villa is up for sale, so when pals Marie (Marion Cotillard), Vincent (Benoît Magimel), now-famous actor Eric (Gilles Lellouche) and his hapless buddy-turned-assistant Antoine (Laurent Lafitte) arrive unannounced to celebrate a significant milestone, it’s not necessarily a welcome surprise…

Handsomely mounted and music-fuelled, WE’LL END UP TOGETHER – the second highest-grossing French film of 2019 – is a story of long-term bonds and the joy of friendship, but also of suppressed emotions, personal and professional resentments, and the many ways having children can both fracture and cement social circles. It’s rollicking, all-star fun.

Starring François Cluzet, Marion Cotillard, Gilles Lellouche, Benoît Magimel, Laurent Lafitte, Valérie Bonneton, Pascale Arbillot, We’ll End Up Together will be released in Australian cinemas (ex. Victoria) August 6!

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Dr. John Dolittle lives in solitude behind the high walls of his lush manor in 19th-century England. His only companionship comes from an array of exotic animals that he speaks to on a daily basis. But when young Queen Victoria becomes gravely ill, the eccentric doctor and his furry friends embark on an epic adventure to a mythical island to find the cure.

Dolittle hits Australian cinemas January 16!

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After losing his wife seven years earlier, the eccentric Dr. John Dolittle (Downey), famed doctor and veterinarian of Queen Victoria’s England, hermits himself away behind the high walls of Dolittle Manor with only his menagerie of exotic animals for company. But when the young queen (Jessie Buckley, Wild Rose) falls gravely ill, a reluctant Dolittle is forced to set sail on an epic adventure to a mythical island in search of a cure, regaining his wit and courage as he crosses old adversaries and discovers wondrous creatures.

The doctor is joined on his quest by a young, self-appointed apprentice (Dunkirk’s Harry Collett) and a raucous coterie of animal friends, including an anxious gorilla (Oscar® winner Rami Malek), an enthusiastic but bird-brained duck (Oscar® winner Octavia Spencer), a bickering duo of a cynical ostrich (The Big Sick’s Kumail Nanjiani) and an upbeat polar bear (John Cena, Bumblebee) and a headstrong parrot (Oscar® winner Emma Thompson), who serves as Dolittle’s most trusted advisor and confidante.

The film also stars Antonio Banderas, Michael Sheen (The Queen) and Oscar® winner Jim Broadbent and features additional voice performances from Oscar® winner Marion Cotillard, Frances de la Tour, Carmen Ejogo, Ralph Fiennes, Selena Gomez, Tom Holland, and Craig Robinson.

Directed by Academy Award® winner Stephen Gaghan (Syriana, Traffic), Dolittle is produced by Joe Roth and Jeff Kirschenbaum under their Roth/Kirschenbaum Films (Alice in Wonderland, Maleficent) and Susan Downey (Sherlock Holmes franchise, The Judge) for Team Downey. The film is executive produced by Robert Downey Jr., Sarah Bradshaw (The Mummy, Maleficent) and Zachary Roth (Maleficent: Mistress of Evil).
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Allied is the story of intelligence officer Max Vatan (Pitt), who in 1942 North Africa encounters French Resistance fighter Marianne Beausejour (Cotillard) on a deadly mission behind enemy lines.

Reunited in London, their relationship is threatened by the extreme pressures of the war – in cinemas BOXING DAY.

The Dark Knight Rises sees Ra’s al Ghul’s League of Shadows try yet again to wipe Gotham City off the map with yet another device developed by Wayne Enterprises. The problem is, we’ve been here before. The films plot amounts to a rehash of ideas from Batman Begins, even the leader of the bad guys is (again) not who he appears to be.

While the ‘Ra’s al Ghul’ storyline was an interesting one in the context of Batman’s origin, it made for a relatively weak finale to Batman Begins and Nolan seeks to take this finale and reimagine it as the entire plot of The Dark Knight Rises. Sure it nicely brings the story full circle and it smartly references contemporary themes of terrorism, economic decline and the destruction of capitalism, but the story is no more interesting the second time around. The simple fact is that Ra’s al Ghul is not as interesting a character as, say, the Scarecrow or the Joker or even Harvey Dent, so it does the film no favours to re-introduce him albeit in another guise.

The film is also hindered by the fact that much of the dialogue is indecipherable. Bane, in particular, is a problem, his voice being muffled by his mask, but any time an action set-piece is underway it’s difficult to hear the dialogue above the din. It is difficult to say, admittedly, if this is a product of the audio mix or the acoustics of my local cinema but it poses a significant problem in following the plot’s finer points.

Thankfully, the strength of all Nolan’s Batman films have been the quality of his characters and The Dark knight Rises is no exception. Indeed, it is the characterisations and the performances of the cast that maintains the superior status of The Dark Knight Rises above the previous (non-Nolan) Batman movies.

Anne Hathaway is a very welcome addition as the unuttered Catwoman, all slinky and beautiful and devious; is there a better looking and more talented actress in Hollywood at the moment? And Joseph Gordon-Levitt is also excellent as Commissioner Gordon’s understudy. Even if his character arc is a tad predictable, we warm to him for the same reasons we warmed to Bruce Wayne. The usual suspects – Christian Bale, Michael Caine, Morgan Freeman, Gary Oldman – deliver brilliant performances so predictably, they barely rate a mention anymore.

The weak link is, of course, Bane (Tom Hardy); not because Hardy isn’t any good but because his character is uninteresting and one dimensional. He looks, sounds and has the emotional depth of Humungus from Mad Max 2.

The Dark Knight Rises is directed by Christopher Nolan so naturally, it’s an extremely competent effort that is entertaining if a little overlong; it’s just a pity that all this brilliantly orchestrated action and engaging character development isn’t taking place within the context of a more engaging and original story.
Stuart Jamieson
www.thedarkknightrises.com