This time, the story has a veneer of depth. Levon Cade (Statham) is a skilled construction worker who sticks up for the little man. His past military background is shrouded in mystery but clues are given. He is also a doting father who is homeless while he funnels all of his available cash reserves into the legal battle to keep custody of his daughter Merry (Isla Gie).

When his contractor boss Joe (Michael Peña) needs his help to find his daughter Jenny (Arianna Rivas), who has been kidnapped, Cage steps into his past to become a total badass once again. This all plays out like a poor man’s John Wick and thank goodness for the bad guys they didn’t kill any dogs as that would have probably brought out the nuclear option.

With truth in advertising losing relevance every day, it’s good to have something to count on when spending those hard-earned cinema dollars. With A Working Man, Jason Statham does as Jason Statham does and stays in the pocket with outlandish action and just enough meat on the bones to keep the story together, While not outstanding this auctioneer fits in well with his existing catalogue of work.
Rob Hudson
www.facebook.com/WarnerBrosAU/

Paul Rudd has always been that anomaly in the Marvel catalogue in that it is easier to see him as a comic presence rather than a heroic one and that continues this time around. That circumstance makes for the film’s most charming moments. Once things drop into the world of zeros and ones, it’s just a matter of business as usual.

The Ant-Man films have lived mostly outside the Avengers’ based chapters and Quantumania feels amongst the most separate. There are a few mentions, including a funny scene with M.O.D.O.K. (Corey Stoll) but it’s not until the final of the two crazy credits that things get pulled into the larger world of the MCU.

Much thought has gone into creating arresting visuals and inhabitants of the Quantum Realm and in that regard, it’s an impressive display. The storyline and the character arcs of its main players unfortunately form some of its least impressive attributes. It is still enjoyable but seems a minor pleasure compared to other outings in the world created by the late and great Stan Lee.
Rob Hudson
www.facebook.com/MarvelAUNZ/

With mere weeks before impact and the world on the brink of annihilation, NASA executive and former astronaut Jo Fowler (Halle Berry) is convinced she has the key to saving us all – but only one astronaut from her past, Brian Harper (Patrick Wilson), and conspiracy theorist K.C. Houseman (John Bradley) believe her. The unlikely heroes will mount an impossible last-ditch mission into space only to find out that our moon is not what we think it is.

Moonfall is directed by Roland Emmerich and stars Halle Berry, Patrick Wilson, John Bradley, Michael Peña, Charlie Plummer, Kelly Yu, Eme Ikwuakor, Carolina Bartczak, and Donald Sutherland.

Moonfall is coming to Australian cinemas on February 3rd 2022.

www.facebook.com/roadshow/

Jo Fowler (Halle Berry) is convinced she has the key to saving us all – but only one astronaut from her past, Brian Harper (Patrick Wilson), and conspiracy theorist K.C. Houseman (John Bradley) believe her. The unlikely heroes will mount an impossible last-ditch mission into space only to find out that our moon is not what we think it is.

MOONFALL is directed by Roland Emmerich and stars Halle Berry, Patrick Wilson, John Bradley, Michael Peña, Charlie Plummer, Kelly Yu, Eme Ikwuakor, Carolina Bartczak, and Donald Sutherland.

MOONFALL is coming to Australian cinemas on February 3rd 2022.
www.facebook.com/roadshow/

With mere weeks before impact and the world on the brink of annihilation, NASA executive and former astronaut Jo Fowler (Halle Berry) is convinced she has the key to saving us all – but only one astronaut from her past, Brian Harper (Patrick Wilson), and conspiracy theorist K.C. Houseman (John Bradley) believe her.

The unlikely heroes will mount an impossible last-ditch mission into space only to find out that our moon is not what we think it is.

MOONFALL is directed by Roland Emmerich and stars Halle Berry, Patrick Wilson, John Bradley, Michael Peña, Charlie Plummer, Kelly Yu, Eme Ikwuakor, Carolina Bartczak, and Donald Sutherland.

MOONFALL coming to Australian cinemas on February 3rd 2022.
www.facebook.com/roadshow

Animated shenanigans include things like faking blindness to help revenue while panhandling, squatting held as a virtue, wanton property destruction, ethnic stereotyping, and the classic Saturday morning cartoon portrayal of excessive violence as comic fodder. Good clean comedy for those surfing the sugar rush of morning breakfast cereal.

Homo sapien actor-wise, Chloë Grace Moretz plays a great shill and her surface of nauseating niceness is the perfect cover for her opportunistic scheming. Elsewhere the humans get to act more cartoon-like than the CGI characters with Michael Peña leading the way as the pretentious manager of the Royal Gate Hotel who eventually gets his just desserts.

Seen only on the surface, Tom & Jerry is so riddled with cliches, it becomes quite amusing to see how many it can pack in before the final credits roll. Its misguided mayhem helps to illustrate just how far the PC police have come with live-action but how much of a pass animation gets in this regard. South Park, Big Mouth, and Bojack Horseman, I’m looking at you.

Rob Hudson
www.facebook.com/WarnerBrosAU

The ensuing cat and mouse battle threatens to destroy her career, the wedding and possibly the hotel itself. But soon, an even bigger problem arises: a diabolically ambitious staffer conspiring against all three of them.

An eye-popping blend of classic animation and live action, Tom and Jerry’s new big-screen adventure stakes new ground for the iconic characters and forces them to do the unthinkable… work together to save the day.

Tom & Jerry will be released in Australian cinemas April 1!
www.facebook.com/WarnerBrosEntertainmentAustralia

Taylor and Zavala are beat cops driving through some of Los Angeles’ meanest streets and the compression of action that they see in a single day, while it might be all artists license feels real and ominous. The film is shot with a lot of contradictory technologies from hand held (and jumpy) cameras to lapel cams to fixed position shots. Its quasi-documentary style feeds into this sense of heightened reality.

Like many tales that have come before, those that go into battle become alpha males regardless of gender and both men and women in this film become warriors. Their cavalier attitude towards death would seem to be something only those that truly experience it can understand but for the benefit of us on the sidelines, it all seems very death defying.

The bad guys on offer have big guns and even bigger bad attitudes and the often times claustrophobic nature of the film builds the tension and sense of dread to catastrophic levels. The films structure of camaraderie and chaos also helps to create this contradiction. This is effective film making and small critiques aside, the end results will keep you on the edge of your seat and engaged.

Rob Hudson
www.facebook.com/roadshow

It is equal parts thriller and scientific exploration and focuses on the human resolve to rise to the occasion and survive despite all the odds. Matt Damon is fantastic as the hyper intelligent astronaut that due to circumstance gets left behind on an aborted manned mission on Mars.

His approach to survival is based around his scientific knowledge and raw will to live but it is tempered by irreverence towards his circumstance and to the authority figures that he has to interface with. This provides the film with some genuinely funny moments and gives the viewer that perfect amount of space to relax in before the drama begins again.

Scott takes the raw material of Andy Weir’s book (and the screenplay by Drew Goddard) and uses it as a basis for a real thrill ride of a film. Damon along with an all-star cast that includes Jessica Chastain, Jeff Daniels and Chiwetel Ejiofor also deliver fine performances. This is one of those films that deserves to be seen in the dark on a twenty-meter wide screen.

Rob Hudson
www.facebook.com/20thCenturyStudiosAUNZ

The always-outstanding British actor Christian Bale lays to rest the man in black for the new man in fat. His visual transformation is just one element of his transcendent performance. He has to act his butt off just to transcend that hairdo of his. Jennifer Lawrence adds to her building resume of great performances as Bale’s on screen wife who is both hilarious and clueless.
Bradley Cooper’s manic drug fuelled performance is also outstanding. Now no discussion of great roles in this film would be complete without discussing the part the wardrobe plays in this film. The seventies hair and fashion defies gravity and the specter of soft-core porn with some wicked comb overs, hair curlers and well placed double sided adhesive tape.

Thankfully the saying ‘if you remember the seventies, you weren’t actually alive in the seventies’ is proven untrue as both the director and actors get the nuances just right. See this film for the humour and spectacle, remember it for the human pathos and misguided sense of right and wrong.

Rob Hudson
www.facebook.com/roadshow