We start this time on a small Scottish island that has largely endured the Rage virus due to its isolation from the mainland. Times have become much simpler with that remoteness. There is however a waterway that links to the mainland during low tide and it becomes a rite of passage to cross it and kill a zombie with a bow and arrow. That of course makes no sense.

This foolishness leads Jamie (Aaron Taylor-Johnson) to take his young son Jimmy (Rocco Haynes) on just such a quest. But the boy is too sensitive and only has concern for his ill mother played by Jodie Comer. During this folly, the two are lucky to escape with their lives and the celebration afterwards has a marked effect on Jimmy. When he hears rumours of a rogue doctor on the mainland he hatches a plan to take his mother to seek treatment.

The doctor played by Ralph Fiennes is a revelation for Jimmy and changes his outlook on life and his future forever. The expertise shown in the storytelling gives the film such emotional resonance and since it is a Danny Boyle work you are also guaranteed some fantastic crazy at some point and in this instance it happens at the film’s end. This is a work where the end result becomes more than the sum of its parts.
Rob Hudson
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Academy Award®-winning director Danny Boyle and Academy Award®-nominated writer Alex Garland reunite for 28 Years Later, a terrifying new story set in the world created by 28 Days Later.

It’s been almost three decades since the rage virus escaped a biological weapons laboratory, and now, still in a ruthlessly enforced quarantine, some have found ways to exist amidst the infected.

One such group of survivors lives on a small island connected to the mainland by a single, heavily-defended causeway. When one of the group leaves the island on a mission into the dark heart of the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but other survivors as well.

28 Years Later will be released in Aussie cinemas June 19!
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Competition will be drawn June 18, winners will be notified by mail!

It’s been almost three decades since the rage virus escaped a biological weapons laboratory, and now, still in a ruthlessly enforced quarantine, some have found ways to exist amidst the infected.

One such group of survivors lives on a small island connected to the mainland by a single, heavily-defended causeway.

When one of the group leaves the island on a mission into the dark heart of the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but other survivors as well.
www.facebook.com/SonyPicturesAUS/

It’s been almost three decades since the rage virus escaped a biological weapons laboratory, and now, still in a ruthlessly enforced quarantine, some have found ways to exist amidst the infected.

One such group of survivors lives on a small island connected to the mainland by a single, heavily-defended causeway. When one of the group leaves the island on a mission into the dark heart of the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but other survivors as well.

28 Years Later will be released in Aussie cinemas June 19!
www.facebook.com/SonyPicturesAUS/

Many say that this was also the perfect storm that helped to reinforce the toxic male energy that has blighted our society in the decades since. While this may be an oversimplification, it has had an undeniable impact on male behaviour since. As in all things that are created in an environment of excess energies, these clubs even though they started with the best of intentions became corrupted and changed to suit certain individual needs or desires.

In this context, the allure of criminality doesn’t seem so far-fetched and nowhere was this better exemplified than in biker clubs. The Bikeriders tells the tale of one such club that started simply but eventually ran completely off the rails. The key performances in the film by Austin Butler and Tom Hardy are underplayed to the point of narcolepsy and seem an attempt by the filmmakers not to fall guilty of ramping things up to the soap opera level of shows like The Sons Of Anarchy.

Driven by actor Jodie Comer’s narration (one that could rival Frances McDormand’s vocal heroics in Fargo), what starts as a brotherhood is doomed to be consumed by vice and greed. The level of understatement used to tell the tale makes the violence pop but leaves the audience under-informed as the almost complete lack of back story hinders true understanding. Historical context helps but it all falls short of providing the jolt needed to make this work a transformative experience.
Rob Hudson
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After a chance encounter at a local bar, strong-willed Kathy (Jodie Comer) is inextricably drawn to Benny (Austin Butler), the newest member of Midwestern motorcycle club, the Vandals led by the enigmatic Johnny (Tom Hardy).

Much like the country around it, the club begins to evolve, transforming from a gathering place for local outsiders into a dangerous underworld of violence, forcing Benny to choose between Kathy and his loyalty to the club.
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Seen through the lives of its members, the club evolves over the course of a decade from a gathering place for local outsiders into a more sinister gang, threatening the original group’s unique way of life.

Starring Austin Butler, Jodie Comer, and Tom Hardy, Michael Shannon, Mike Faist, with Norman Reedus is coming to cinemas July 4!
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Over the years, Kathy tries her best to navigate her husband’s untamed nature and his allegiance to Johnny, with whom she feels she must compete for Benny’s attention. As life in the Vandals gets more dangerous, and the club threatens to become a more sinister gang, Kathy, Benny and Johnny are forced to make choices about their loyalty to the club and to each other.

The cast, most of whom did their own riding on an array of period-correct bikes, includes Jodie Comer (“Killing Eve,” “The Last Duel”), Austin Butler (“Elvis”) Tom Hardy (“Mad Max: Fury Road,” “The Revenant”), Michael Shannon (“Bullet Train”), Mike Faist (“West Side Story”), Boyd Holbrook (“Logan”) and Norman Reedus (“The Walking Dead”). From writer-director Jeff Nichols (“Loving,” “Midnight Special,” “Mud”), 20th Century Studios and New Regency, “The Bikeriders” is a furious drama following the rise of a fictional 1960s Midwestern motorcycle club through the lives of its members.
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Matt Damon is Sir Jean de Carrouges, a knight who marries Marguerite (Jodie Comer) to shore up his flagging finances. She soon bears witness to being sexually assaulted by Jacques Le Gris (Adam Driver) and sets into motion a conflict between the two former friends that ends in a duel with deadly consequences.

Splitting the film into three distinct chapters allow you the viewer to make up your own mind about the events that have occurred and highlights how male and female perspective can sway opinion. It also shows how hard the times were for women in the fourteenth century. Director Ridley Scott doesn’t hold back with the brutality and the final fight scene is very graphic in its savagery.

Male pride is shown to be the toxic entity that it is while the harshness shown towards women at that time is also engrained in the storytelling. The film feels like it’s from another time with its expansive sets and elaborate scenarios. After experiencing more than a few smaller and more personal films that are filling the cinemas at the moment, it’s great to have a big bold tale blazing from the silver screen.
Rob Hudson
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This imaginative take on life inside a video game is overloaded with a retina shredding colour palate and calamitous action. As things progress there is added depth in both the character’s backstory and their emotional makeup as we get to know the players.

There are plenty of treats for fans of the video game universe and for those that revel in the Marvel/Disney cinematic universe. There is a series of hilarious scenes that involve a roid rage version of R.R. and the inclusion of several iconic references to Star Wars and the MCU.

Strangely there is a slight misstep in casting in the final act as Taika Waititi as the big baddie Antoine doesn’t work that effectively. It’s just too difficult to see such a nice guy playing an evildoer. That issue pales though in the overall momentum of the film and its dazzling look and entertaining storyline.

Rob Hudson
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