Newcomer Maia Kealoha plays Lilo, an outsider mourning the loss of both her parents while living with her sister Nani (Sydney Agudong). She is a precocious little girl whose behaviour and manner borders on the annoying but you can see the inherent goodness underneath. When the outcast blue alien Stitch comes into her life, it’s a perfect match.

The fact that both are troublemakers and free spirits plays into the film’s central theme of not judging people before you get to know them and seeing the goodness even in the displaced. This also powers the comedic momentum of the story and there are numerous laugh-out-loud moments as the two ramp up the chaos.

While missing the outright charm of the original (aided by its cute hand-drawn animated look), this new version has its own virtues, chief of which is its seamless integration of live action with computer-generated imagery. There is a wholesomeness that will please parents and leave behind a lingering positive message.
Rob Hudson
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The eagerly anticipated film, a live-action reimagining of Disney’s 2002 animated classic, will open exclusively in Australian cinemas May 22, 2025.

“Lilo & Stitch” is the wildly funny and touching story of a lonely Hawaiian girl and the fugitive alien who helps to mend her broken family. The film is directed by award-winning filmmaker Dean Fleischer Camp, with a screenplay by Chris Kekaniokalani Bright and Mike Van Waes, and stars Sydney Elizebeth Agudong, Billy Magnussen, Tia Carrere, Hannah Waddingham, Chris Sanders, with Courtney B. Vance, and Zach Galifianakis, and introducing Maia Kealoha.

“Lilo & Stitch” is produced by Jonathan Eirich, p.g.a. and Dan Lin, with Tom Peitzman, Ryan Halprin, Louie Provost, Thomas Schumacher serving as executive producers.

“Lilo & Stitch” opens exclusively in cinemas May 22, 2025.
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The story begins when a ruptured water main creates an enormous sinkhole right in front of Bob’s Burgers, blocking the entrance indefinitely and ruining the Belchers’ plans for a successful summer.

While Bob and Linda struggle to keep the business afloat, the kids try to solve a mystery that could save their family’s restaurant. As the dangers mount, these underdogs help each other find hope and fight to get back behind the counter, where they belong.

The Bob’s Burgers Movie will be relased in Aussie cinemas May 26!
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In this case, Barney voiced by Jack Dylan Grazer is an outsider for various reasons, most central to this is his oddball family. His widower father Graham (Ed Helms) scratches out a living by selling silly novelties from a home business while his old-world grandmother Donka (Olivia Colman) runs the household to hilarious effect.

When a personal A.I. robot comes on the market, Barney’s parental units can only afford a damaged and decidedly second-hand unit with a malfunctioning CPU and the innocence of a young child. United, the two grow together and learn what it means to value friendship and to take a chance on one’s self.

It’s a message that has been central to so many movies and to repeat a storyline this familiar you need to bring something new to the table. This is done with a combination of critiques of the current effects both good and bad of social media and the success that can come from adhering to a solid sense of right and wrong. It delivers this massage with technical imagination and time-tested humour.
Rob Hudson
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“Ron’s Gone Wrong” is the story of Barney, a socially awkward middle-schooler and Ron, his new walking, talking, digitally-connected device, which is supposed to be his“Best Friend out of the Box.” Ron’s hilarious malfunctions set against the backdrop of the social media age, launch them into an action-packed journey in which boy and robot come to terms with the wonderful messiness of true friendship. “Ron’s Gone Wrong” features the voices of Zach Galifianakis, Jack Dylan Grazer, Olivia Colman, Ed Helms, Justice Smith, Rob Delaney, Kylie Cantrall, Ricardo Hurtado, Marcus Scribner, Thomas Barbusca.

The film is directed by Sarah Smith and Jean-Philippe Vine with Octavio E. Rodriguez co-directing. The script is written by Peter Baynham & Smith. Julie Lockhart and Lara Breay produce, with Locksmith chairman Elisabeth Murdoch, Smith and Baynham serving as executive producers.

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Mexican writer and director Alejandro González Iñárritu has delivered a story inside a story about a past his use by date movie star, Keaton, who previously reaped the riches and empty adulation that went with his role of playing the big screen superhero Birdman. He is seeking redemption (artistically and humanly) by writing, directing and starring in his own Broadway play.

Alejandro uses music masterfully as the first three quarters of the film is set to a drum solo and not the usual film score music. This drum solo, with its odd punctuations and time signatures has the effect of putting you on edge and never letting you get comfortable. This also applies to the great work of the actors. Keaton is brilliant with all of his ticks and nervous affectations (including the voice in his head that comes from his alter ego Birdman). Emma Stone is also great as the hot mess bottle blonde daughter and Edward Norton sizzles as well as a Broadway actor that take method acting to new heights.

The line between reality and fantasy has never been more lusciously disregarded as Birdman takes on a staggering number of acting clichés as it tells its story. The acting and directing is consistently superb and surprises wait at almost every turn. This is the kind of film that gets the year off to a great start.

Rob Hudson
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Mexican writer and director Alejandro González Iñárritu has delivered a story inside a story about a past his use by date movie star, Keaton, who previously reaped the riches and empty adulation that went with his role of playing the big screen superhero Birdman.  He is seeking redemption (artistically and humanly) by writing, directing and starring in his own Broadway play.

Alejandro uses music masterfully as the first three quarters of the film is set to a drum solo and not the usual film score music. This drum solo, with its odd punctuations and time signatures has the effect of putting you on edge and never letting you get comfortable. This also applies to the great work of the actors. Keaton is brilliant with all of his ticks and nervous affectations (including the voice in his head that comes from his alter ego Birdman). Emma Stone is also great as the hot mess bottle blonde daughter and Edward Norton sizzles as well as a Broadway actor that take method acting to new heights.

The line between reality and fantasy has never been more lusciously disregarded as Birdman takes on a staggering number of acting clichés as it tells its story. The acting and directing is consistently superb and surprises wait at almost every turn. This is the kind of film that gets the year off to a great start.
Rob Hudson
www.birdmanthemovie.com