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Written by Matthew Toomey

Created: 23 February 2026

The Shakers were a small religious movement which were founded in England in the mid-18^th Century and then spread to the eastern United States.  In some ways, they were quite progressive – they spoke out against slavery, they promoted gender equality and allowed female preachers, and they were industrious in building modern furniture included chairs, cabinets and baskets.  In other ways, they were quite strange – they practiced celibacy, they didn’t marry, they sang repeatedly, and they believed in the second coming of Christ.  Shakers are largely non-existent today (Wikipedia lists their membership as a lowly “3”) but their history is an interesting one.

When you see the names Monica Fastvold and Brady Corbet on a film poster, you’re in for something different with their works including The Childhood of a Leader and Vox Lux.  Their last outing was The Brutalist which, in addition to being one of my top 10 movies of last year, won three Academy Awards with Corbet credited as director and Fastvold as co-writer.  The roles are reversed for The Testament of Ann Lee with Fastvold seated in the director’s chair.

The film is centred on Ann Lee, the woman who founded the Shakers movement, but it’s more than a simple history lesson.  Instead of explaining everything through narration and dialogue, it provides a hypnotic, rhythmic experience where music, song and dance is used to capture the spirit of these characters and pull you into its world.  The camera finds itself in the middle of the action, the editing is well timed, the choreography is amazing, and the lyrics are easy to understand.  I’d contend it’s more impressive than traditional Hollywood musicals with my favourite musical number being “All is Summer” (the one on the ship).

Much has been made of Amanda Seyfried’s (The Dropout) omission from nomination lists this awards season.  Art is a subjective medium and there’ll always be debate about what constitutes a “great” performance but in my opinion, she deserves attention.  Seyfried is outstanding in the title role.  From the pain of losing a child, through to the unwavering conviction of her views, we see many sides to Ann Lee.  There’s much to chew on!  You might think her religious beliefs are bat-shit crazy, but she wasn’t someone driven by ego and power.  Lee genuinely cared for those inside her growing flock.

Further enhanced by its production values, it’s an impressive achievement for Fastvold to produce this inside of a $10 million USD budget.  The Testament of Ann Lee is not to be missed.

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Written by Matthew Toomey

Created: 16 February 2026

Pillion arrives in Australian cinemas with a fast-rising reputation.  It premiered to positive reviews at last year’s Cannes Film Festival where it won best screenplay in the Un Certain Regard section.  33-year-old director Harry Lighton was nominated at the 2026 Directors Guild Awards for best first-time theatrical film.  The voters at BAFTA have shown their appreciation with nods in three categories including best adapted screenplay, alongside One Battle After Another and Hamnet, and best British film.

The raves are deserved.  I appreciate this R-rated drama won’t align with everyone’s tastes but if looking for a wildly different romantic tale, this is for you.  Pillion is an independent feature, with a budget of less than £1 million, but its two stars will be known to many.  Harry Melling played Dudley Dursley in the Harry Potter franchise and has continued in the industry with roles in theatre, television and film.  Swedish actor Alexander Skarsgård, son of Stellan, became widely known through his turn in True Blood and later won an Emmy for his work on Big Little Lies.

Melling plays Colin, a young, openly gay man who still lives at home with his mum (Sharp) and dad (Hodge) in London.  They may not be as chillaxed as the parents in Call Me by Your Name but they’re supportive of their son’s sexuality.  They want him to find a great boyfriend and the film opens with Colin going a blind date at the local pub – an outing fully orchestrated by his helpful mum.  It’s not exactly love at first sight but while at the bar buying drinks, Colin has a fleeting interaction with unexpected suitor, Ray (Skarsgård).  He’s a tall, bearded, masculine bikie and the pair agree to meet up a few days later.

A relationship soon develops but it’s not one we’re accustomed to seeing on the big screen.  Without giving too much away, it’s one of dominance and submission.  If you thought the Fifty Shades of Grey franchise was pushing boundaries, Pillion is completely redefining the playing field.  I did enjoy the gasps and other surprised reactions at the well-attended preview screening last weekend.  It will be an eye-opener for some!

English newcomer Harry Lighton is to be commended for both his writing and direction.  It’s a terrific script that keeps you intently interested in power games between the two protagonists.  Is Colin comfortable with being so submissive in the relationship?  Is he doing it because he likes it or because he lacks self-esteem?  Does he want something more?  In Ray’s case, has he always been like this?  Is there a softer side behind his tough, punishing exterior?  Does he take things too far?  The best scene in the film involves lunch with Colin’s parents where key questions are finally aired.

The performances can’t be faulted, and they make it easy to follow the intellectual and emotional development of both characters.  It’s wrapped up in a tight 107 minutes, and the film blends hope and sadness in finding a way to end on a credible note.  A funny, provocative, enlightening “romance” you won’t soon forget.

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Written by Matthew Toomey

Created: 23 February 2026

With most films, the opening act creates an expectation of narrative and tone.  If a whodunit thriller, we’ll be introduced to a bunch of eclectic characters knowing we need to pick who “did it”.  If a romantic comedy, we’ll meet two people who will fall in love and then experience a few hurdles before an inevitable happy ending.  If a biopic, we’ll probe the life of a famous individual and be shown a perspective, often sanitised, of the troubles they overcame enroute to success.

Predictability is inevitable.  After all, thousands of movies are made each year and it’s hard to stand out from the pack.  A visionary director may want to be bold, wild and original but at the same time, they’re beholden to investors who need an element of commerciality to recoup costs.  When a rare film comes along which surprises and catches you off-guard, it’s a bloody great feeling.  There were several instances in Sirāt where I excitedly thought to myself “what the bloody hell am I watching?!?”

The dialogue-light opening introduces us to Luis (López), a middle-aged man searching for his lost teenage daughter.  His travels have led him to a remote part of the Moroccan desert where hundreds of music-loving-types have brought stereo equipment for a makeshift, outdoor, multi-day dance party.  Luis is accompanied by his young son, and the pair are handing out missing person fliers to the sweaty, drug-taking attendees in hope that someone knows something.  Their efforts lead to naught but, on hearing another party is soon taking place, they jump in their van and follow a group of ravers across the rugged landscape towards the venue.

There are two startling events, one in the middle and one towards the end, that spin the film in unexpected directions.  I won’t reveal more as it’s part of the film’s allure.  I’ve read interviews with Spanish writer-director Óliver Laxe (Fire Will Come) where he speaks of the deeper meanings connected with these events.  I saw this film several months ago at the Brisbane International Film Festival and it’s provided thought-provoking observations which still linger. 

Also worth promoting are Sirāt’s stellar production values.  The pumping music of electronic film producer Kangding Ray would have you think you’re sitting in a nightclub.  The film was shot across Spain and Morocco with cinematographer Mauro Herce beautifully capturing the rugged terrain, dangerous roads, and barren landscapes.  César Award winning actor Sergi López (Harry, He's Here to Help) earns huge sympathy as the distressed father.  For the rest of the cast, most were non-professional actors found by the casting director on the real-life “rave circuit” and they add extra authenticity with their knowledgeable personas.

You won’t see too many movies like Sirāt.  Whether its thumbs up or thumbs down, it provides an experience with a capital E.

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Written by Matthew Toomey

Created: 12 February 2026

Last year, I attended a retrospective of Michael Mann’s Heat.  It was the first time I’d seen it on the big screen in 30 years, and it held up beautifully as an action-heist flick.  The timing was appropriate as comparisons have been made to the latest from writer-director Bart Layton (American Animals) entitled Crime 101.  Both are set in Los Angeles, both are about one last big “score”, both have a thief semi-distracted by love, and both have a cop with a troubled life trying to apprehend the perpetrators.  The source material here is a 50-odd page short story authored by New York author Don Winslow and first published in 2020.

42-year-old Australian Chris Hemsworth (Thor) has gravitated towards heroic roles throughout his career and while there have been a few exceptions, such as Furiosa and Bad Times at the El Royale, his modus operandi has been to create likeable characters.  That’s again the case here.  Mike Davis is a thief who steals millions of dollars in cash and jewels… but the screenplay does everything possible to make him sound like the nicest criminal in the world.  He had a tough childhood, he’s super intelligent, he’s well groomed, he works alone, he’s polite in the company of women, he doesn’t fire his gun, and he never uses violence.

The detective trying to take him down is Lou Lubesnick, played by Oscar nominee Mark Ruffalo (Spotlight, Poor Things).  Again, the screenplay adds a few flourishes to make sure we like him too.  He’s meticulous with attention to detail and, unlike other cops who will use any flimsy evidence to close a case, he won’t stop investigating until he’s proven his strong hunches.  His shabby look, rough voice, and fractured relationship with his wife (a weird cameo from Jennifer Jason Leigh) reinforce the view that he’s been having a tough run.  He needs to crack a big case to reinvigorate his career.

I’d argue the most interesting player in this ensemble is played by Academy Award winner Halle Berry (Monster’s Ball).  She’s Sharon Colvin, an insurance broker in her mid-50s who has brought in big dollars for her firm but has been denied a lucrative promotion by her sexist bosses.  In a fleeting moment of vulnerability, she meets with Mike and exchanges confidential information which could make them both very rich.  Having lived an honest, hard-working life for so long, does she have the resolve to risk it all in pursuit of life-changing money?

It won’t blow you away, but Crime 101 is a solid-enough action-thriller that keeps you guessing as to how it will all end up.  Hemsworth, Ruffalo and Berry are good, but the rest of the cast are underwhelming.  I’m a huge fan of Barry Keoghan (The Banshees of Inisherin) but his villainous turn as a goofily reckless criminal with minimal backstory… yeah, it doesn’t work.  Monica Barbaro (A Complete Unknown) is underutilised as Mike’s love interest, and scenes involving a rasping Nick Nolte (Affliction) add little.

Most of the film takes place at night and I enjoyed the direction of Bart Layton has he captures the gritty radiance of Los Angeles – from high shots looking down on packed, floodlit freeways, through to close ups of a motorcycle helmet which acts as a quasi-mirror.  It can’t match the unforgettable Heat (few films could) but as a stand-alone heist movie, you could do a lot worse than Crime 101.

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Written by Matthew Toomey

Created: 18 February 2026

It’s a genre ripe for a spoof.  After the success of movies like Gosford Park and series including Downton Abbey, the writers of Fackham Hall have attempted to craft a comedy which mocks the pompous characters and cliched plot points of its more serious predecessors.  The narrative takes place in 1931 and is focused on a lazy couple trying to find husbands for their two daughters, while also fighting to save the mansion which has been owned by the family for centuries.

Regrettably, the film lacks wit and ideas.  It’s toilet humour and dad jokes for most of the 97-minute running time.  I wasn’t the biggest fan of the recent Naked Gun reboot (gave it a B-rating), but you can see more thought went into to its gags, especially some of the visual ones, than what’s offered here.  Further, Liam Neeson delivered puns in a well-suited deadpan manner while Fackham Hall’s characters seem too self-aware of the situation.  You’d think they were performing in front of a live audience and overdoing every joke in search of laughs.

The film becomes slightly more interesting in its second half when, again borrowing from Gosford Park, a murder takes place (I won’t say who) and everyone becomes a suspect.  It’s fun to speculate about the killer’s identity and what goofy motive the five-person writing team will concoct.  I wish this plot point had been introduced earlier as the opening act gets bogged down in repetitive humour and a lack of story.

The cast is headlined by Emmy winner Damian Lewis (Homeland) and includes Tom Felton (Harry Potter), Katherine Waterston (Inherent Vice), and Anna Martin (Bleak House).  Comedian Jimmy Carr is one of the film’s co-writers and plays a vicar who, while reading his sermons, continually ignores full stops.  It’s a silly lark that may generate laughs the first time… but not when used so often.

Not living up to its potential, Fackham Hall is a below-average comedy.