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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.

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Written by Matthew Toomey

Created: 03 February 2026

British comedian John Bishop recently appeared on The Graham Norton Show and told the hilariously bizarre story of how he got into the industry 25 years ago.  He’d split from his wife and with nothing better to do on a Monday evening, he walked into a local bar hosting an “open mic” comedy night.  He had no interest in participating but, to avoid paying the standard £4 cover charge, he threw his name on the registration sheet.  In front of a tiny crowd, he crafted an unscripted 15-minute stand-up routine by talking humorously about his relationship breakdown.

Bishop’s story became the inspiration for Is This Thing On?  Will Arnett and Mark Chappell wrote a first draft which was then refined by Bradley Cooper (Maestro) when he came on board as director.  In addition to his screenwriting credit, Arnett (Arrested Development) steps into the lead role of Alex Novak – they didn’t use Bishop’s real name given it’s a loose adaptation.  The film opens with Alex and his wife, Tess (Dern), having a nonchalant conversation in the bathroom and mutually agreeing to “call time” on their marriage.  They tell their family, friends and two children and then, roughly one-third into the movie, Alex stumbles into a busy bar, steps up to the mic, and begins his career pivot.

Is This Thing On? does a nice job building subplots off the main crux.  Alex enjoys the adrenaline rush when on stage, but we also see him become friends with other stand-up comics who offer laughs, advice and companionship.  It’s sorely needed in the aftermath of his splintered marriage.  On that topic, Tess is a significant focus within the film as she too looks for rejuvenation by becoming a professional volleyball coach.  Their respective sea changes have brought them happiness which may, unexpectedly, bring them back together.  Arnett and Dern deserve praise for their performances as they astute capture the emotions associated with their problems, many of them self-inflicted.

Not every part of the film works.  Andra Day (The United States vs. Billie Holiday) and a quirky Bradley Cooper play two close friends of the headline couple.  They serve as a point of comparison (their marriage is very different) but I didn’t find them overly interesting or useful.  Christine Ebersole and Ciarán Hinds are two great actors but have little to do as Alex’s parents.  A cameo from former footballer Peyton Manning is a weird distraction.

Is This Thing On? digs a little deeper than your average romantic comedy and that alone makes it worth a look.

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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.