Tag Archives: cinema

In Cinemas – 23 July, 2026

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Today is New Movie Day, and there are a few more options this week…if you can find a cinema screening them

Anh Hung – You may find this one alternately titled Mr. Hero, if you can find it at all, as this Vietnamese film is set for a fairly limited release this week. The premise has much to recommend: A struggling taxi-driver supporting a chronically ill daughter stumbles into the public eye in the hopes of raising money for a critical surgery by pretending to be part of a charity. While the set-up for a throwback 90’s comedy, the film is being pitched largely as a family drama, albeit with a sense of humour. This is director Vo Thach Thao’s first film, graduating from television.

Penny Lane is Dead – Every child of the 80’s and 90’s has a local legend about a party getting out of control. Ripe for building tension and brewing conflict this is the setting of this slightly delayed Ozploitation dark-comedy/horror flick which was premiered at last years Adelaide Film Festival. The debut of writer/director Mia’kate Russell, the marketing for the film has been boasting that audiences at the Fantasia International Film Festival fainted during the screening. So fair warning, this film is closer to Wolf Creek than The Deb, and you’re going to want to skip the snacks on this one.

Motor City – The action genre still lives, direct to streaming, in this tight crime-thriller from director Potsy Ponciroli, who helmed the quite-good western Old Henry (2021). Current hulking beefcake Alan Ritchson (Reacher…he’s actually pretty good) plays a prison escapee who was framed, and seeks revenge on those who wronged him. Standard stuff, but in the hands of more than competent craftsmen who know their trade.

The Wizard of the Kremlin – A 2025 English-language French release, this is the adaptation of a novel by Giuliano da Empoli. A satirical look at the transition from the Soviet Union to the Russian Federation in the 90’s, the film views the rise of Putin (played by Jude Law) from the persepctive of a young government official (Paul Dano). Though an interesting cast has been pulled together, reviews of the film have been pretty mixed.

Colours of Time – Another French period drama, the plot sees four cousins gather at a family estate and begin to explore their shared ancestral stories. A pretty looking film that takes advantage of beautiful French country-side and heritage locations, this will show up on SBS fairly shortly.

In Cinemas – 16 July, 2026

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It’s New Release Day…and fortunately your trip to the movies this week is made so much easier because there’s one release that no other films wanted to compete with!

The Odyssey – There are so few filmmakers working at blockbuster scale these days, it is a precious treat to receive a genuine historical epic from modern cinemas greatest champion, Christopher Nolan. Drawn directly from the ancient work of the Greek poet Homer, The Odyssey chronicle’s the journey of Odysseus – king of the Greek nation of Ithaca – following the end of the Trojan War. While the last effort at a ancient Greek epic (2004’s Troy) attempted to relay the legendary siege in a completely grounded narrative – free from any interference by gods or monsters – Nolan has fully embraced the ancient traditions that tie history with mythology. Matt Damon stars alongside a jaw-dropping cast including Anne Hathaway, Tom Holland, Zendaya, Lupita Nyong’o, Robert Pattinson, Samantha Morton, Bennie Safdie, John Bernthal, Mia Goth, Elliot Page, James Remar, Charlize Theron and, look, this could go on for pages. The Odyssey is proof that, in fact, they can and do still “make them like this”, and will undoubtedly highlight what can be achieved when tailoring a film for the BIG screen. If you’ve got the option, catch it in IMAX, but don’t let this one through to your streaming list.

The Cinéquarium – 24 June 2026

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If you’ve woken up and your screen fell on the ground and randomly opened to this page and you’ve got some space in the day and were thinking ‘Maybe I could catch a movie’…this is what’s new this week (in Australia at least).

Supergirl – James Gunn’s Superman (2025) was a surprisingly solid hit last year, so there’s a bit riding on this – the first real follow up in the “DC Universe” franchise – from Dumb Money (2023) director Craig Gillespie. Kara Zor-El (or Supergirl, played by Milly Alcock of House of the Dragon) heads out for an intergalactic birthday bender with the scene-stealing secret weapon of the previous film: Krypto the superdog. The super-powered party-gal ends up facing off against assorted alien jerks that get on her nerves, including a rebranded Jason Momoa as perhaps DC Comics most ridiculous superhero-adjacent character, Lobo (which is not at all pejorative and is honestly perfect casting). With a screenplay by Ana Nogueira (her first major film project) and overseen by Gunn as the creative head of the franchise, expect this one to be a fairly good time for the university aged crowd.

Minions & Monsters – Hitting just before the school holidays is the next installment in the Despicable Me franchise, focusing on the titular jaundiced, gibbering, goggle-adorned, helpfully inept and ever-loyal cash-machines. Set in 1920’s Hollywood the Minions find themselves making a monster movie, only to unleash an all too real terror into the world. With voice talent including Zoey Deutch, Bobby Moynihan, Cristoph Waltz, Allison Janney, Jesse Eisenberg, Jeff Bridges, Phil LaMarr, Trey Parker in a rare non South Park role and apparently George Lucas (…!), regular series director Pierre Coffin (also the voice of the Minions) and Patrick Delage are on hand to bring this one to the box office. The kids are guaran-damn-teed to find it hilarious.

Jackass: Best and Last – It’s astonishing how endearing a group of friends that became rich and famous by repeatedly attacking one another’s testicles have become. The progenitor of pretty much all prank shows whether live, televised or streamed, Jackass was a generational touchstone when it first came to screens, then dumbfounded critics when their cinematic efforts proved to be not only profitable with juvenile audiences, but actually possessed of artistic merit (exemplified in Jackass: Forever). The boys are promising that this will be the last time they will do exceptionally stupid and dangerous stunts for entertainment, and director Jeff Tremaine has undoubtedly covered the entire ordeal in excruciating detail, but expect a touch of melancholy and rumination on the realities of growing old, and the loss of the ability to withstand a cattle prod to the rectum.

Dear You – For those of the indie/arthouse/international film crowd, this Chinese family drama comes from filmmaker Hongchun Lan (who co-wrote the screenplay) and features a cast of largely first time performers. Something of a culturally significant project, the dialogue is entirely in a regional dialect, Teochew (rather than more globally accessible Mandarin or Cantonese), as the unfolding narrative ponders how ex-patriots remain connected to the places that they may have fled. Facing financial ruin, a young man sets out to find his grandfather, who had for some time sent letters with support money for the family (Qiaopi) after fleeing to Thailand to escape military conscription. Unburdened by famous faces, these are the kind of films that can be deeply transportive experiences.

Fighting the End of the World

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We’ve reached the end of the first week in which Esoteric Fish have attempted to lighten your mood a little. It was a little rough – we’ve lost some wonderful creators in these past weeks, along with the devastation caused by our collective microbial adversary.

But as we sign off for the weekend, we leave you all with our best wishes, our prayers for health and safety, and above all, a strategy that could save us all.

At least…maybe it could have saved this franchise.

Max Von Sydow – Five Farewells: Flash Gordon

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So I’ve referenced the fact that, to me at least, Max Von Sydow was an actor who was for the longest time one of those faces that very recognisable, but just never registered in the way that Harrison Ford or Tom Cruise or Sam Jones did. Whether or not this is shared by anyone else, I long had the impression that Uncle Max was no simply a “face”, but he had always been and “old face”. I recognised him as an old man (or at least older) in the films that I remembered him from – and this is a point we’ll come back to in a later post.

The truth is, however, that he was not perpetually “70 or so” – he was once a young, strong man with a young, strong face, and the first time I realized this was when I finally saw

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Oh Son…that is the cover from a “Choose Your Own Adventure” book.

Flash Gordon

Year: 1980
Director: Mike Hodges
Writers: Lorenzo Semple, Jr. & Michael Allin
Starring: Sam J. Jones, Melody Anderson, Ornella Muti, Timothy Dalton, Mariangela Melato, Brian Blessed, Peter Wyngarde, Topol and…Max Von Sydow.
Based on characters created by Alex Raymond.

If you are unfamiliar with the 1980 film that defines “campy schlock”, you are most certainly familiar with it’s magnificent theme song by the legendary band Queen. It’s the one that goes *bu bu bu bu bu bom bom bom bom Bom Bom BOm BOm BOM BOM BOM* FLASH…AA-AAAAAAA, Saviour of the Un-I-Verse!”

I lack the necessary words to convey just how important it is that you go out and watch this movie immediately. Whatever the stories behind the making of this beautiful mess, watching it has felt a little like watching a massive prank being pulled on one man by his college-mates, plus a few professors. So many British thespians (plus Topol!) appear in this flick, and every one of them has stepped straight out of the River of Ham, and are having a marvelous time. The only guy “playing it straight” is the films lead, Sam J. Jones as Flash Gordon. The result is hilariously entertaining, as the titular hero rockets to the planet Mongo to prevent galactic tyrant Ming the Merciless (Sydow) from destroying the earth.

Sydow effortlessly dominates this movie, establishing as magnetic presence that fixes the audience to the screen every time he shows up. I mentioned that in his great career, Sydow showed up in a fair bit of sci-fi or horror schlock, but in most roles he’s playing with sense of serious grace, raising the standard of the film he’s in. Flash Gordon is that rare occasion when he gets in on the over-the-top glory with his performance.

Flash Gordon has more than earned its place in the cult classic vault, and Max Von Sydow is a big part of that.

Oh go on then…I’ll leave you with the song.

Stuart Gordon, Gone Beyond – 24th March, 2020

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We bid a very fond farewell this week to Stuart Gordon – visionary director; subversive social commentator; cheeky bugger. In what is proving to be a crushing week for my creative spirit, Gordon has passed away at the age of 72. While he was not a household name the likes of Spielberg or Kubrick, to fans of genre cinema – most especially horror – he stands out among his peers as being one of the most unique filmmakers of the 80’s and 90’s. Whatever else one might say about him, his voice was truly his own.

There’s something of a rite of passage for movie guys of a certain generation – it comes about when one progresses from the point of being fascinated by the VHS covers in the genre sections of their local video store (ask your parents kids), to finally watching the movies themselves. When I was a kid our family would make weekly trips to the bargain video barn, and while my brother and sister searched and made their choices, I would slip away to the horror section, and gaze upon the terrifying, but engrossing, cover art. I would never dream of actually watching one, mind – I was way too intimidated. I was fascinated at their existence though. Many of those cover images are indelibly burned into my mind,  but none moreso than-

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Stuart Gordon’s Re-Animator, based on a short story by H.P. Lovecraft, is an entry point for many into the magnificent fusion of horror and comedy. It is Gordon’s first and most widely known film, but is really indicative of his output as a whole. It is a film that combines genuine heart, biting satire, laugh-out-loud humour and gross-out horror sequences. It is bizarre, upsetting, tense, ridiculous, funny, awful, disgusting and at points in phenomenally bad taste…and I love every second of it.

While best known as a horror director, Gordon actually had a diverse output on screen and on stage, directing plays which may have been his greater passion. Gordon is responsible for bonkers sci-fi schlock Robot Jox, but also for a staple of my childhood, Honey I Shrunk The Kids.

Gordon scared me hysterical, and I loved him for it. Vale Stuart, I doubt we’ll see another like you.

We encourage you to read more of Stuart Gordon, who was a bizarre inspiration, but a great one.

Still the Greatest Man on the Internet

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It has occurred to me today that some of you may have some difficulty in remembering how to smile. I hereby turn you over to our Master and Sage.

Happy Thursday.

Max Von Sydow – Five Farewells: Judge Dredd

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The world has said a fond farewell this week to one of the acting professions true legends – the inimitable Max Von Sydow. At 91 years old, Sydows list of film credits is epic and impressive, having worked with no small number of master film craftsmen.

He also appeared in his fair share of schlock.

There was nothing pretentious about Max. Like his fellows who have achieve the rank of Legend (Michael Caine, Anthony Hopkins and Christopher Plummer to name a few) he was happy to lend his own brand of gravitas to ridiculously budgeted sci-fi or horror B-movies in Tentpole makeup. He was never overshadowed by these appearances, instead somehow elevating the movies to something that would not be so easily disposable. His legacy embraces the most critically acclaimed Biblical Epic ever made, what was once considered the most terrifying film of all time, and one of the hands down greatest films of all time.

I came to know him, however, because he was not too proud to appear in schlock, such as…

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Judge Dredd

Year: 1995
Director: Danny Cannon
Writers: John Wagner, Carlos Ezquerra, Michael De Luca, William Wisher, Steven E. de Souza
Starring: Sylvester Stallone, Armand Assante, Diane Lane, Jurgen Prochnow, Rob Schneider who never once speaks to…Max Von Sydow
Judge Dredd created by John Wagner, Carlos Ezquerra and Pat Mills.

1995 was a strange era. Established properties were considered gold by studios, and there were no greater hopes for a global smash hit than those hung upon comics. Comic book properties were hot commodities, thanks to the insanely profitable Batman from 1989. These were far from the days of the meticulously crafted MCU – where the Character is King (except, perhaps, for Robert Downey Jr.) – but a time when the consideration was how a well known funny book character could benefit a movie star looking to up their profile.
Judge Dredd; the most recognised character from Britain’s longest running anthology comic series, 2000 A.D.
Sylvester Stallone; at one time in the running for the Biggest Movie Star In The World, or
at least Biggest Action Star.

2000 A.D. wasn’t particularly well known beyond comic book circles, and Stallone – while still undeniably huge – had not seen stellar returns from his early 90’s efforts. He wanted a hit, and a simple, action-packed story with an iconic look for a character was a good
bet. This was not a film done on the cheap either. Sets were lavish and well designed, special effects were well-polished for the era, and someone convinced Gianni Versace to do costumes. Comedy duties would be handled by Saturday Night Live alumn Rob Schneider – part of the same lineup as Adam Sandler and Mike Myers, who had become insanely popular. With a true international cast and crew to raise the global profile, by number alone, this must have seemed a great idea.

So, we’re all clear that the movie’s trash, right?

I have never been a fan of the “Guilty Pleasure” concept. My motto for film has always been “like what you like”, and no one should ever be able to tell you what you can feel about a movie. None of that is a reflection on any concept of objective quality, so I want to be perfectly clear: Judge Dredd is not a good movie…but I enjoy it a whole lot. Part of it is just the basic cognitive enjoyment that comes from seeing something I already enjoy in one medium become visible in another. The film looks like it came out of the comic, I don’t think anyone could argue that point. Additionally, it’s just fun when to watch actors having fun on screen…and Armand Assante looks like he’s having the time of his life. Seriously, that man is the Manifest River of Ham.

And then there’s Chief Justice Fargo – Max Von Sydow.

There’s a particular type of role I’ve begun to notice, whereby an elder-statesman actor is brought in for one unenviable purpose. Exposition.
Like Patrick Stewart in X-Men and Anthony Hopkins in Thor, Max secures his place among the greats because of his capacity to explain the most ridiculous parts of the story, or the world around him, and be completely believable. The character of Fargo is tasked with providing the audience with context for the film’s environments, motivations for various characters, and back story that factors into the film very little…but it’s totally engaging storytelling because it’s Max Von Sydow. There was something about the man that conveyed a sense of experience and authority. I  buy into these worlds, these characters and this ridiculous series of events largely because he tells me to.

This is a quality that is seen in a fair few of his film and television appearances, even the brief ones such as Star Wars and Game of Thrones. He reminded me so much of a grandfather involved with whatever games the kids are playing. He’s taking it every bit as seriously as they do, and that makes the immersion all the more complete. It’s like his presence gives permission for everyone else to go all in.

It’s also important to note that every single emotional beat of the film involves his character. Every one. Understanding the horror that Judge Dredd himself has been proven guilty of a crime is sold by the expression on Fargo’s face. The drama of Dredd’s sentence is only effective because it is intercut with Fargo’s exile. We are drawn into the tale of Dredd’s birth because Fargo is telling the story, and it may be the last thing we hear from him. In contrast a later scene in which Dredd shows vulnerability to love-interest Judge Hershey is simply not believable, even though it is played as an emotional moment for both characters.

Put simply, Max Von Sydow is the only reason I care about what’s happening in Judge Dredd. That is perhaps the more lasting impact he has had on me as a fan of movies, and I suspect others would have a similar experience. It’s part of the reason why I am finding that his particular passing moves me so much. He was the reason I cared in quite a few movies. It’s like he was a bridge for people to connect with stories, and I think that may be the best legacy he could leave behind.
It’s the reason why a brief testimonial, or even a list of favourite appearances didn’t seem enough of a farewell. That’s why I introduce this new feature “Five Of…”, to celebrate Max Von Sydow through five of his feature roles that had an impact on me.

Vale Max.

 

Waterworld Cinema!

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In celebration of our return to regular posts and reviews here on Esotetic Fish, we will be embracing our Under The Sea theme as never before. Our reviews and essays will focus on seafaring cinema for the next four weeks. Dig out your goggles, snorkles and fins: it’s time to get wet!