A trailer for Klara and the Sun, a film by Taika Waititi, based on the novel by Kazuo Ishiguro

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A trailer for Klara and the Sun, a film by Taika Waititi, based on the novel by Kazuo Ishiguro

25 June 2026

The first trailer for the Taika Waititi directed adaptation of Kazuo Ishiguro’s 2021 novel, Klara and the Sun has landed. I’m not one to complain about differences between the book and its movie counterpart — mainly because adapting a novel for the big screen is far from straightforward — but this two minute glimpse of the film version shows up some obvious differences with the book.

The tone of the film, at least the little we see of it in the trailer, is somewhat lighter (no pun intended) than that of the novel. Bordering on the comedic at times. It is not without dark moments though, which the novel is replete with.

Klara, portrayed by Jenna Ortega, as an AF (Artificial Friend), looks startlingly human in appearance. AF’s, being humanoid robots, were meant to look like people to a degree, but it was obvious they were not human. Ishiguro’s novel, for instance, created the impression AF’s were usually shorter than the teenage humans they accompanied.

Here, Klara looks as human as Josie (Mia Tharia), the fourteen-year-old girl she was bought to be friends with. A two-minute long trailer isn’t much to go on of course, but if Taika Waititi is directing, we’re going to get Taika Waitit. That includes lines such as “you’re not the droid we’re looking for”, delivered by Amy Adams, as Chris, Josie’s domineering mother.

Entirely Waititi’s idea that one, I’d say.

George Miller wants to bring Mad Max stories to an end, a slow end

18 June 2026

The Australian film director thinks it’s time to bring the story to an end. But a movie, and a separate TV series in addition, sounds like at least another several years worth of work.

The first Mad Max film was made in 1979, and another four have followed, albeit with decades long gaps in between. Assuming the sixth movie, and TV show eventuate, the franchise will have been running for the best part of fifty years.

It’s probably been said before, but I could see Mad Max going the way of stories such as Star Trek and Star Wars, in other words indefinitely. After all, Miller seems interested in selling the franchise at some point. I think this might only be the beginning.

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Backrooms: McDonald’s versus Kane Parsons

15 June 2026

You don’t see too many mentions of global hamburger behemoth McDonald’s here, but their take on Kane Parsons’ 2026 horror/thriller film Backrooms, is simply finger licking good.

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film, food, humour, Kane Parsons

Teaser for The Social Reckoning, a film by Aaron Sorkin, follow-up to The Social Network

12 June 2026

Although hints of what was to come were there to see, The Social Network, the 2010 dramatisation of the founding of Facebook, had the hallmarks of a feel-good story.

At least from the perspective of would-be entrepreneurs, whose next-big-thing idea, had, against the odds (of course), become the next-big-thing.

A lot has happened in sixteen years though, and there’s not much left in the Facebook story for many people to feel good about today.

Aaron Sorkin, who co-wrote the screenplay for the David Fincher directed 2010 feature, has tapped into the darkness pervading the world’s largest social network, to write and direct a follow-up to the 2010 film, titled The Social Reckoning.

Sorkin initially floated the idea of a sequel in 2024. At that point the American playwright and screenwriter sought to cast a critical light on the part he felt Facebook played in the January 6 insurrection of 2021, in the United States.

But Sorkin’s focus has changed. In The Social Reckoning the negative impact on users mental health is among subject matter explored. As is co-founder and CEO Mark Zuckerberg’s seeming dictatorial style of management.

Darkness permeates the teaser/trailer. Gloom is banished, but only momentarily, by the glare of bright spotlights shining in our faces. There are no frat-house parties, or swimming pool high-jinks, in this chapter of the social network’s story. This is a bleak world indeed we now find ourselves in.

The vinyl revival spreads to CDs, DVD, other physical media

8 June 2026

Some people are tired of streaming, says Iskhandar Razak, writing for the Australian Broadcasting Corporation (ABC).

I’m not sure if it’s the actual process of watching, say, a movie online, or having to deal with streaming content providers, that’s fatiguing viewers, it sounds like a bit of both

I’m hardly the biggest consumer of small (not so small) screen media, it’s usually after nine in the evening before we lounge back on the sofa to watch something. The good news there, with such low consumption, is we only need to deal with one (subscription) streaming provider.

We’re fortunate to also have access to the likes of Kanopy, and iView, and their extensive repositories of movies and other shows. But I don’t even regard streaming as streaming, it’s simply a means by which to view a show or movie.

Others see things differently though. Some think streaming is too transient. They have come to miss owning physical copies of the films and shows they enjoy, and keeping them in a home library, sitting a on a shelf.

Surprisingly perhaps, the sentiment is not limited only to people with fond memories of watching movies on DVD‘s twenty-years plus ago. Many buyers of DVD’s and — incredibly — VHS cassettes, in 2026, are in their twenties.

It’s one thing to own all this physical media though, but a way to view it all is still needed. I assume VHS players, in working condition, are available. We still have a modest DVD collection, but need to hook up a small DVD player to a laptop, then to the TV screen, if need be, to watch them.

The DVD player, which isn’t much bigger than a DVD really, is fine. I’m not sure I’d be in favour of a larger player, and having to haul it around, let alone a VHS player. Plus a whole load of DVD’s and VHS cassettes. I’m having flashbacks to VHS cassette tape getting jammed in the player, and rental DVD’s glitching because of damage to the disc.

Streaming has made those particular playback hassles a distant memory. But that’s just the situation here. For others though, it seems owning a large collection of physical media, in addition to the required playback paraphernalia, adds to the viewing experience.

It has also offered a lifeline to some retailers of physical media, whose businesses were brought to the verge of collapse by streaming.

Tomorrow, and Tomorrow, and Tomorrow, by Gabrielle Zevin, coming to the big screen

4 June 2026

The news we’ve been waiting for. Tomorrow, and Tomorrow, and Tomorrow, the 2022 novel by American author Gabrielle Zevin, is to be adapted to film.

Daisy Edgar-Jones, who starred in the screen adaptation of Sally Rooney’s novel Normal People, has been cast in the central role of Sadie Green, a games designer.

Tomorrow, and Tomorrow, and Tomorrow sadly remains on my TBR list all these years later. Maybe I’ll get to experience the screen adaptation of the story instead.

As an aside, and I don’t by any means know the ins and outs here, but I’m surprised it’s taken so long for this to happen, given the interest in the novel when it was published.

Only films with human actors, writers, will be eligible for Oscar nomination

15 May 2026

The Academy of Motion Picture Arts and Sciences (AMPAS), the organisation that presents the Oscar awards, recently clarified their rules regarding the use of AI in films they will accept nominations for.

According to rule two, regarding eligibility, specifically clause seven, there are instance where AI, and “other digital tools” (things like visual effects, computer-generated imagery, and green screen, I expect) can be used by filmmakers (PDF), to a degree :

With regard to Generative Artificial Intelligence and other digital tools used in the making of the film, the tools neither help nor harm the chances of achieving a nomination. The Academy and each branch will judge the achievement, taking into account the degree to which a human was at the heart of the creative authorship when choosing which movie to award. If questions arise regarding the aforementioned use of Generative Artificial Intelligence, the Academy reserves the right to request more information about the nature of the use and human authorship.

Rule six, clause one, in regards to the acting awards, makes clear that only films with human actors can be nominated:

Only roles credited in the film’s legal billing and demonstrably performed by humans with their consent will be considered eligible.

Rule twenty-four, clause two, spells out eligibility for writing (screenplays, etc) Oscars:

To be eligible in either Writing category, an explicit screenwriting credit must be present in the film’s legal billing and the screenplay must be human-authored.

That covers the Oscars, for now, but raises the question: will there eventually be a separate set of “night of night” awards — that are nothing to do with the AMPAS/Oscars — for films that are wholly, or largely, made using AI technologies. My guess is it’s bound to happen sooner or later.

The Top Fifty Australian movies of all time, compiled by The Age/Sydney Morning Herald

30 April 2026

Lindy Percival, Nathanael Scott, Daniel Carter, and others:

This list of our 50 best films will likely provoke debate, but with the aid of 24 experts, including directors, actors, critics, curators and authors, what follows is an inspiring reminder of what we’ve seen so far and a heartfelt encouragement to go on watching our stories on screen.

Spoilers: Crocodile Dundee doesn’t feature, though The Castle does, but overall the fifty selected titles are indicative — I think — of the best Australian film.

Bad Boy Bubby, The Devil’s Playground, Ten Canoes, and Walkabout, are among entries listed earlier on. The top twenty is definitely on the money, with the likes of Nitram, The Chant of Jimmie Blacksmith, Snowtown, Beneath Clouds, Somersault, Rabbit-Proof Fence, Animal Kingdom, Picnic at Hanging Rock, and Samson & Delilah.

Some of these titles are not easy to watch, but are exemplary instances of local film and storytelling.

Tom Rothman calls on cinemas to screen films, not trailers and ads

17 April 2026

That’s the upshot of what Rothman, CEO of Sony’s Motion Picture Group, said at CinemaCon, held in Las Vegas, in the United States, this week, says Brent Lang, writing for Variety:

At CinemaCon, the annual exhibition industry conference unfolding this week in Las Vegas, Rothman bluntly told the cinema operators in the audience at Caesars Palace that they needed to cut back on the trailers and commercials that can last for roughly 30 minutes before the opening credits even roll.

It’s been sometime since I saw a movie in an actual cinema (an Australian cinema). We just about always stream movies at home now. I don’t know then if local film-goers are subjected to thirty-minutes of ads and trailers, prior to a screening — euphemistically called pre-feature entertainment — as appears to be the case in parts of the United States.

If memory serves, when I first started going to cinemas to see films — streaming was not a thing then — a few trailers and a small selection of ads were all we saw.

The whole thing lasted no more than ten minutes. If that. I don’t know who paid attention to the ads — not me — but I’d usually look at the trailers. Back then, trailer screenings were just about the only way to learn about upcoming film releases.

Whatever, the trailer/ad segment was usually considered to be a buffer, affording late arrivals a few minutes grace before the main feature commenced. Pre-feature entertainment was also an opportunity to buy snacks and drinks before the screening.

One Sydney cinema I once went to regularly, didn’t hold back in this regard. “You still have time to visit the candy-bar before the film starts”, the audience would be informed, part way through the trailer/ad segment. A shrewd business model if ever there was one. Make advertisers pay to promote their goods and services, while oblivious patrons are downstairs buying popcorn.

I doubt the practice would surprise Rothman. He also noted reserved seating meant cinema-goers were not entering the auditorium until just before the feature screening starts, sparing themselves the prolonged pre-feature entertainment anyway.

I might, by the way, sound critical of watching movies at a cinema. While I’m definitely an adherent of home streaming, I used to — ten to fifteen years ago — almost live at the cinema. Something the then staff of a place I was a regular at, could attest to. Back then I also used to write a lot about film here. Not so much now though. Plus, there is no nearby cinema where we are now based.

Streaming then — minus unwanted ads and trailers — it is.

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The AI Doc: Or How I Became an Apocaloptimist, a documentary by Daniel Roher, Charlie Tyrell

9 April 2026

The AI Doc: Or How I Became an Apocaloptimist, is a documentary co-directed by Daniel Roher and Charlie Tyrell, who hope to make sense of artificial intelligence (AI).

But tune into the trailer, and hear the likes of Sam Altman, Dario Amodei, and Denis Hassabis, and others, utter lines such as “if this technology goes wrong, it can go quite wrong”, or “I know people who work on AI risk who don’t expect their children to make it to high school.”

Along with, “it’s being deployed prematurely. There’s so much potential for things to go wrong”, and “China, North Korea, Russia, whoever wins is essentially the controller of humankind.”

Do we really know what AI is, or, more the question, what it will become?

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