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A white Chicago high school teacher bonds with one of her black students when both fall unexpectedly pregnant in this dramatically inert indie from director and co-writer Kris Swanberg (wife to mumblecore darling Joe Swanberg).

Cobie Smulders is Samantha, who reacts to the news of her impending baby bump by quickly marrying her boyfriend John (Andres Holm) and frets about her job prospects. Jasmine’s (Gail Bean) situation is somewhat more desperate: she’s a good student from a struggling family, and having a child will certainly make landing a university scholarship more difficult. Samantha, in true White Knight form, decides to help Jasmine out.

Painfully earnest, Unexpected dances around some interesting issues – race, class, poverty, bodily autonomy – without ever grappling with them in any meaningful or dramatic way. Swanberg and her co-writer, Megan Mercier, seem loath to imbue their characters with any kind of negative traits – unless you count Samantha’s obliviousness to her privilege, which seems accidental. The film meanders along, never presenting a real conflict or problem besides the situational. Elizabeth McGovern throws some sparks as Samantha’s mother, disappointed that she never got to splash out on a big white wedding for her daughter, but like every other soft obstacle in the narrative, she’s easily overcome.

Unexpected is a nice film – too nice for its own good. It’s a movie by middle class white people who want to talk about certain issues but are so reluctant to cause inadvertent offence that they present those issues as trifling. They say the road to hell is paved with good intentions; well, so is the road to obscurity, which this effort is most assuredly on.

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Turbo Kid

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Veterans of the video age (aka the ‘80s) ought to find plenty of familiar signifiers in this deliberately schlocky Canadian/New Zealand tribute to low budget, high concept sci-fi.

In the dark, post-apocalyptic future of 1997, a plucky, BMX-riding survivor known only as The Kid (Munro Chambers) has his humdrum, hardscrabble existence upset when he has to save his new friend, the quirky Apple (Laurence Laboeuf) from the tyrannical warlord, Zeus (Michael Ironside, and that’s a perfect bit of casting right there).

There’s a bit more to it, but Turbo Kid is more concerned with aesthetic over narrative – specifically, the gonzo aesthetic of such VHS mainstays as Metalstorm: The Destruction Of Jared-Syn, Spacehunter: Adventures In The Forbidden Zone, Ice Pirates, and any of a dozen more cheapie epics which tried to turn a desert location and a shopping spree at the Salvos into a quick buck.

It’s gloriously gory at times – the film takes pride in its beautifully brutal practical effects – but at heart, Turbo Kid is a charming little oddity that makes an asset of its low budget (it was financed by a Kickstarter campaign). Chambers and Laboeuf bring the right amount of earnestness to match the deliberately winking tone, while old warhorse Ironside could do this sort of stuff in his sleep, and his rogues gallery of freakish henchmen look like they’ve just stepped off the set of an Italian Mad Max knock-off – and they’re supposed to. It may not be worth a second look, but for fans of B-grade genre fare, Turbo Kid definitely rates a first.

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Elstree 1976

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You might think that everything that could be said about the original Star Wars (or A New Hope if you’re, you know, one of those guys) has been said, but then along comes Jon Spira’s crowdfunded documentary Elstree 1976 to show you that you’re wrong.

Spira takes a boots-on-the-ground look at the classic film, eschewing the Hamill/Ford/Fisher triumvirate and instead tracking down a host of bit players to tell their story. The two biggest subjects at hand are Jeremy Bullock (Boba Fett) and David Prowse (Darth Vader – or at least his body) but the former X-Wing pilots, Stormtroopers and aliens Spira digs up are much more interesting. Certain elements of Star Wars lore are reaffirmed – pretty much everyone involved thought it was a kids’ film, and not a very promising one – but what really stands out is the picture of mid-‘70s British show business that Elstree 1976 builds up, populated with dancers, chancers, wannabe actors and near-miss pop stars.

At times, Elstree 1976 – named for the studio where much of the original Star Wars was shot – is a bittersweet affair: few of the subjects interviewed amounted to much in the entertainment world after their brief turns in Star Wars, and it’s only that film’s enduring cult that keeps them in the spotlight, albeit largely at fan conventions hawking their autographs and anecdotes. Still, all seem happy with their lot and eager to share their stories.

The casual viewer might be nonplussed by Elstree 1976, but Star Wars fans – and Lord knows there’s more than a few of them – should find plenty of value.

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Fallout 4 (Game)

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I’m trudging through an irradiated swamp in the wasteland on the way to a community under attack by feral ghouls. My robot butler, Codsworth, chats amiably about nothing in particular as I make sure I’ve got enough ammo for the battle to come. I avoid the gigantic mosquitoes and ready my hunting rifle… when suddenly the heavens issue an almighty bang! A UFO, damaged and flaming, comes streaking out of the sky, flies over the swamp and crashes with a concussive thud nearby.

“You know, ma’am, I rather think we should investigate that,” Codsworth dryly observes. I walk over to the flaming wreckage. Nothing’s inside the craft but there’s blood, green in colour, leading in slimy streaks away from the crash site. I follow and eventually enter a cave. Inside is an alien, pissed off, who starts blasting at me, but I’m ready. I fire my rifle and explode his tumescent, extra-terrestrial head. Digging through his pockets I find a unique Alien Blaster. I add the weapon to my inventory and head back out into the wasteland.

Welcome to Fallout 4, Bethesda’s latest iteration in the beloved series about a post-apocalyptic, alternate reality earth. This time, the action takes places in what remains of Boston, in the year 2287, on a quest that is initially about finding your stolen son in a world gone mad. However, anyone who has ever played a Bethesda game, like Fallout 3 or Skyrim, will tell you the main story is largely a backdrop for the random encounters and strange journeys you embark upon in this massive, open-world action RPG.

When it comes to size and sheer volume of content, Fallout 4 does not disappoint. The game is huge. Even just playing the main story missions with no side quests would take a good few days of uninterrupted play, but when you factor in the various side quests and exploration, crafting options for DIY settlements (a new addition for this iteration) and just wandering about, getting lost and discovering things for the hell of it, Fallout 4 offers potentially hundreds of hours of play.

On the downside, the RPG elements have been stripped back and simplified this time around. This means that levelling up is less meaningful and, curiously, the emphasis of playstyle seems almost exclusively action-based, with most problems being solved via shooting. There’s nothing wrong with shooting in video games, mind you, but one of the exciting elements of Fallout 3 and Fallout: New Vegas was you could quite often talk or use guile to extricate yourself from a sticky situation, lending more depth to the proceedings.

Presentation-wise there are also a few niggling problems. The graphics and environments are beautiful-looking, especially on high-end PCs, but the character models and facial animations are oddly stiff, heading into uncanny valley territory. This is a problem that is particularly noticeable in 2015, when Witcher 3 proved RPGs can be as beautiful as they are massive. It may seem like a surface-level problem, but it’s hard to emotionally connect to a character who looks like a slightly baffled mannequin.

Still, in terms of offering a persistent, strange and darkly humorous world, Fallout 4 is hard to beat. Exploring the ruined remains of a once proud and thriving society is always poignant and the level of immersion and intrigue is likely to keep you hooked for many dark days and radioactive nights.

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Minecraft: Story Mode (Game)

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Telltale Games are becoming the go-to company for expanding existing Intellectual Properties into satisfying, episodic narratives. The company has worked their magic on Robert Kirkman’s The Walking Dead, Game of Thrones and even lunatic loot-and-shoot FPS, Borderlands with the surprisingly satisfying Tales From The Borderlands.

So when the announcement was made that Telltale would be giving the treatment to Minecraft it was met more with curiosity than outright disbelief. Minecraft, for those of you over 35 and/or without children, is the procedurally generated crafting game, where players spend however long they want building, creating and existing in a deliberately retro looking, blocky environment. There is no story to speak of, nor are there goals or, ultimately, a point in the traditional sense of the word.

It’s a pretty steep task Telltale were handed, to turn this into an engaging multi-part adventure, but done it they have and the results are impressively solid but not spectacular. Using the same art style as Minecraft, Story Mode puts you in the shoes of Jesse. Jesse can either be a male avatar voiced by Patton Oswalt or a female avatar voiced by Catherine Taber. Jesse and his band of friends like to craft things (naturally) and after a brief introduction soon find themselves embroiled in an epic adventure where they must find The Order of the Stone – five legendary adventurers who had previously saved the Minecraft world from a threat that has now returned.

The positive aspects of Story Mode are the buoyant tone and the excellent voice talent on hand. Along with the Patton/Catherine lead, we have Brian Posehn, Martha Plimpton, Phil LaMarr, Paul Reubens and Corey Feldman (!) lending their distinctive voices to their likeable characters. Plus Billy West narrates the adventure, which is delightful.

On the downside, Minecraft: Story Mode lacks the essence of what makes other Telltale Games great: tough decisions. In Wolf Among Us, Walking Dead and Game of Thrones some of the choices you’re forced to make are literally painful and heart-wrenching. It would take a cold-hearted automaton not to shed at least a single glistening tear at the end of Walking Dead Season One.

By comparison, Story Mode’s choices are more of the ‘will I wear a funny hat’ or ‘should I pat my pet pig’ variety. This is certainly in keeping with the younger audience Minecraft is likely seeking, but it’s hard to become too emotionally invested when you know everything will probably work out okay regardless.

At time of writing this review three of the five episodes are out, and all are engaging, light entertainment. The script is brisk, the voice acting excellent and there are loads of cool little easter eggs and in-jokes for Minecraft devotees. The stakes are low but the joke count is high and ultimately Minecraft fans will likely embrace this more narrative driven addition to their sandbox.

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The aftermath of a bank robbery leads to several deaths and a thief with a mysterious past on the run from a suave assassin in this down and dirty action flick from director Stephen S. Campanelli. Olga Kurylenko (The Water Diviner) is Alex, the thief who witnesses the death of her friends at the hands of Mr Washington (James Purefoy). Sparking off a chase that sees her doggedly pursued across Cape Town, Alex ends up embroiled in a fight not only for her life, but the lives of the widow and son her friend has left behind.

Similar in scope and style to Steven Soderbergh’s Haywire which saw Gina Carano on the run from the government, Momentum lives up to its name by being filled with set piece after violent set piece. Keeping things bruisingly intimate, Campanelli uses numerus hand held cameras that get you up close and personal with stunts he’s set up. Backed up by a distinct lack of CGI, you’ll feel every punch that connects and a brutal car crash is liable to cause anxiety.

But it’s not just the stunts that entertain, with the film’s leads adding to the madness. Kurylenko throws herself into a part that refreshingly doesn’t rely on sex being her chief weapon in the fight for survival. Purefoy is clearly enjoying himself playing Mr Washington with a serenity so deep that it screams homicidal. As he locks horns with the steely jawed Kurylenko you can almost swear he’s falling in love with her as she shoots her way through his team.

As with all action films, a suspension of disbelief is required – a bomb going off in an airport at one stage is not enough to ground all flights apparently – but when Momentum gets going, there’s an entertaining time to be had trying to catch up.

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In Stereo

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When you have a romantic comedy on your hands, not only should it be both a comedy and romantic, you should be willing to cheer on the lead couple as they step closer towards coupledom. In Stereo’s lead couple have not only broken up by the time the beginning credits have unfurled, but they have also hopped straight into other relationships so fast you can hear the rebound from Mars.

David (Micah Hauptman), an affluent photographer, is with a destructive immature airhead who is sleeping with his best friend. Brenda (Beau Garrett) has a boyfriend who doesn’t excite her and an acting career that’s spiraling downwards. As a result of their poor life choices, they are vicious to everyone they know and, in the case of David, deliberately antagonise people to get a reaction. Following them both on the same day, the viewer is invited to cross their fingers that they get back together; if not for themselves then for the sake of the city that quakes with each dummy spit.

In Stereo makes the mistake in thinking these are complicated people with equally complicated lives. However, taken at face value, they just come across as mean-spirited and, at times, kind of spoilt. David harasses people so he can take their photo and giggles at the outcome, whilst Brenda’s career is failing because she refuses to take work. With TV shows like Aziz Ansari’s Master of None proving you can play in the tortured artist sandbox and still have something to say, there’s little room for protagonists like In Stereo’s where their self-destructive nature is presented as merely quirky.

Director Mel Rodriguez III provides slick visuals and an even slicker soundtrack, but it doesn’t hide the fact that the conclusion of In Stereo is that it’s really hard when two gorgeous women want you.

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Moving into a spooky house with a terrible history, the Asher family comes under attack from numerous things that bump in the night. For all intents and purposes, this is as much the plot to The Conjuring as it is Haunt. However, this film from documentary maker Mac Carter isn’t just reminiscent of one particular haunted house movie. It can easily be identified as the summary and conclusion to an entire essay about the haunted house genre in the last ten years. Its derivative nature is such that it almost acts as a way of highlighting the faults with films such as The Haunting in Connecticut, Annabelle and Insidious.

When middle child, Evan (Harrison Gilbertson) meets his abused neighbor Sam (Liana Liberato), the two form an instant sexual bond that results in Evan agreeing to summon up the ghosts of his new home via a pimped up radio. Nothing good ever came of a post-coital séance and things soon escalate.

The film unpacks the usual showbag of goosebump riddled scares including Evan’s youngest sister talking to an imaginary friend, bloodied corpses and numerous slam cuts of ghosts set against the soundtrack of a crashing piano. These are such familiar tropes that it verges on parody.

Its only real strengths come from Australia’s own Jacki Weaver, who pops up occasionally as the previous owner of the horror house who is clearly in need of some therapy and a hug. Weaver can play these parts in her sleep, and it’s a shame that she isn’t in it more. In addition, Haunt manages, in its last few minutes, to pull a rather nasty little twist that pulls the rug from under its audience. Brutal and violent, it becomes obvious in hindsight how much this film needed less replication and a bit more bite.

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Pump, the latest from documentarians Rebecca Harrell Tickell and Joshua Tickell, is their third look at fuel alternatives. This time around the focus is on how America’s choices in how to fuel their cars have been clearly defined for them ever since the days of John Rockefeller’s first steps into the oil game.

Narrated by Jason Bateman, the documentary recounts the country’s affair with oil and offers up alternatives to gas guzzling in the form of methanol, natural gas, and, of course, electric cars. With outright tenacity, Pump sets its teeth into the problem that establishing an alternative source of fuel is hard when the biggest stakeholders are the ones who would rather it didn’t catch on. It’s pointed out several times that the public will happily fill their tanks with alcohol or plug their cars in to charge, as long as they’re given the choice. It’s the American way. And it’s not just members of the public who are convinced, former Brazilian president Luiz Inacio Lula da Silva waves the green flag. Which is perhaps unsurprising when you consider the success flexible fuel cars have had in his country.

It’s a sobering moment when Pump lays out how monopolised things are in the oil market. If we’re to be cynical, at times some of the Tickells’ evidence is questionable. At one point they claim that Rockefeller encouraged prohibition to curb investment in alcohol fueled cars. Whilst that example conjures up thoughts of the illuminati keeping watch over us all, it’s hard to deny the feeling that big businesses have more of a say in what we do than we realise. Despite the spotlight firmly focused on the United States, there’s still something here for Australia, another country with a large vehicular heritage, to chew on.

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Spooks: The Greater Good

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Spooks: The Greater Good, picking up where David Wolstencroft’s acclaimed TV series left off, fits comfortably between James Bond and Ethan Hunt – aptly balancing straight-edged surveillance drama and light-hearted thrills.

Spooks: The Greater Good kicks off with your typical convoy-attack sequence within London’s CBD. A small terrorist cell attacks the MI-5 unit, freeing apprehended leader, Adem Qasim (Elyes Gabel). The disaster shakes MI-5’s foundations, making the British Government, press, and fellow agencies question its purpose. Counter-terrorism department head, Harry Pearce (Peter Firth), soon disappears, further fraying relations between American and British intelligence. Pearce, investigating Qasim’s movements, believes that a top MI5 official seeks to destroy the agency from the inside. Enter decommissioned agent, Will Holloway (Kit Harington), to track Pearce throughout Europe.

The production resembles a two-part miniseries/ spin-off of the Spooks series. There is also little separating the plot from that of the Bourne or Mission: Impossible entries – checking off everything from double crosses, to a lead character on the run scenario, to a strained mentor/protégé dynamic. Director, Bharat Nalluri, working from Jonathan Brackley and Sam Vincent’s screenplay, knows how to up the ante. Aware of the original’s appeal, Nalluri delivers multiple foot chases and gun fights. Fittingly, its focus on tech-driven, nose-to-thegrindstone surveillance highlights the franchise’s immense scope. Teaming up with returning Spooks cast members, newcomers, Kit Harington and Jennifer Ehle, match the series’ whip-smart, assertive attitude. Spooks: The Greater Good, though nothing entirely new, is a pacy, well-crafted spy-thriller that certainly matches the competition.