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FilmCentral Movie Review: Ice Cream Man: Don’t Expect High Art — Expect Absolute Carnage!

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It isn’t subtle, it isn’t sensible and it certainly isn’t for everyone — but Eli Roth’s gloriously unhinged horror ride knows exactly what it wants to be.

There are two ways to approach Ice Cream Man.

You can walk in expecting a serious horror film with meticulously constructed characters, airtight logic and a story that behaves itself.

Or you can sit back, grab the popcorn and accept that Eli Roth has basically driven an ice-cream van directly through the gates of sanity.

The second option is considerably more fun.

Ice Cream Man is not interested in subtlety. It isn’t trying to reinvent the horror genre or become the next great piece of elevated cinema. Instead, it embraces the glorious tradition of the B-movie: big kills, bigger ideas, questionable decisions and enough gore to make the freezer aisle look like a crime scene.

And, surprisingly often, it works.

SCOOP BY SCOOP

The first thing to understand about Ice Cream Man is that realism has been left somewhere in the car park.

This is heightened, cartoonish horror where one outrageous situation leads to another, with the film seemingly daring the audience to guess what twisted idea is coming next.

The experience can feel less like watching a conventional slasher and more like playing a particularly deranged horror video game.

Move forward.

Survive the next encounter.

Wait for the next kill.

Repeat.

Once you surrender to that rhythm, the film becomes considerably more entertaining.

There’s a gleeful unpredictability to it. You never quite know where Roth is going to take things next, and that willingness to embrace the ridiculous gives the film an infectious energy.

Is it realistic?

Absolutely not.

Does every scene make perfect sense?

Not remotely.

Does it matter?

Not nearly as much as you might think.

WELCOME TO THE HOUSE OF HORRORS

The closest comparison isn’t necessarily another film.

It’s a Halloween Horror Nights attraction.

There’s something about Ice Cream Man that feels as though someone has taken the experience of walking through an elaborate horror maze and expanded it into a feature-length movie.

The story is there, technically, but it’s really the individual nightmares that matter.

You move from one grotesque set-piece to another, with the film continually escalating its violence and absurdity.

It’s candy-coloured nastiness.

Cartoonish carnage.

Cheesy one-liners.

Ridiculous situations.

And a lingering sense that nobody involved in the production ever asked the most obvious question:

“Should we perhaps stop?”

Fortunately, they didn’t.

ELI ROTH DOES WHAT ELI ROTH DOES

If you’ve seen Eli Roth’s previous work, you won’t exactly be shocked by the contents of Ice Cream Man.

Roth has never been a filmmaker particularly interested in restraint.

His cinema tends to favour practical gore, graphic violence, outrageous scenarios and the occasional moment that makes you instinctively look away before immediately looking back.

Ice Cream Man is cut from precisely the same cloth.

The film understands that horror fans don’t necessarily need every movie to make a grand statement.

Sometimes they just want carnage.

And there’s nothing inherently wrong with that.

In fact, there’s something refreshing about a horror movie that knows its own limitations and decides to have fun with them.

THE KILLS

This is where Ice Cream Man earns its stripes.

The kills are imaginative, brutal and frequently ridiculous in exactly the right way.

The practical effects are particularly effective, giving the violence a physical quality that modern CGI-heavy horror can sometimes lack.

You can almost feel the squelch.

The prosthetics, makeup effects and physical gore give the movie an appropriately nasty texture, and some of the set-pieces are clearly designed to make horror fans grin while everyone else reaches for the exit.

Not every effect lands.

There are moments where the digital work looks noticeably cheaper, particularly when placed beside the stronger practical effects.

But even when the effects wobble, the enthusiasm doesn’t.

And that’s important.

This is a film made by people who clearly enjoy the art of making audiences uncomfortable.

DON’T COME FOR THE SCREENPLAY

The screenplay is going to be divisive.

There are some lines that are so outrageously cheesy they become entertaining. There are others that simply make you wonder whether the actors were given the script five minutes before shooting.

The story itself is deliberately thin, with bits of strange mythology and lore occasionally thrown into the mix without much concern for whether everything fits neatly together.

If you’re looking for a perfectly engineered horror narrative, you’re likely to be frustrated.

But Ice Cream Man works better when you stop demanding that it behave like one.

This isn’t The Silence of the Lambs.

It’s closer to the sort of midnight horror movie you’d discover years later, become slightly obsessed with and start recommending to people with the words:

“Trust me. You have to see this.”

That feels like the future this film deserves.

CHARACTER? WHAT CHARACTER?

The performances aren’t really the selling point.

The characters exist primarily to move the story towards its next spectacularly unpleasant encounter.

This isn’t a film about carefully developed emotional arcs. It’s a film about putting people in increasingly horrible situations and seeing what happens.

Some performances work nicely within the deliberately exaggerated tone.

Others are less convincing.

But demanding Oscar-worthy dramatic depth from Ice Cream Man would be like complaining that a rollercoaster doesn’t contain enough meaningful dialogue.

That’s not why you’re here.

THE AI QUESTION

Then there’s the film’s most contemporary controversy: its use of artificial intelligence.

AI-generated material appears briefly, particularly in some of the dream-like imagery, and the footage itself represents only a tiny portion of the overall film.

That doesn’t mean the discussion isn’t worthwhile.

The use of generative AI in filmmaking raises legitimate questions about authorship, artistic labour and the future role of visual-effects artists.

Roth has stated that some of the material originated from hand-drawn artwork he created, which was subsequently developed using AI technology.

If that’s the process, there’s a meaningful distinction between using AI as a tool to manipulate an artist’s own work and simply generating finished imagery from scratch.

Either way, the debate is likely to continue long after the credits roll.

Visually, though, the AI material doesn’t dominate the movie. The film’s identity is still overwhelmingly defined by practical gore, makeup effects and physical stunt work.

SO, IS IT ANY GOOD?

That’s probably the wrong question.

The better question is:

Did you have fun?

Because Ice Cream Man isn’t pretending to be something it isn’t.

It’s a messy, bloody, occasionally cheap-looking, completely excessive horror romp.

And sometimes that’s exactly what you want.

Not every horror film needs to be profound.

Not every villain needs a detailed psychological profile.

Not every death needs to represent the collapse of modern society.

Sometimes a film can simply throw a bucket of blood at the screen and ask you to enjoy yourself.

Ice Cream Man does exactly that.

THE VERDICT

There will absolutely be people who hate this movie.

And, to be fair, they won’t be entirely wrong.

The screenplay can be ridiculous. Some effects look ropey. The characterisation is thin. The story occasionally seems to have been assembled with a chainsaw.

But none of that changes the fact that the film is enormously entertaining when approached on its own terms.

It’s fast.

It’s bloody.

It’s colourful.

It’s weird.

And it’s got enough gleefully depraved energy to keep the whole thing moving.

Most importantly, it isn’t boring.

And in horror, that’s a bigger compliment than it sounds.

Ice Cream Man feels destined for the midnight-movie circuit — the kind of film that audiences rediscover years later, quote endlessly and defend passionately while everyone else wonders what the hell they’re talking about.

It’s not high art.

It’s not trying to be.

It’s a giant tub of cinematic junk food, served cold, covered in blood and absolutely loaded with sprinkles.

★★★½ / 5

THE SCOOP: Come for the ice cream. Stay for the carnage.

FilmCentral Movie Review: Spielberg’s Disclosure Day Teases Cosmic Wonder. . . But Never Quite Ignites

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Editorial credit: Real_Java / Shutterstock.com

There is a flicker of something monumental inside Disclosure Day — the sense that, at any second, Steven Spielberg is about to tilt the world on its axis and reveal something extraordinary. You can feel it being assembled: the mystery tightening, the factions circling, the stakes quietly rising. And yet the ignition never quite arrives when the film promises it will.

Instead, Spielberg’s latest unfolds as a drawn-out pursuit of revelation rather than revelation itself. It’s a film built on anticipation — and for long stretches, that anticipation becomes the entire experience.

On the surface, Disclosure Day plays like a familiar high-concept thriller: a group of characters are drawn into orbit around a mysterious object whose origins and implications slowly unravel. Government forces, private interests, and uneasy allies all converge, each chasing an answer that remains frustratingly out of reach. It’s a setup rich with possibility — conspiracy-tinged sci-fi in classic Spielberg territory.

But the execution is surprisingly restrained. Much of the runtime is spent in motion rather than progression: characters relocating, escaping, regrouping, repeating. The film is busy, even kinetic at times, yet strangely circular, as though it is circling its own revelations rather than building towards them with urgency.

When the major story turns finally do arrive, they are concentrated in the final act — too concentrated, depending on your patience. The structure withholds its most intriguing ideas for so long that the release feels compressed, rather than earned.

That said, Spielberg’s command of cinematic language remains intact. Even when the screenplay stalls, the direction does not. Janusz Kamiński’s cinematography bathes the film in his signature palette of deep shadow and metallic light, lending the story a moody, almost haunted texture. Faces emerge from darkness mid-revelation; vast environments dwarf the characters as they inch toward truths that feel physically out of reach. It’s technically immaculate — sometimes too consistent, bordering on familiarity.

The cast does significant heavy lifting throughout. Emily Blunt gives the film its most grounded centre, anchoring the chaos with clarity and emotional precision. Josh O’Connor brings a brittle intensity, while Colman Domingo offers a steadier, authoritative presence that suggests far more depth than the script always allows him to explore.

What undermines much of the momentum is the screenplay’s cautious relationship with its own ideas. David Koepp’s script is undeniably functional — carefully structured, heavily plotted — but it rarely feels daring. Characters often exist in service of movement rather than motivation, and dialogue frequently defaults to exposition at the expense of subtext. The result is a film that advances its plot while rarely deepening its emotional stakes.

Even John Williams’ score, usually a defining emotional engine in Spielberg’s films, takes a subdued approach here. Instead of soaring motifs or thematic clarity, the music drifts beneath the surface — atmospheric rather than declarative. It’s tasteful, certainly, but it also strips away some of the grandeur the story occasionally seems to reach for.

Thematically, Disclosure Day gestures toward ideas of discovery, control, and human response to the unknown, but it often frames those ideas through the lens of a grounded chase thriller rather than a sense of wonder. There is intelligence in that choice, but it comes at the expense of awe — a quality audiences have long associated with Spielberg’s most resonant work.

By the time the final act arrives, the film does attempt a reconfiguration of everything that has come before, unveiling a broader conceptual ambition that reframes earlier events. For some viewers, this retrospective clarity may elevate what preceded it. For others, it will feel like too little, delivered too late.

Reactions are likely to fracture. Some will see restraint and thematic subtlety; others will see delay and deflation. Much depends on expectation — and Spielberg, perhaps more than any living filmmaker, carries expectations of wonder that are difficult to sidestep.

Ultimately, Disclosure Day feels like a film that reaches for something expansive yet is contained by its own structure. It is polished, intermittently gripping, and often visually compelling, yet it struggles to sustain the momentum of its ideas.

There are glimpses — fleeting, almost teasing — of the kind of transcendence the premise promises. But they remain glimpses rather than fulfilment.

A thoughtful, uneven sci-fi thriller, then, rather than a revelation. One that lingers more in concept than in impact.

Rating: 2.5/5

How to Talk Australians: The Movie — Viral Web Series Goes Big-Screen in a Bold Aussie Comedy That Turns Culture Clash Into Comedy Gold

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Umbrella Entertainment has dropped the official trailer for the highly anticipated Australian comedy How to Talk Australians: The Movie, ahead of its nationwide cinema release on 11 June, marking a bold big-screen expansion of one of the internet’s most unexpected viral success stories.

Based on the cult hit web series of the same name, which amassed more than 12 million YouTube views, the film takes its signature linguistic humour and cultural observations to a whole new level, swapping short-form sketches for a full cinematic narrative filled with chaos, confusion, and comedic discovery.

From Viral Sensation to Feature Film

Originally created as a web series exploring the quirks of Australian slang and communication, How to Talk Australians quickly gained international traction for its witty take on language barriers and cultural misunderstandings.

Now reimagined for cinema, the story follows a group of students from the Delhi College of Linguistics who finally step out of the classroom and into a real-world cultural immersion trip to Australia. But what begins as an educational journey quickly unravels into an unexpected adventure when their flight is diverted to the regional town of Dubbo due to severe storms.

Stranded and without their tour leader—who is detained by customs—the group is forced to navigate an Australia they never expected to experience, far removed from the glossy tourist destinations of Sydney, Melbourne, Uluru, or Adelaide. Instead, they discover a version of the country that is raw, unpredictable, and unexpectedly welcoming.

A Fresh Perspective on Australian Identity

At its core, the film offers a comedic yet affectionate exploration of Australian culture through the eyes of outsiders trying to decode its language, humour, and social cues. The result is a fish-out-of-water story that leans into cultural misunderstanding while celebrating the charm and eccentricity of everyday Australian life.

Rather than relying on stereotypes, the film reframes Australia through curiosity and confusion, allowing audiences from all backgrounds to laugh at the universal challenges of communication and identity.

Award-Winning Festival Momentum

Ahead of its local release, the film has already enjoyed a strong international reception, following a successful festival run in India. It was awarded Best Comedy at both the New Delhi International Film Festival and the Jaipur International Film Festival, signalling its broad cross-cultural appeal.

More recently, the film made its Australian debut with a sold-out premiere screening in collaboration with the Melbourne International Comedy Festival, further cementing its status as one of the year’s most talked-about comedy releases.

A Diverse Cast Bringing the Comedy to Life

How to Talk Australians: The Movie also makes history as the first Australian feature film to showcase a primarily Indian-Australian lead cast. The film stars Rohan Ganju, known for The Emu War and Urvi Went to an All Girls School, alongside Ria Patel, Robert Santiago, and Vikrant Narain.

Supporting the ensemble is an all-star Australian comedy lineup including Shane Jacobson (Kenny, Oddball), Danielle Walker (Gold Diggers), Dave Lawson (Utopia), and Rick Davies (Offspring), adding further depth and comedic firepower to the production.

Creative Team Behind the Viral Original Returns

The film reunites the original creative team behind the web series, with Tony Rogers (Wilfred) returning as co-writer and director, alongside co-writer Rob Hibbert. Producers Jason Byrne and Victoria Schaw of Positive Ape also return, joined by Phil Spencer, continuing the collaborative vision that first launched the concept into viral success.

A Comedy Built for Global Audiences

With its blend of cultural satire, road-trip chaos, and sharp observational humour, How to Talk Australians: The Movie aims to appeal to both domestic and international audiences, offering a fresh take on what it means to understand a culture from the outside in.

Umbrella Entertainment will distribute the film across Australia and New Zealand, with the nationwide release set for 11 June.

As anticipation builds, one thing is clear: this is not just a comedy about language—it’s a celebration of miscommunication, connection, and the unexpected beauty of getting lost in translation.

Ready or Not 2 Movie Review: Samara Weaving Returns for a Bloody, Hilarious Sequel

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Picking up immediately after the events of the first film, Ready or Not 2: Here I Come wastes no time putting Grace (Samara Weaving) back in mortal peril. There’s no reset, no “let’s catch you up” exposition — just pure momentum as the nightmare continues. The opening hospital sequence sees Grace recovering from her ordeal, only for her and her estranged sister Faith (Kathryn Newton) to be drugged and transported to the estate of a new, more dangerous cabal of wealthy families. This time, survival isn’t just about Grace; the sisters must navigate a high-stakes hunt where multiple families vie to land the killing blow and ascend to the top of a global power structure.

The plot leans hard into the absurdity of its own rules. While the stakes are higher and the scope broader, the narrative occasionally meanders, with new characters that don’t always land and subplots that feel more like padding than payoff. Yet when the story works — particularly in sequences where Grace and Faith improvise to stay alive — it’s thrilling, gory, and wickedly funny. The sibling dynamic provides a grounding element amid the chaos, though their on-again-off-again squabbles can sometimes feel repetitive.

Cast & Crew

Samara Weaving is the undeniable anchor of the series. She balances grit, dark humour, and physicality with effortless charm, making her a scream queen you genuinely want to root for. Kathryn Newton brings energy, sass, and a sense of fun to Faith, serving as a lively foil to Grace’s battle-hardened persona. The chemistry between the sisters carries the film through its more absurd stretches.

Elijah Wood’s turn as the new lawyer is a highlight, blending menace, wit, and an eerie composure that elevates every scene he’s in. Sarah Michelle Gellar makes a memorable impact in key moments, injecting tension and a sharp edge to the proceedings. Other standouts include David Cronenberg, Kevin Durand, Nestor Carbonell, and Shawn Hatosy, who bring gravitas and menace in varying degrees.

Director Justin Malen keeps the film visually dynamic, using a crimson-hued palette, angular camera work, and tightly choreographed action to give the sequel a comic-book-like sheen. Practical effects, CGI, and clever sound design elevate the gory set pieces, making every kill feel inventive and every explosion suitably over-the-top. The production retains the first film’s slick balance of horror and humour while expanding the world in ways that feel ambitious, if occasionally uneven.

Review

The genius of Ready or Not 2 is in its immediacy. By diving straight into Grace’s survival saga, the film keeps viewers on edge from start to finish. The sequel leans heavily into black comedy, with slapstick violence, clever wordplay, and vicious one-liners peppered throughout. At times, the humour even overshadows the horror, but it’s exactly the kind of audacious tonal juggling that made the original so memorable.

Action and survival sequences are highlights, with Grace and Faith improvising traps, escapes, and counterattacks that feel both clever and entertaining. The gore is unapologetically graphic, yet often played for laughs, giving the film a comic-book thrill that keeps it fresh. The sound design and cinematography complement this chaos beautifully, amplifying tension while accentuating the film’s playful absurdity.

However, the film isn’t without flaws. Expanding the mythology and introducing new families sometimes dilutes the suspense, and several of the new characters feel underdeveloped or irritating. The pacing drags in a few sequences, and the narrative occasionally veers into excess — hyper-aggressive language, over-the-top visuals, and farcical plot beats that never quite match the tight precision of the first movie. Where the original balanced horror and humour with surgical precision, the sequel occasionally tilts too far into spectacle.

Still, there’s plenty to enjoy. Grace remains an engaging, resilient protagonist, and the sisterly dynamic with Faith adds heart to the madness. Elijah Wood’s subtle menace and Sarah Michelle Gellar’s sharp presence make the ensemble cast feel invested, helping the film ride through its rougher patches. The comedy, from biting one-liners to absurd situational humour, lands more often than it misses, and the inventive kill sequences keep viewers entertained.

For fans of the original, the sequel offers everything you want: gore, humour, tension, and a fresh batch of deadly challenges. For newcomers, it may feel chaotic or overstuffed, but the film’s energy and visual flair make it a thoroughly watchable experience.

Verdict

Ready or Not 2: Here I Come is a fun, energetic, and visually inventive sequel that leans into the dark comedy and high-octane action the series is known for. While it doesn’t quite match the first film’s narrative tightness or suspense, it compensates with strong performances, inventive kills, and audacious humour. Grace and Faith’s survival story is as thrilling as it is grotesquely funny, making this a solid, if not essential, addition to the franchise.

Rating

★★★☆☆ (3/5)

A watchable, entertaining sequel with strong performances and inventive action, but one that occasionally tips too far into spectacle, over-the-top humour, and uneven pacing. Fans of the first film will enjoy the ride; newcomers may find it a little chaotic. Perfect for a night of bloody, hilarious fun in the cinema.

Madman Entertainment Unveils Trailer and Artwork for Park Chan-wook’s No Other Choice

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Madman Entertainment has revealed the first trailer and official artwork for No Other Choice, the highly anticipated darkly comic thriller from BAFTA Award-winning director Park Chan-wook (The Handmaiden, Oldboy). The film is set for release in Australian cinemas on 15 January 2026.

Based on Donald E. Westlake’s novel The Ax, No Other Choice tells the story of Man-su, a middle-aged man who, after being unexpectedly fired from a paper company where he dedicated 25 years, embarks on a determined job hunt. “If there is no opening for me, I’ll just have to get hired by creating one. I have no other choice,” he declares, setting off a chain of events that is as darkly humorous as it is suspenseful.

The film stars Lee Byung-hun (I Saw the Devil) and Son Ye-jin (The Last Princess), supported by an ensemble cast including Park Hee-soon (My Name), Lee Sung-min (The Spy Gone North), Yeom Hye-ran (The Glory), Cha Seung-won (Believer), and Yoo Yeon-seok (Mr. Sunshine). The screenplay is a collaboration between Park Chan-wook, Lee Kyoung-mi, Don McKellar, and Jahye Lee.

Following its world premiere at the Venice Film Festival, No Other Choice has already generated buzz for its sharp direction, dark humour, and tightly wound narrative. Fans of Park Chan-wook can expect a story that blends suspense, satire, and a piercing look at ambition and desperation in modern life.

No Other Choice arrives in Australian cinemas on 15 January 2026, promising audiences a thrilling and darkly comedic cinematic experience to start the new year.

Bold, Brilliant, and Purpose-Driven: Julia Garcia Takes Centre Stage in Filmcentral Magazine

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Julia Garcia stands at the intersection of talent, purpose, and fearless creativity—an artist whose work resonates far beyond the screen. Best known for her breakout role as Emmy Mendoza on Disney Channel’s Sydney to the Max, Julia instantly captured audiences with a performance that was bold, hilarious, and deeply heartfelt. Portraying a young girl navigating life with a learning disability, she brought humour and humanity to the role, offering representation that felt both authentic and empowering. It was a reminder that storytelling can be joyful while still carrying profound meaning.

Her impact only deepened with her critically acclaimed appearance on ABC’s Station 19, where her emotionally raw portrayal of a grieving teen ignited global conversations around women’s health and onscreen vulnerability. The response was undeniable—viral clips nearing 40 million views confirmed that Julia’s performances don’t just entertain; they connect, challenge, and move audiences worldwide.

Yet Julia’s influence extends well beyond acting. A creative force behind the camera from a young age, she produced Oscar-qualifying films by just 14 and went on to write, direct, and star in her debut feature at 18. Through her production company, Julia Garcia Enterprises LLC, she recently executive-produced Alone, continuing her commitment to inclusive, socially conscious storytelling.

Drawing inspiration from her Latina and Filipino heritage, Julia is passionate about reshaping Hollywood into a more collaborative and representative space—one where diverse voices are not only heard, but celebrated. Grounded in gratitude and purpose, she also gives back through her advocacy with CHLA, Teen Cancer America, and St. Jude Children’s Hospital.

As highlighted in Filmcentral Magazine’s latest feature, Julia Garcia is not just a rising star—she is a voice of her generation, using her platform to inspire empathy, authenticity, and lasting change.

You’ve delivered powerful performances on Sydney to the Max and Station 19, capturing both humor and raw emotion. How do you approach balancing these different facets of storytelling in your work?

Thank you so much for those kind words. I feel really lucky to have worked on both Sydney to the Max and Station 19 because they showed such different sides of storytelling.  Sydney to the Max was a family comedy, but it still tackled real-life topics, so I was able to bring heart to the humor.  Then with Station 19, it was all about tapping into real emotion and sharing stories that genuinely touch people. For me, it’s all about being honest, whether it’s a funny or serious moment, I always try to find what’s real and relatable. If you stay true to the character and the story, everything else falls into place.

Representation has been a hallmark of your career. How has your own Latina and Filipino heritage influenced the roles you choose and the stories you want to tell?

Blending the strength of my Latin identity with the heart of my Filipino heritage really inspires the stories I want to tell. I’ve always seen representation as more than just being seen; to me, it’s about being heard and understood. In an industry where there’s still so much room for more of our voices, I feel a responsibility to help change that.  I want to tell stories that feel real, honest, complex, and imperfect.

At just 14, you were producing Oscar-qualifying films, and now you’re writing, directing, and producing your own projects. How has moving behind the camera shaped your perspective as an actor?

Stepping behind the camera really changed how I see storytelling.  As an actor, you focus on emotion and the character’s objective, but as a director and producer, you see how every detail builds that emotion. Creating my own projects has taught me the importance of bridging the roles of actor and producer to bring to life the stories I believe in.  The process helps me be well-rounded, which, in turn, reflects on me as an actor. I’m also pleased to announce I have another film I produced that just became Oscar-qualified called ‘Living in Fear.’ Fingers crossed for that Academy Award nomination.

Your performance on Station 19 sparked a global conversation about women’s health and vulnerability. How do you navigate the responsibility of portraying such emotionally charged stories?

The Station 19 storyline was really special to me because it explored the journey of a young girl growing up without a mother and the strength it takes to navigate life through that kind of loss.  I felt a real responsibility to handle it with care and honesty, knowing how many people carry that experience.  Portraying emotionally charged stories like that is never about performance; it’s about empathy and finding truth in the character’s pain and resilience. It was an honor to tell this story to help others feel seen, understood, and less alone.

With your production company, Julia Garcia Enterprises LLC, and projects like ‘ALONE’, what drives your commitment to creating inclusive and authentic narratives in Hollywood?

I’m committed to creating stories that are real and relatable, whether the genre is drama or a thriller/horror film.  I want audiences to see characters who look like them and have experiences that resonate with them. Inclusivity is a huge part of what I do. Hollywood has made progress, but there’s still so much room for diverse voices and authentic stories.  I’m driven to make projects where everyone from all walks of life can relate and where the stories themselves reflect the richness and complexity of real life.  My goal is to create work that entertains, connects, and represents people truthfully.

Comedy and heart often intersect in your work. How do you find the balance between entertaining audiences and delivering meaningful, socially relevant messages?

I love finding the balance where comedy meets heart; it comes naturally to me. Making people laugh is something I love to do, but I also want the stories to mean something and for the audiences to connect on a deeper level.  I think the trick is staying honest with the character and situations I write.  The humor comes through in the message and delivery, which’ll land with impact.  It’s all about keeping the connection.

You actively support charities such as CHLA, Teen Cancer America, and St. Jude Children’s Research Hospital. How does giving back influence your work and your outlook on the industry?

Giving back is really important to me.   Supporting CHLA, Teen Cancer America, and St. Jude, who each give hope to children and families during incredibly difficult times, reminds me why I do what I do.  Philanthropy keeps me grounded and inspires me to choose projects and roles that can uplift, inspire, and make a real difference.

Looking ahead, what are the stories you are most passionate about telling, either in front of or behind the camera, and what impact do you hope they have on audiences?

Looking ahead, I’m really passionate about telling stories that reflect real, contemporary experiences of my heritage and my community, which are often stories not seen on screen.  I want to explore themes like the immigrant experience, navigating identity between cultures, mental health, and generational trauma that challenge women growing up in these communities. Whether I’m acting, producing, writing, or directing, I hope my stories spark empathy and conversations that give audiences a chance to see themselves reflected on screen. I want my work to not only entertain and inspire.

Trash Cat Studios and DCP Australia Invite You to Back a Groundbreaking Fantasy Epic

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Trash Cat Studios, in partnership with DCP Australia, is excited to announce the launch of a Kickstarter campaign for The Ocean’s Curse, a groundbreaking indie feature film set to redefine independent cinema.

Directed and produced by award-winning filmmaker Johan Earl, produced by Sarah Mawbey and Yolandi Franken, with Sarah Mawbey and Johan Earl also starring, and with acclaimed cinematographer Tom Gleeson as Director of Photography, this storm-tossed fantasy epic delivers a gripping tale of family, survival, and sacrifice, infused with adrenaline-fueled action and stunning visuals.

Trash Cat Studios invites fans and supporters to join this ambitious project and help create a film that proves indie cinema can rival major studio blockbusters with heart and spectacle.

 Following the global success of their previous film Forbidden Ground (distributed by Lionsgate and available on all major streaming platforms internationally), the team is poised to deliver another unforgettable cinematic experience.

“The Ocean’s Curse is our chance to push indie filmmaking to new heights,” says director and producer Johan Earl. “By backing us, you’re helping redefine what’s possible with passion and vision.”

“We’re making The Ocean’s Curse for our kids and every dreamer out there, to prove that with heart and hustle, anything is possible,” says producer and actress Sarah Mawbey.

Be Part of the Epic

Contribute to our crowdfunding campaign and become part of The Ocean’s Curse! Backers can:

  • Act in the Film: Land a role on screen, no experience required.

  • Walk the Red Carpet: Join the cast and crew at the star-studded premiere.

  • Get VIP On-Set Access: Experience the filmmaking process up close.

  • Make History: Help create an indie film that delivers blockbuster spectacle.

Support the Vision

Join us to bring The Ocean’s Curse to life! Visit http://www.oceanscursemovie.com to contribute and unlock exclusive rewards.

Lilo & Stitch Lives Again: A Heartfelt Remake That Finds New Meaning in Ohana

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The 2025 iteration brings fresh life to the beloved 2002 animated classic, blending warm Hawaiian sunsets with CGI alien mayhem. While the story has undergone some tweaks—certain characters have vanished, and a few gags have been traded in for drama—the spirit of Ohana remains intact.

The Performances

At the centre of it all is newcomer Maia Kealoha, who gives a genuinely touching performance as Lilo. She captures the quirky, misunderstood essence of the original character with charm and emotional depth. However, it’s Sydney Elise Elizabeth Agudong as Nani who truly shines. Her portrayal of a young woman juggling grief, responsibility, and sisterhood is pitch-perfect—her chemistry with Kealoha anchors the film emotionally.

Chris Sanders reprises his iconic voice role as Stitch, and it’s like he never left. Stitch is just as chaotic and loveable as ever. Billy Magnussen brings unexpected heart to Agent Pleakley, while Hannah Waddingham and Zach Galifianakis add some solid weight to the supporting cast.

And let’s not forget Tia Carrere—seeing her return in a new role (albeit brief) is a nostalgic touch that fans will appreciate. It’s a full-circle moment that acknowledges the past while moving forward.

The Story & Direction

This is not a shot-for-shot remake—and that’s a good thing. Chris Kekaniokalani Bright and Mike Van Waes’s screenplay expands Lilo and Nani’s backstory, giving the sisters’ bond more narrative room to breathe. Some might miss the zanier moments of the original, but the emotional core hits the same beats. The theme of family—of being broken, different, and still finding love—is as potent as ever.

That said, the focus has definitely shifted toward the human drama. The alien antics take a back seat to familial tensions, which may feel like a misstep for fans expecting more extraterrestrial chaos. Notably, the villainous Captain Gantu is absent, and some design choices—like Jumba and Pleakley appearing in human form—were clearly budget-driven compromises.

Visuals & Music
Visually, the film is a treat. Filming in Hawaii certainly doesn’t hurt, and the cinematography capitalises on the location’s natural beauty. The CGI is decent, though Stitch occasionally dips into the uncanny valley. The musical score wisely retains the charm of the original, blending traditional Hawaiian sounds with emotional orchestration. It’s nostalgic but refreshed.

Final Thoughts
Lilo & Stitch isn’t a perfect remake, but it is a meaningful one. It doesn’t try to replicate the original beat-for-beat, nor should it. Instead, it takes the spirit of the 2002 classic and reimagines it for a new generation—one that might be meeting Lilo and Stitch for the very first time.

If you’re looking for a carbon copy, best stick with the animated version. But if you’re open to a new take—one that’s sincere, respectful, and deeply human—this version is worth the watch. It’ll make you laugh, tear up, and remember why Ohana means family.

Verdict: A warm, heartfelt remake that doesn’t always hit the mark, but gets the big things right.
3 out of 5 stars. ⭐️⭐️⭐️☆ ☆

Marvel Just Dropped the Thunderbolts Teaser Trailer and Poster—And We’re Already Obsessed

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Hold onto your popcorn, Marvel fans! The first teaser trailer and poster for Thunderbolts just dropped, and it’s giving us all the vibes. This isn’t your typical superhero team-up—Thunderbolts is bringing together the MCU’s least expected (and most chaotic) misfits, and we’re already counting down the days until it hits Aussie cinemas.

Let’s break it down. Florence Pugh returns as the fierce (and very over-it) assassin Yelena Belova, and she’s joined by some familiar MCU faces:

  • Bucky Barnes (yep, Sebastian Stan is back to brood),
  • Red Guardian (David Harbour doing what he does best—being hilarious),
  • John Walker (Wyatt Russell, still trying to redeem himself?),
  • Taskmaster (Olga Kurylenko is here for revenge),
  • Ghost (Hannah John-Kamen bringing the spooky vibes), and
  • Valentina Allegra de Fontaine (Julia Louis-Dreyfus being shady as ever).

Directed by indie favourite Jake Schreier, with Marvel Studios legend Kevin Feige producing (obviously), this film is shaping up to be one of the most unexpected and hilarious MCU projects to date. It’s like someone said, “What if we took the most random, emotionally unstable characters and made them work together? Chaos!”

And we are HERE for it.

Oh, and did we mention that Scarlett Johansson is one of the executive producers? Casual.

Thunderbolts is set to hit Aussie cinemas on May 1, 2025, and if the teaser is anything to go by, it’s going to be wild, hilarious, and absolutely epic. Buckle up, Marvel fans—it’s gonna be a bumpy ride!

This article was sourced from a media release sent by Disney+ / Image supplied by Disney+

Disney+ Announces Streaming Release of “Young Woman and the Sea” on July 19

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Disney’s highly anticipated film “Young Woman and the Sea,” recounting the remarkable true story of Trudy Ederle, the first woman to successfully swim the English Channel, is set to debut on Disney+ starting July 19.

Starring Daisy Ridley in the lead role, “Young Woman and the Sea” chronicles the inspiring journey of Trudy Ederle, born in 1905 to immigrant parents in New York City. Despite facing immense challenges and societal barriers, Ederle defied expectations with the unwavering support of her older sister and dedicated trainers. Her relentless pursuit led her to join the Olympic swimming team and ultimately achieve the historic feat of swimming the daunting 21-mile stretch from France to England.

Joining Ridley in the cast are Tilda Cobham-Hervey, Stephen Graham, Kim Bodnia, Christopher Eccleston, and Glenn Fleshler. The film is directed by Joachim Rønning and written by Jeff Nathanson, adapted from the book “Young Woman and the Sea: How Trudy Ederle Conquered the English Channel and Inspired the World” by Glenn Stout.

Jerry Bruckheimer, Chad Oman, and Jeff Nathanson serve as producers, with John G. Scotti, Daisy Ridley, and Joachim Rønning as executive producers.

About “Young Woman and the Sea”

“Young Woman and the Sea” is a captivating portrayal of courage, determination, and the triumph of the human spirit. It celebrates Trudy Ederle’s indomitable will and her historic achievement that inspired generations around the world.

Streaming Debut

“Young Woman and the Sea” will be available for streaming exclusively on Disney+ from July 19. Audiences can look forward to a compelling narrative, stellar performances, and breathtaking cinematography that capture the essence of Ederle’s extraordinary journey.

Join the Journey

Don’t miss the opportunity to witness the incredible story of Trudy Ederle on Disney+. Experience her courage, determination, and the historic swim that captivated the world. Check out the trailer below: