What’s it about?
A boy called Mason literally grows up before our eyes. No, seriously… This film uses the same cast over 12 years.

What did we think?
Elizabeth says: The sheer scope of this film is reason enough to make it compulsory viewing. IT’S 12 YEARS. WITH THE SAME CAST. Apparently not even their contracts could legally cover the whole span of the filming. Boyhood is the closest thing you’ll get to seeing real-life on the big screen without it being a documentary. It doesn’t feel scripted, and yet it is. It doesn’t feel directed, and yet it is – meticulously. Not a lot happens in Hollywood terms… there’s no big climax, no massive turning point, no soaring violin strings or life-altering decisions to make… Here is a film with next to no plot, and yet it’s one of the most compelling offerings to grace our screens in years.

What’s it about?
A French/Arabian co-production in which a family gather after the patriarch dies and secrets are revealed that threaten relationships.

What did we think?
Elizabeth says: Come on guys. Death as a precursor for forced disclosure of dysfunctional secrets has been done. Having the dead guy (a magical Omar Shariff) narrate the funereal action is a gimmick not used frequently enough to differentiate this from any other film of its ilk. It’s all been done – and been done better – before.

What’s is about?
A romantic comedy about an Englishman brought in to help unmask a possible swindle. Personal and professional complications ensue.

What did we think?
Cindy says: I confess I’m a Woody Allen tragic, but as a rule, even I can admit only every second film he makes is a real winner.  Blue Jasmine was a hard act to follow, and Magic In The Moonlight IS lovely; just not amazing. Lovely scenery, lovely cast, lovely performances, lovely art direction, but something’s missing. For die hard fans and those looking for something, well, lovely.

What’s it about?
Ivan Locke takes a phone call behind the wheel that will put events in motion to unravel his carefully crafted life.

What did we think?
A man. A car. A phone. A life-changing night.

The audience literally rides shotgun in this tale of Locke’s journey towards personal redemption through his own destruction. Tom Hardy is the only person on-screen for the whole movie and he’s mesmerising. We watch in real-time for 85 minutes as he struggles to rebuild his life while the foundations crumble around him, confined to the driver’s seat and at the mercy of his relentlessly ringing phone. It’s close, it’s personal, it’s intimate and we dare you to try and look away.

What’s it about?
A time-travelling temporal agent must hunt down a criminal that’s eluded him his whole life.

What did we think?
The less you know about this film the better. Just know that it’s an Aussie film that looks like an American film, that it has excellent performances from Ethan Hawke and Sarah Snook, that it involves time travel and that your brain may be doing loop-de-loops after it’s over. Don’t think about it too hard – the joy of Predestination is the watching, and the more you ponder the hows and what ifs, the more times you’ll find yourself asking “how?” and “what if…?” Which may send you mad.

What’s it about?
Forced to flee their homeland, an Indian family moves to France with the hope of educating the locals on their traditional cuisine.  The owner of the Michelin-starred restaurant a mere hundred feet across the road (Helen Miren) isn’t too happy.

What did we think?
Elizabeth says: Forget chicken soup for the soul: this is chicken tikka. A tome on cross-cultural tolerance and acceptance as well as being a feast for the eyes, this is a food lover’s paradise. Gorgeously shot, the tale of gastronomic whiz kid Hasan will linger on the palate after the meal is over… if you like that sort of thing. If not, it could be a little too sweet for you.

What’s it about?
A thief, assassin, prisoner and a pair of bounty hunters form a bunch of misfits and attract the attention of an intergalactic terrorist.

What did we think?
Anthony Sherratt says: Guardians of the Galaxy doesn’t take itself too seriously so neither should you. More comedy than sci-fi, it is little more than a fun romp with cool fight scenes. Despite the lack of true gravitas, the only real criticism I can offer (and it’s a minor quibble) is that the characters all compete for the cool witty one-liners and the lack of a real straight man (or woman, racoon or tree) probably dilutes the overall impression. Still it was highly entertaining and I’m already planning a second viewing.

It’s really a 3.5 star movie that scored extra points for great music and one of the most bizarre and unexpected cameos in the post-credits bonus scene. But it’s just soooo much fun.

What’s it about?
A New York police officer (Eric Bana) investigates a series of crimes joining forces with an unconventional priest, schooled in the rites of exorcism, to combat weird occurrences.

What did we think?
Anthony Sherratt: An interesting thriller that turned out to be less horror and more of a gritty detective piece with supernatural themes. Slightly discordant pacing actually added to the atmosphere and kept you on your toes. Director Scott Derrickson teases the story out well never quite giving you everything you want and the attention he draws to victims gives it a pathos not often seen in this genre.

The dark gritty feel of the city is always evident and the shadowy promise of evil lurking ever present. A better than average flick that true horror fans will appreciate.

What’s it about?
In the titular final hours of Earth, as a fiery asteroid crashes into our doomed planet and the Mayans look set for a belated last laugh, an initially flaky young man attempts to help a lost girl find her father before the blast reaches Australia.

What did we think?
Alex says: It’s not often an apocalypse film doesn’t slot into the sci-fi genre but writer/director Zak Hilditch keeps the focus very much on human drama as James (Nathan Phillips) navigates the chaotic streets of suburban Perth with young Rose (Angourie Rice). Hilditch and the cast sustain the tension most of the way and create a hopeless, anarchic environment where most citizens turn to hedonistic partying, descend into insanity or take their own lives. There’s no Hollywood mission to avert the disaster and David Field’s world-weary, unseen car-radio announcer, who keeps us informed of the impending destruction, is a nice touch.

The ending didn’t sit quite right for me but I shan’t give anything away. It’s nonetheless a competent local effort and well worth a look.