Phryne’s (Essie Davis) hunt for Jayne (Ruby Rees Wemyss) begins as she battles her demons full-on, with the households’ lives at stake, as Murdoch (Nicholas Bell) outsmarts the whole clan and seeks his bitter revenge. There’s mysterious notes, cryptic Egyptian relics, nuns, fancy university academics (Matt Day) and a scene with sexy Jack (Nathan Page) reminiscent of hottie Richard Gere in An Officer and a Gentlemen, that will certainly heat up your lounge rooms and possibly cause hot flushes for the more mature lady.

It’s been a real shame that our delicious Detective Jack hasn’t taken off more clothes this season, here’s hoping it’s summer in season two with Jack poolside and bare-chested to make us a new type of crazy for the delectable, newly single and hopefully stripping Detective.

This episode shows a new side to Dot (Ashleigh Cummings) as she holds a gun to Hugh (Hugo Johnstone-Burt) and fights for what she wants, it’s charming and endearing and all things Dot.

There’s a confrontation of epic proportions as pieces of the tangled puzzle are revealed in good time and Fishy fans may find themselves shedding a tear (or a bucket of tears) when we say goodbye to an important character forever.  Even Betty the cat (an expert on all things fishy) was sad faced and snuggly!

It’s everything a Fishy fan could want and more. Can Jack save the day? Will Jane survive from the clutches of evil? Who makes it out alive? Will Murdoch get what he really wants? Will Phryne ever be the same again? Will WE ever be the same again? Buckle yourself in for a wild night ladies and gentlemen. Miss Fisher is going to rock your world.  It’s a stunning showdown between good and evil that will have your heart racing every minute!

What on earth will we do on a Friday night now?

Miss Fisher’s Murder Mysteries is an Every Cloud Production and airs Fridays at 8.30pm on ABC1. Click here to read more episode reviews in the series

5 blergs

The film tells the story of Linh (Nammi Le), a university student, who is forced into the world’s oldest profession when the GFC hits and her father is put out of work leaving her as the sole provider for not only herself, but her family as well. On the job she meets a mysterious American, Luke (Peter O’Brien) with whom she begins an unlikely friendship while at the same time starting an honest relationship with fellow university student Jack (Andrew Hazzard) who doesn’t know about her part time job. As you can imagine, it’s not long until her two worlds collide with dire consequences.

The film begins excellently. Its story, like its protagonist, is smart and engaging. Duigan thankfully portrays the scenes of Linh and her clients tactfully and interestingly doesn’t necessarily condemn or condone her choice of work, simply showing that it has both good and bad aspects. Much of the film takes place in a car being driven by Dion (David Field) while Mei and another Asian prostitute, Mint (Ivy Mak) are being driven from job to job. Again Duigan makes the more interesting and less cliché choice of Dion being a genuinely nice guy (contrasting some of the previous roles played by veteran Field) and having the two girls engage in a genuine friendship. Linh’s other various relationships, professional and personal, are all explored thoughtfully and fully. The problem with the film, like so many movies, is the third act. Other than being unnecessarily prolonged (which is fairly forgivable especially when you genuinely enjoy the company of the characters as you do here), the film suffers from a stark change in tone with a brief but noticeably out of place burst of violence and Duigan taking the story from the intimacy he has so well established to a public stage. Despite these fairly major issues, the strength of the first and second acts more than make up for the third.

The performances in the film are fantastic. Nammi Le is sensational as Linh. Her performance is not only brave in the scenes that need it, but as a presence she exudes charisma. Together with Duigan’s again peerless writing of young people, Le as Linh is gracefully witty and completely avoids any semblance of stereotype. Hopefully she will go onto bigger things, she certainly has the talent. Veteran’s Field and O’Brien also do well (although O’Brien’s American accent takes some getting used to) amongst the newcomers on display, including an assured Penny McNamee, as Linh’s friend, who brings something unique to a fairly typical character.

Despite some misgivings with the third act, Careless Love is an engrossing well-made drama that audiences should enjoy despite its subject matter.

Careless Love is in Australian cinemas from 17 May through Antidote Films

3.5 blergs

A Midsummer Night’s Sex Comedy is notable for being the first Woody Allen film starring Mia Farrow, who would go on to be his muse on and off the screen in thirteen films. Sex Comedy is a light and dreamy romantic comedy inspired by Ingmar Bergman’s Smiles of a Summer Night, which was also the inspiration for Stephen Sondheim’s A Little Night Music.

Set in the early 1900s, the film tells a story of a wacky inventor (Allen) and his wife (Mary Steenburgen) who invites two couples to a weekend party. The couples are made up of a philosopher (José  Ferrer) and his much younger fiancée (Farrow) and a womanising doctor (Tony Roberts) with his free spirited girlfriend (Julie Hagerty). Familiar faces, old romances and sexual exploration run rampant as the weekend unfolds.

Originally written for another Allen stalwart, Diane Keaton, the role of Ariel is played airily by Farrow. Although not nearly deserving of her Razzie nomination for worst actress, it seems Farrow is lost in the role and it wouldn’t be until future Allen outings that he would tap the internal powerhouse of this seemingly meek actress.

Steenbergen is an ideal choice as Allen’s wife; being an eccentric oddball actress herself she fits perfectly and bounces off Allen’s typical neurotic and sexually frustrated inventor.

The most redeeming feature of Sex Comedy is the lush cinematography. Quiet, beautiful scenes are reminiscent of Sofia Coppola’s much later Marie Antoinette. During the film there is an interval as the characters explore the nearby countryside, venturing into the woods and indulging in the weekend. This sequence unfolds softly and expertly that one wishes the rest of the film had continued in this dream like state.

Such inspiration this film took from Bergman’s earlier Smiles of a Summer Night that that it almost reminds us of what A Little Night Music (1978) could have been if done right.

Not the most memorable of Allen’s body of work, especially at time when most of his entries were critically acclaimed but the likeable characters and satisfying conclusion as the couples are finally united with their true love, the oddball casting also makes this highly especially enjoyable.

Visiting New York City, Admiral General Aladeen (Sacha Baron Cohen) falls prey to a governmental sting by his political right arm Tamir (Ben Kingsley). Assuming his recruited assassination of the General was a success, Tamir instates Aladeen’s mindless body double to give the speech proclaiming Wadiya’s new constitutional democracy.

During a protest outside a hotel, the real and freshly shaven Aladeen meets Zoey (Anna Faris in a very bad wig), a radical, left-wing, organic growing, peace lover with unshaved armpits. A weak and flimsy plot sees the pair accessing the Wadiyan government by Zoey’s catering food co-op. Like most of Cohen’s previous efforts, the skits that exist within the film are much more enjoyable and humourous than the general plot itself.

Purposefully offensive, Cohen allows for Aladeen to say and do the most abhorrent and inappropriate actions and gets away with it. Playing such a character can allow for free reign, but there still seems to be limits. It is unlikely, however, that limits are an issue if you’d be paying to see this film, especially after Cohen’s prior works. Cohen easily provokes visceral reactions in his humour, but his own performance does not equal the decent supporting performances he has given in Hugo and Sweeney Todd.

The Dictator’s best moments come with wryly observational dialogue rather than the over-the-top stunts. Giving a speech to a group of American diplomats, Aladeen describes the benefits of a dictatorship where the similarities to Western politics are pointedly clear.

Larry Charles, a former Seinfeld writer and director of Borat and Bruno is on board once again with directing duties. Charles and Cohen have an interesting dynamic where the camera follows very quickly behind Cohen ready for instantaneous eruptions and explosions of sardonic humour.

Briefly making an appearance, the male penis is becoming more of a frequent staple in the American Hollywood film. The days of Porky’s are gone and radicalised images of the male body exist in its place. The male body has become a spectacle, but not existing in the same parameters as the triple female gaze. It is, however, still a film written by a man, directed by a man, starring a man for a predominately assumed male audience.

Offensive, crass and fierce, The Dictator will offend countless amounts of people, but will make many more laugh. Whether or not this is a good thing remains too existential a question for a short film review.

The Dictator is in Australian cinemas on 16 May through Paramount Pictures.

3 blergs

Having been turned down by the creepy dweeb Marcus Dwyer (Damon Herriman), Roo sets out a plan to extract the desired healing minerals from his body. Naturally, E.J. (Celia Pacquola) is driven to a nauseous frenzy at the mere suggestion, but sticks to her best friend rules and supports Roo in her demented endeavour.

Zack‘s(Toby Truslove) near death experience compels his spiritual journey as the new messiah to reach ever brainless heights. Filled with supposed wisdom, he still misses the many vocal hints that E.J. makes towards the future of their relationship. Comically appealing, E.J.’s frustration is both understandable, but begs the question: why are you with this nincompoop?!? Truslove’s performance is an exercise in a character’s stupidness and the surrounding awkwardness that follows his actions are indicative of a stereotypically inept character.

Date rape jokes aplenty, the episode sees Roo’s desperation creeping ever so closely off the edge of a proverbial cliff. How far will she go to restore harmony in her nether region/swimsuit area? Marcus’ palpable attraction to Roo, despite his refusal to enter her tomb, will also make for an added layer on top of Herriman’s purposefully disgusting aesthetics and mannerisms. After all, Roo is the first and only (and probably last) woman who has ever wanted to sleep with Marcus.

Cleverly created and written each week by Marieke Hardy and Kirsty Fisher, Laid has a feminist undertone existing where the sexes are divided. A good portion of the male characters are bumbling idiots. While some are endearingly so (Zack and Graeme for instance) others are repulsive in the extreme (clearly Marcus). Even Charlie (Abe Forsythe) is rendered in a passive and helpless state as a victim easily fallen prey to the mysterious and deadly intrigues of Roo’s vagina.

Wonderfully absurd, Hardy and Fisher’s writing, Abe Forsythe’s direction and the many performances do their job in sustaining an air of comical believability.

Laid airs every Wednesday at 9pm on ABC1. It repeats Thursday at 11pm on ABC2 and is available on iView. Click here to read more reviews from the series.

3.5 blergs