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Rogue offers new hope
A bridge between the two Star Wars trilogies so far, Rogue One (M,
offers plenty of cinematic catnip for fans to enjoy. As well as cameos by familiar characters, there’s also the welcome sight of X-wings battling Tie-fighters and the delight of seeing various pieces of A New Hope jigsaw fall into place. However, knowledge of where this standalone story needs to get to also leads to a curious inertness and predictability to proceedings. That’s not to say there’s not plenty of action, with the writers essentially creating a Mission: Impossible or Bond movie with the characters planet-hopping, rather than globetrotting. – James Croot
Observations from the edge
Back in the 1980s, for every John Hughes film there were 10 throwaways in which teen neurosis was simply an excuse for bad behaviour that would entertain the target group – usually involving a big party, sex and barfing. Hailee Steinfeld does indeed embrace the bowl in The Edge of Seventeen (M,
and there is some frank sex talk. There is also more angst than her character knows what to do with. And yet, first-time director Kelly Fremon Craig makes it so fresh that the dramatic teen comedy feels reborn. She opens our eyes to what it is like now to be smart, 17 and female – which is to say truly, madly, deeply nuts. Steinfeld’s astonishing high-wire act is one of the most sustained and perceptive and complete performances I’ve seen in years. – Paul Byrnes, Fairfax
Super Hawkins
I’ve dissed Anna Hawkins in the past for the lazy selection of song choice. Now it’s my turn to grovel, as Bold, Brave & Beautiful (★★★★) is a super album of only a few covers, with the rest being her own compositions, obscure pieces such as a Cirque Du Soleil tune, or the album’s best track, Where The Lost Ones Go – a duet with New Zealand’s Will Martin. Kudos to Pawel Zarecki for his production, which never smothers Hawkins, leaving her expressive vocals freedom to roam.– Colin Morris
Full-bodied folk
The artwork seems to reflect a corseted Boudica and her ragtag band attacking the Romans. What Eliza Carthy’s Big Machine (★★★★★) really is is an album attacking the notion of folk music being staid and pleasant. This is full-bodied, loud as hell, knock-your-socks-off Mumford and Sons-meeting-afro-celt Sound System and Bellowhead. It’s a wonderful ride, with Carthy’s voice soaring over the cacophony. – Colin Morris