Quick Eurovision Update #1

Image sourced from eurovisionworld.com

Eurovision fanatic Fulya delivers a quick update on her favourite music event of the year!

Click on the video below to stay in the know. And remember to subscribe to YouTube.com/FTAchannel to keep in the loop about everything Eurovision 2018!

You can also relive Fulya’s reactions to the Eurovision 2016 Grand Final:

Let us know your thoughts about everything Eurovision in the comments!


FRED Watch Quickie Film Review: Black Panther (2018)


I’m a Kendall Richardson and welcome to FRED Watch, where we review everything from the mainstream to the obscure. Today’s film is Black Panther

Marvel Studios / Walt Disney Studios Motion Pictures

T’Challa (Chadwick Boseman) returns home to the isolated and technologically advanced African nation of Wakanda to take his place as King.

However, when an old enemy reappears, T’Challa’s fortitude as King and superhero Black Panther is tested when he is drawn into a conflict that puts the entire fate of Wakanda and the world at risk…

Nothing gets me more hyped for the trip to the cinema than the prospect of the latest Marvel Studios production. I’m an avid fan and follower of all things Marvel Cinematic Universe (MCU), so when the time comes around to go and see their latest release for the first time, I am literally jumping up and down with excitement. As it was with Black Panther, the eighteenth film on the MCU’s roster, and the first release of its tenth anniversary year, needless to say, I had a blast.

Marvel has the superhero origin story film down to a fine art now, as they should, but it is with Black Panther that they have done one of the best things yet—show diversity. Whilst they are sadly lagging in the female lead superhero game, Marvel have proven to the public that they can tell a story with a cast that is 98% black and have it be beyond the success they dreamed of. (Earning over $200 million in it’s opening weekend, the film is the second highest debut of the MCU behind 2012’s The Avengers.) They have made a movie where the hero is a proud African warrior and king, who is supported by the strongest women—nay African women—I have ever seen on screen, and opposed by an incredible African-American villain that some are saying could give Loki a run for his money. It is just so beautiful to see these characters displayed before our eyes, and in roles young kids can look up to and admire, particularly those who share the colour of their skin with the Black Panther himself. And this film could really not have come at a better time. With the Black Lives Matter movement still prominent across the globe, race is still one of the biggest issues out there. Hopefully Black Panther can serve not only as a vehicle to entertain, but to inspire and teach as well.

As for the film itself, it is sad to say that it is a little slow to start, until the momentum of the plot and its action fully kick in, but that isn’t to say it’s not enjoyable, because it is. We get a beautiful rendition of the history of Wakanda and the Black Panther, as well as wonderful introductions to each of the characters that make up that beautiful nation. T’Challa (Chadwick Boseman) returns home after the death of his father King T’Chaka (John Kani), which occurred in Captain America: Civil War (2016), to assume the throne, but it’s not that simple, and I love it. There is so much tradition alongside the beauty of the Wakandan people, as T’Challa must fight any man that challenges him for the throne and for the powers of the Black Panther. Meanwhile, Ulysses Klaue (Andy Serkis), whom we last saw losing an arm in Avengers: Age of Ultron (2015), is on the prowl for more vibranium, and with a new robotic arm to boot. Here is where we meet the real villain of the piece, Erik Killmonger, played with uncompromising intimidation by Michael B. Jordan. The two may have teamed up for this heist, but it soon becomes clear that Killmonger has an agenda all his own.

Marvel Studios / Walt Disney Studios Motion Pictures

Boseman is definitely more than capable of leading this film; he is wonderful as T’Challa, and it was great to see what he could do outside of Civil War. Serkis takes the eccentric up a notch with this version of Klaue, and it is sinister and hysterical. Fellow Middle-Earthling Martin Freeman surprised me with his return as CIA agent Everett Ross, who was also last seen in Civil War, but this time around there is more for him to do. And whilst we don’t get too much of his character fleshed out, how his involvement becomes crucial to the film’s plot is awesome. I’m always here for more Freeman, even if he is putting on that American accent.

But my favourite thing about this film is the ladies! As a lady myself, I may be a tad biased but they really are the best thing here. First you have Shuri (Letitia Wright), T’Challa’s sixteen-year-old technology and science genius sister, who is responsible for most (if not all) of Wakanda’s current tech, and the Black Panther’s suit and gadgets. Then there is Nakia (Lupita Nyong’o). And while she may be T’Challa’s ex, for now, she is also an awesome fighter and spy. I hope her and Black Widow get to have spy training reminiscing/bonding time at some point. And thirdly, there is the badass general and leader of the Dora Milaje, Okoye (Danai Gurira). She loves her country more than anything and will smack a bitch down the second it is called for. She is the sass queen in this film and I love her. All three of these actors are so strong and incredible in their performances as great Wakandan women, I cannot wait to see more of them down the track.

Director/co-writer Ryan Coogler has given us a fantastic film, which beautifully shows off the fictional nation of Wakanda and its people. With the MCU tending to expand further into space, it is great to see that there is some wonderful unexplored territory for them to showcase at home. Wakanda forever! 4 / 5


Starring: Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke, Angela Bassett, Forest Whitaker, Andy Serkis.

Director: Ryan Coogler | Producer: Kevin Feige | Writers: Ryan Coogler, Joe Robert Cole (based on Black Panther by Stan Lee and Jack Kirby) | Music: Ludwig Göransson | Cinematographer: Rachel Morrison | Editor: Michael P. Shawver, Claudia Castello

In cinemas now.

Let us know what you thought of these films in the comments!


I’ve been a Kendall Richardson and you’ve just experienced FRED Watch.

FRED Watch Episode 2: Fortress (1985)



Wayne introduces Phillip to one of his all-time favourite Australian films, the underrated Ozploitation classic Fortress. Phill confesses to not liking scary movies, but will he be captivated by this Outback thriller?

Listen to their review here:


Check out the trailer:

Starring: Rachel Ward, Sean Garlick, Elaine Cusick, Laurie Moran, Marc Aden Gray, Ray Chubb, Bradley Meehan, Rebecca Rigg, Beth Buchanan, Asher Keddie, Anna Crawford, Richard Terrill, Vernon Wells, Peter Hehir, David Bradshaw, Roger Stephen.

Director: Arch Nicholson | Producer: Raymond Menmuir | Writer: Everett De Roche (based on Fortress by Gabrielle Lord) | Music: Danny Beckermann | Cinematographer: David Connell | Editor: Ralph Strasser

Available: DVD (Region 1 only)

Let us know what you thought of this film in the comments!

You’ve just experienced FRED Watch.

Beta Test #3: Night in the Woods

Night in the Woods


Change. The daunting process of moving on and finding yourself. Whether it’s the change of growing up, or changing a job, or vomiting so hard you change your drinking habits for the first month of 2018… change is coming, and it is inevitable. So what can be done about the unsettling fear that so many of us feel crashing down when things start to turn? And what can we do to stay positive and let go of the past? Find out with me in this weird month.

Wazzup, nightmare eyes! I’m a Bethany Griffiths, and this is Beta Test. A game review platform where I—a vaguely more sober self-confessed noob—choose one game a month to go ham on until either I get better or get wrecked. This, all in the hopes that I can provide you with a completely unbiased review.



It’s February, my dudes, and like most people that love to make empty promises, I’ve only broken my New Year’s resolution three times! I know, what idiot makes the decision to do anything in January, other than starfish on the floor in front of the air con? Well, this girl apparently. Go me! But aside from the goal setting and parameters I’ve claimed, I’ve been losing myself in one of the best millennial games of 2017. So put down the smashed avocado, step away from the new Kesha album, and buy yourself a house because this one’s a good’n.

Yes, it seems like amongst bar soap and the American dream, the only industry the millennials aren’t apparently killing is the video game one.

Night in the Woods is a thoroughly enjoyable, story rich indie adventure game that sucks you right in from the start. Developed by Infinite Fall, and published by Finji, the game tackles some of the realer and more hard-hitting moments of early adulthood. It plays on the internal struggles of mental illness, the themes of gender and sexuality, and the way higher education is seen. It also explores the manner in which the presence of change in the universe is unsettling and the way people relate to each other through their own broken ways. It is a true critique on the modern age.

Throughout the game, we are able to see these themes through the eyes of the main character, Mae. As a hotheaded gal who has a great fear of letting go of the past, I really identified with her character. And not because she and I have a habit of throwing-up drunk at parties (i.e. the reason I’m sober this month), but because of the way she identifies with her fears and anxieties. Night in the Woods really played on this theme of insight, using a higher intuition to solve where you are and where you’re going to be.

I got the sense that Mae knew too much; she was so highly in tune with the ethereal elements of the world, but so painfully out of focus with the rest of the space. She was pent up and felt like she always had to perform to please people, all the while thinking she’s an embarrassment and a disappointment. Mae’s character is juvenile and impulsive. She gets reckless fast and is prone to bursts of mania, some of which could be seen as confronting if the player is sensitive. Her highly guarded nature is driven by anxiety and repression, and the way she gets it all out is by smashing stuff and dissociating. Her character is genuine, though, and the love she has for her friends, family, and neighbours is both real and warming. For a character with that much thought and depth, I give huge props to the writers. And that doesn’t even include the rest of the main band: Bea, Greg, Angus, Germ, and Lori all have backstories just as deep.

Night in the Woods boasts an impressive narrative that drives the game from a mediocre platform jumper to a true iconic piece of game design. The way the characters interact with each other and the sheer amount of thought that went into the NPC’s is astounding. Almost everyone in town having their own string of dialogue was a genius idea for someone like me who loves a good story with my game; the writing has a fantastic way of making you, the gamer, feel involved. The art style is simple and modern for a 2D render. The autumnal colours give a full, nostalgic view, as though we’re looking back on a constant memory. And the score is gorgeous too.

I love the way mundane activities are portrayed in this game. Having a conversation with your mum at the breakfast table, or filling out your journal feels pivotal, and real. (Which is funny, since the game nods at a fourth wall break in chapter three, making me *feel emotions*.) Because of the infinite reality Night in the Woods facilitates, and for the gorgeousness of all things score and script, I give this game:

5/5 Crimes for style

5/5 Crimes for plot line

3/5 Crimes for easiness

5/5 Crimes for millennial strength


That awkward middleground of not quite adult but not quite kid, too young to be stuck in the one spot but terrified of the outside world, is played with brilliantly. I saw myself reflected right back in so many incarnations of each of these characters. Being stuck in a job that pays the bills, dealing with my anger issues, trying to save what I can with my retail job, and getting professional help to stop my disassociation. It’s hard to not identify with at least one character here. The developers really took the time to understand what young adults are going through in the modern world and the way it impacts their lives. I am so grateful for that.

I’ve been a Bethany Griffiths, and this has been a sober, existential Beta Test. A game review platform where I either got better or got wrecked, in the hopes that I can provide you with a completely unbiased review.

Until next time…

Collectible Chaos: Top Ten Films of 2017


We’re well and truly into 2018, with some fantastic films already hitting the big screen.

FRED the ALIEN Productions’s resident pop culture queen Kendall Richardson looks back at last year’s cinema season to deliver her verdict on the top ten films of 2017!

Do you agree with her number one choice? Let us know in the comments.

Access the full Collectible Chaos playlist HERE.

You can also listen to Kendall every week in A Podcast Called FRED and monthly in The Monthly @ WiniFRED’s.

FRED Watch Quickie Film Review: Moonlight (2016)


I’m a Wayne Stellini and welcome to FRED Watch, where we review everything from the mainstream to the obscure. Today’s film is Moonlight


Chiron, a painfully shy and heavily bullied boy, comes of age in the low socioeconomic Liberty City, Miami. He finds parental figures with drug dealer Juan (Mahershala Ali) and his girlfriend Teresa (Janelle Monáe), much to the suspicious disapproval of Paula (Naomie Harris), Chiron’s drug-addicted mother.

The dynamics and tensions among Chiron’s biological and surrogate families, his friends, and classmates set him on a path of emotional neglect and want.

Barry Jenkins’s beautifully photographed story pays homage to its unproduced stageplay roots, presented in three distinctive acts in which our protagonist Chiron goes from boy (played by Alex Hibbert) to adolescent (Ashton Sanders) to man (Trevante Rhodes). Because of this segmentation, Moonlight leaves plenty of information on the cutting room floor. What happens in the many years between the moments captured of Chiron’s troubled life are up to the audience to piece together or imagine.

The risk in such a narrative tool is that the audience is kept at bay, but Jenkins is a talented storyteller, drawing fine performances from Hibbert, Sanders, and Rhodes that their harmonious portrayals of Chiron keep us invested. Through Chiron, Jenkins presents a touching exploration of masculinity that shines like a full moon in a sky of tropes movie lovers are all too familiar with.

As Chiron’s surrogate parents, Ali and Monáe are stunning, suggesting that Moonlight could very well have been completely devoted to their complex relationship with the little boy lost and his mother. The importance of these early scenes is evident in the final act, in which Chiron reunites with childhood friend Kevin (André Holland). Here, Rhodes and Holland are heartbreaking, bringing to the surface the pain and loneliness we have been watching Chiron go through, when the narrative comes full circle.

Moonlight may have been a groundbreaking winner at the 2017 Academy Awards, but fanfare and accolades aside, it stands on its own as a beautiful portrait of masculinity. 4 / 5

Starring: Trevante Rhodes, André Holland, Janelle Monáe, Ashton Sanders, Jharrel Jerome, Naomie Harris, Mahershala Ali, Alex Hibbert

Director: Barry Jenkins | Producers: Adele Romanski, Dede Gardner, Jeremy Kleiner | Writer: Barry Jenkins; Story: Tarell Alvin McCraney (Based on In Moonlight Black Boys Look Blue by Tarell Alvin McCraney) | Music: Nicholas Britell | Cinematographer: James Laxton | Editors: Nat Sanders, Joi McMillon

Available: stan.

Let us know what you thought of this film in the comments!

I’ve been a Wayne Stellini and you’ve just experienced FRED Watch.

FRED Watch Quickie Film Review: Three Billboards Outside Ebbing, Missouri (2017)


I’m a Kendall Richardson and welcome to FRED Watch, where we review everything from the mainstream to the obscure. Today’s film is Three Billboards Outside Ebbing, Missouri

Fox Searchlight Pictures

Grieving the rape and murder of her teenage daughter seven months prior, Mildred Hayes (Frances McDormand) rents three billboards to call attention to the unsolved crime as well as question Sheriff Bill Willoughby (Woody Harrelson) why this is so.

However, the billboards upset the townspeople, including the terminally ill Willoughby and his officer Jason Dixon (Sam Rockwell)…

The title of this film alone suggests its Oscar worthiness, and so does the roster of talented actors that make up the cast. Frances McDormand, Woody Harrelson, and Sam Rockwell are names always associated with great performances, and in Three Billboards Outside Ebbing, Missouri, they don’t deliver anything less.

This film presents a snapshot into a dark and depressing tale that began long before the opening scene and continues way past the screen’s fade to black. But it approaches the heavy subject matter in such an honest, vulnerable, and at times hysterical manner, that you not only feel the weight of the events that have taken place, but you also feel a part of the small community that makes up Ebbing, Missouri.

McDormand gives a tour de force performance as Mildred Hayes, the mother of Angela Hayes (Kathryn Newton) who was brutally raped and murdered, and whose killer has not yet been brought to justice. The movie opens with her immediate decision to rent out three billboards, and call out the Ebbing Police Department for their failure in solving her daughter’s case. The billboards, a blood-red background with bold black writing on them read thusly: Raped while dying; And still no arrests?; How come, Chief Willoughby?

The Chief Willoughby in question is portrayed by Woody Harrelson; he’s a respected citizen of Ebbing, a husband to an Australian wife, played by Abbie Cornish, and father of two little girls. He’s also dying of cancer. He feels terrible about the Angela Hayes case, and despite the billboards singling him out, assures Mildred they have done and are doing everything they can to catch whoever is responsible.

And then there is Sam Rockwell’s Officer Jason Dixon. A man that is as despicable as he is dimwitted. Dixon is truly a character that provides most of the film’s shock and laughter almost simultaneously, and only could Rockwell portray that so efficiently. He is also given the most interesting character arc of this movie. Just when you think you’ve got him made, he does something or says something that truly surprises you.

Three Billboards Outside Ebbing, Missouri is not only superbly acted, but also wonderfully shot and directed. The non-Missouri backdrop of North Carolina is simply stunning on the screen, filled with lush mountains and trees, gorgeous colours, and a lovely little town full of character, offsetting the dark nature of the story’s subject matter brilliantly. This film is a wonderfully crude and confronting piece, filled with humorous charm that will have you won over by the time the credits begin to roll. 4½ / 5


Starring: Frances McDormand, Sam Rockwell, Woody Harrelson, John Hawkes, Peter Dinklage, Caleb Landry Jones, Lucas Hedges, Abbie Cornish, Kerry Condon, Darrell Britt-Gibson, Željko Ivanek, Amanda Warren, Kathryn Newton, Samara Weaving, Clarke Peters, Sandy Martin, Brendan Sexton III.

Director: Martin McDonagh | Producers: Graham Broadbent, Pete Czernin, Martin McDonagh | Writer: Martin McDonagh | Music: Carter Burwell | Cinematographer: Ben Davis | Editor: Jon Gregory

Showing in cinemas nation-wide.

Let us know what you thought of this film in the comments!

I’ve been a Kendall Richardson and you’ve just experienced FRED Watch.

FRED Watch Quickie Film Review: Downsizing (2017)


I’m a Kendall Richardson and welcome to FRED Watch, where we review everything from the mainstream to the obscure. Today’s film is Downsizing

Paramount Pictures.

In the near future, financially burdened couple Paul and Audrey Safranek (Matt Damon  and Kristen Wiig) are tempted to partake in “downsizing”, an irreversible process that involves shrinking humans to a height of five inches.

Paul and Audrey consider downsizing which, it is sold to them, is both environmentally and financially advantageous…

One of the main issues with movie trailers these days is either one of two things: Too much of the film’s plot and story can be revealed, leaving no surprises for the audience upon the first viewing, or the film that the trailer has been put out to promote is the furthest thing from what the trailer says it is. In the case of Downsizing, the trailer is definitely depicting what takes place in the story. Sort of. I can’t figure out if it was intentional or not, but we have been misled into thinking, going in to the cinema, that we know what kind of movie we’re in for.

Now don’t get me wrong, I’m not trying to say that Downsizing is a bad movie—it’s not—it is just so far from what I expected. The trailer essentially shows you the first half an hour of the film, but the majority of the story takes place after that. The trailer is just the set-up for what sets the plot in motion. This funnily enough can also be a metaphor for the story of Downsizing’s lead character Paul Safranek, played vulnerably well by Matt Damon. There is a quote in the film that goes something along the lines of, ‘Nothing ever works out the way Paul expects.’ This really should have been a disclaimer for the viewer going in.

That aside, Downsizing is certainly nothing like we’ve ever seen—it contains an original story and original characters that pull you in directions you don’t expect. Apart from Damon’s excellent performance, the only other two characters that really stand out are Christoph Waltz’s Dusan, a hysterical party animal taking full advantage of the downsizing procedure for solely his own benefit, and Hong Chau’s Ngoc Lan Tran, who was downsized as a punishment and illegally immigrated to the U.S. via a TV box. Yes you read that correctly. Her performance was one of my favourite things about this movie; from the way she hobbled around on her fake leg (a result of the TV box incident) to the eccentric broken English she speaks, she emotes so fluently that I can see why she garnered a Golden Globe nomination.

I also really enjoyed the depiction of the whole history and process of downsizing. It was done in such a way that made it almost seem real: The film takes place in modern times; the procedure is created and presented in a no-nonsense scientific manner; and applicants can enquire about it all as if they were being sold at an expo, filled with public speakers, display homes, and salespeople talking you through it and answering any and all questions.

Whilst Downsizing is not the best movie of recent times, I applaud it for its ambition and total originality. In a world filled with reboots, remakes, and sequels, at least writer/director Alexander Payne is giving us something new. Also the visual effects are highly impressive. Keep an open mind when going into this one, and set your expectations… small. 3 / 5


Starring: Matt Damon, Christoph Waltz, Hong Chau, Kristen Wiig, Jason Sudeikis, Maribeth Monroe, Udo Kier, Rolf Lassgård, Ingjerd Egeberg, Søren Pilmark, Margo Martindale, James Van Der Beek, Niecy Nash, Donna Lynne Champlin, Don Lake, Neil Patrick Harris, Laura Dern, Brigette Lundy-Paine, Joaquim de Almeida, Eric Burns.

Director: Alexander Payne | Producers: Mark Johnson, Alexander Payne, Jim Taylor | Writers: Alexander Payne, Jim Taylor | Music: Rolfe Kent | Cinematographer: Phedon Papamichael | Editor: Kevin Tent

Showing in cinemas nation-wide.

Let us know what you thought of this film in the comments!

I’ve been a Kendall Richardson and you’ve just experienced FRED Watch.

FRED Watch Quickie Film Review: Voldemort: Origins of the Heir (2018)


I’m a Fulya Kantarmaci and welcome to FRED Watch, where we review everything from the mainstream to the obscure. Today’s film is Voldemort: Origins of the Heir

Tryangle Films.

This fan-made prequel to the Harry Potter film series follows Tom Riddle (Stefano Rossi), later known as Voldemort, a powerful wizard and chief antagonist in the Harry Potter franchise.

Sitting at over 11.5 million views as of this writing, Voldemort: Origins of the Heir runs at 53 minutes and goes through the backstories of each Hogwarts House heirs: Gryffindor, Hufflepuff, Ravenclaw, and Slytherin.

The film begins with a wizard packing a suitcase of a few well-known items, followed by the showing of what turns out to be Tom Marvolo Riddle’s diary.

Cutting to an epic battle, Heir of Godric Gryffindor Grisha McLaggen (Maddalena Orcali) fights against Russian wizards, only to be captured after being hit with an unexpected spell. This allows for the set up of the film’s narrative structure: Grisha is strapped to a chair and questioned by General Makarov (Alessio Dalla Costa). With veritaserum flowing through her veins, she has no choice but to answer Makarov’s questions truthfully, and so unfolds the story of all four heirs.

Voldemort: Origins of the Heir’s cinematography is beautiful! I absolutely loved each shot’s framing and the film has also been cut together well. For a fan-made piece, the manner in which some of these scenes are so skilfully constructed is pleasantly surprising.

This film was generally amazing with a couple of exceptions. Unfortunately, all the actors were dubbed over. This made it difficult for me to concentrate on the story because their mouths were not in sync with the voice actors’ dubbing. Also, a bit of the story dragged on for a little too long.

Voldemort: Origins of the Heir is a well-made production by the fans of the magical world of Hogwarts. 3½ / 5


Starring: Stefano Rossi, Maddalena Orcali, Andrea Deanisi, Andrea Bonfanti, Gelsomina Bassetti, Alessio Dalla Costa, Davide Ellena, Aurora Moroni, Andrea Baglio.

Director: Gianmaria Pezzato | Producer: Stefano Prestia | Writer: Gianmaria Pezzato (based on characters and the book Harry Potter and the Half-Blood Prince by J. K. Rowling) | Music: Matthew Steed, Stefano Prestia | Cinematographer: Michele Purin | Editor: Gianmaria Pezzato

Available: YouTube.

Watch it now (see end of review) and let us know what you thought of this film in the comments!

I’ve been a Fulya Kantarmaci and you just experienced FRED Watch.

FRED Watch Episode 1: Mystery Science Theater 3000 – The Movie (1996)

Elements of fun, but humour doesn’t land.

Universal Pictures / Gramercy Pictures

Phillip introduces Wayne to Mystery Science Theater 3000 – The Movie, a film he found accidentally and loved. Now that he’s watched it with Wayne, Phill changes his mind…

Listen to their review here:


Check out the trailer:


Starring: Michael J. Nelson, Trace Beaulieu, Kevin Murphy, Jim Mallon.

Director/Producer: Jim Mallon | Writers: Trace Beaulieu, Paul Chaplin, Bridget Jones, Jim Mallon, Kevin Murphy, Michael J. Nelson, Mary Jo Pehl | Music: Billy Barber | Cinematographer: Jeff Stonehouse | Editor: Bill Johnson

Available: DVD.

Let us know what you thought of this film in the comments!

You’ve just experienced FRED Watch.