Boxing Day Movies Australia 2023: Best & Worst Picks

Boxing Day at the cinema: a tradition born of post-Christmas family fatigue and a desperate need for air conditioning. But beyond the escape, it’s a fascinating barometer of industry strategy. This year’s slate is…predictable, yet intriguing. We’ve got the arthouse offerings, the reliable franchise fare, and the calculated gambles. The question isn’t just *what* people are watching, but *why* these films are being positioned as the antidote to awkward family conversations.

Digging Deeper

Urchin, with its four-star review, is the kind of film festivals love. It’s ‘important’. But its Boxing Day slot suggests a savvy distributor recognizing a post-holiday audience potentially craving something…real. Frank Dillane, already known for genre work (including a stint as Voldemort, as noted in The Guardian), is subtly repositioning himself as a serious dramatic actor. This is a long game, but a smart one.

Then we have My Brother’s Band. The French have a knack for feel-good cinema that doesn’t feel manipulative, and this film seems to fit the bill. The strategy here is simple: offer a heartwarming alternative to the bombast. It’s a palate cleanser, and a reminder that not everything needs to be a superhero spectacle.

And speaking of spectacle, The SpongeBob Movie: Search for SquarePants is doing exactly what it needs to do: existing. The franchise is a cash cow, and the continued release of films and spin-offs demonstrates a remarkable understanding of its target demographic. It’s not about critical acclaim; it’s about consistent revenue.

Sentimental Value, while receiving a positive review from Peter Bradshaw, feels a little lost in the shuffle. Joachim Trier is a respected director, but this film’s “shaggy and unfocused” quality (as described in the source) suggests it might struggle to break through the noise. It’s a risk, and one that may not pay off.

The biggest head-scratcher, however, is the new Anaconda. A meta-comedy reboot? It’s…bold. The involvement of Jack Black and Paul Rudd suggests a self-aware approach, but the film’s description – “somewhere between a reboot, reimagining and spiritual sequel” – feels like a marketing team desperately trying to define a project that lacks a clear identity. The reported approval from the original cast is a nice touch, but it doesn’t necessarily translate to a good film. It’s a gamble on nostalgia and irony.

Finally, The Housemaid is clearly riding the wave of Sydney Sweeney’s rising star power. Paul Feig knows his audience, and this adaptation of a bestselling novel is perfectly positioned to capitalize on the current appetite for suspenseful thrillers. The positive review from The Guardian is a good sign, and Sweeney’s performance is likely to be the key to its success.

Overall, the Boxing Day lineup is a microcosm of the film industry itself: a mix of ambition, calculation, and a healthy dose of hope that audiences will show up, if only to escape their relatives. Sweeney, Dillane, and the continued dominance of SpongeBob are the stories to watch in the coming months.