At 2 hours and 40 minutes, there’s a lot of Wicked. And this is only the first part of the story. Yes, despite the advertisements simply marketing this as “Wicked”, the opening credits inform us that this is the first half of the mammoth Broadway adaptation that expanded the wonderful world of Oz by letting…
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An Australian road movie that wisely operates beyond such genre simplicities, Henry Boffin‘s Strange Creatures finds organic humour in the tragic circumstances of its two main characters – estranged brothers Nate and Ged Taylor (Riley Nottingham and Johnny Carr, respectively) – as they respect the dying wish of their recently deceased mother. The opposing personalities…
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It’s too easy for any British romantic comedy of sorts to be likened to the works of Richard Curtis. With Four Weddings and a Funeral, Notting Hill, Bridget Jones’s Diary and About Time amongst his credits, we can see why he’s often something of a benchmark for the genre, but whatever formula he established, director…
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Whilst his latest efforts have wavered in their quality and execution, you still have to hand it to director Ridley Scott, who, at almost 87-years-old, is one of the few filmmakers who commits to the notion of epic storytelling to be played out on the format God intended: the cinema screen. And such is the…
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Given that the trailer for We Live in Time very much informs audiences that it will be a tale of potential emotional manipulation, with the Nick Payne-penned script basing itself around a family dealing with late-stage cancer, it proves worth the screentime as Brooklyn director John Crowley breathes a certain life into proceedings, aware that…
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A character losing themself to nature in order to find solitude or correct the course of their life is not a road seldom travelled on screen. And in the case of The Outrun, it’s the windswept Orkney Islands off the northeastern coast of Scotland that serve as a place of rejuvenation for Rona (Saoirse Ronan,…
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Even though something like The Problem with People is a film that very much plays by a certain rulebook, you can’t help but still feel the charm of Chris Cottam‘s dramedy across its breezy 100 minutes. Co-written by Paul Reiser, the Mad About You alum layers a certain American view to the Irish countryside that…
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For a movie centred around the festive season and attempts to drive home the importance of joy, there’s very little on offer when it comes to the unnecessarily long 122 minutes of Red One. Less outright bad than it is bland – which can often be worse – Jake Kasdan‘s potential-filled holiday actioner creates a…
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There’s a certain period-piece sexuality billowing through Widow Clicquot that brings to mind other such similarly-set efforts as Atonement and Pride & Prejudice. And given that those films’ second-unit director, Thomas Napper, is at the helm here, it makes perfect sense that such detail and intimacy is adhered to; fittingly, Joe Wright, director of the…
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Whether you actually want to admit it or not, there’s something admirable about a comedy that revels in the fact that it doesn’t play well with others. Audrey is very much that bitch. It delights in being psychologically grotesque, and despite the fact that it features the type of teen mean girl embodiment that would’ve…
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The Adelaide Film Festival presented the Australian Premiere of director Justin Kurzel’s movie The Order at the Piccadilly Theatre last Wednesday evening. Based on a true story, it stars Jude Law as world weary FBI agent Terry Husk, who is sent to investigate a series of armed robberies in the Pacific Northwest in 1983. Nicholas…
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The prospect of being stuck in a cab for 90 minutes with a driver that isn’t afraid to wax lyrical about the dynamics of men and women doesn’t exactly sound like the most pleasant experience. And whilst that it is the entire premise of Christy Hall‘s conversation-provoking Daddio, audiences pre-empting their annoyance at such a…
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It’s too easy to claim that writer/director Sean Baker makes inaccessible films due to the fact that so many of his narratives centre around the society underrepresented, chief among them being sex workers. As we saw in such previous works as Tangerine and Red Rocket, Baker seeks to remove such a stigma around pornography performers, prostitutes…
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For almost 50 years, Saturday Night Live has been an institution of (primarily) American culture. Every weekend it invites audiences to surrender to the thrill of live television, where anything could go wrong at any given moment, amongst a staple of regular segments and musical performances. Its structure has shifted over time, but the core…
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When I reviewed Venom: Let There Be Carnage in 2021, I noted that it was an entirely overwhelming sequel that was unpretentious and, due to its absolute ludicrousness, never boring. Some of that sentiment can be shared for Venom: The Last Dance, the supposedly (and hopefully) final instalment in this surprisingly fertile series that is,…
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Lee Miller is the type of figure that feels as if she should’ve already had a biopic made about her, due to her staggering spirit and defiance in the face of what was expected of her. Lee is ultimately the only film that Miller deserves, with director Ellen Kuras, a cinematographer making her directorial debut,…
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Whilst there is a sense of an on-the-nose metaphorical aspect to Pools, and a whole lot of “girl who is going to be okay” mentality to it too, Sam Hayes‘ dramedy manages to just keep itself afloat enough in the self-discovery genre it serviceably adheres to. College student Kennedy (Odessa A’zion) doesn’t have her shit…
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As we learned from “the rules of a horror sequel” in one of the few horror sequels that actually held its weight against the original – 1997’s Scream 2 – things are always bigger and bloodier in a Part 2; “Carnage candy,” as it was so deliciously described. And, indeed, Parker Finn has a sweet…
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The mental, emotional and physical destruction that can come from one’s addiction is at the core of He Ain’t Heavy, David Vincent Smith‘s confronting, oft-harrowing drama that surpasses the intimacy of its setting and miniature ensemble with its brutal mindset. An expansion of his short film I’m Not Hurting You, He Ain’t Heavy very much…
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Of all the ways to ruminate on grief and loss, a stop-motion animated dramedy is not the most obvious option, but, despite the whimsical nature of the medium, Adam Elliot‘s heartbreaking Memoir of a Snail proves such a catharsis on the emotion. Animated it may be, Memoir of a Snail is not a child-friendly affair,…
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The fourth live-action adaptation of the much-loved comic creation Hellboy, and the third iteration of the character following two well-received Guillermo del Toro-helmed, Ron Perlman-starring outings and a less-said-about-the-better reboot with David Harbour, Brian Taylor‘s take on the character in Hellboy: The Crooked Man has a distinct personality of its own and a well-suited Jack…
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Terrifier 3 continues the story of both Sienna Shaw (Lauren LaVera) and her brother Jonathan (Elliot Fullham). After narrowly surviving the brutal Halloween massacre of the terrorizing Art the Clown (David Howard Thornton), the two siblings are estranged and struggling to piece together the remains of a normal existence in the time of peace, while…
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A film like Psychosis is a difficult one to review. Whilst there’s never a shortage of features that prove wildly divisive (the Joker sequel says hello), Pirie Martin‘s ambitious debut defies categorization as it blends technique and genre, submitting to an extreme eccentricity that, as off-putting it may be to some, is difficult to not…
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With such documentary series as Cheer and America’s Sweethearts: Dallas Cowboys Cheerleaders (both on Netflix) in the last few years reflecting a far more competitive mentality to the sport of cheerleading, a movie like Backspot feels like its release is suitably timed to capitalise on the fact that this is a sport far removed from…
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Even though something like The Problem with People is a film that very much plays by a certain rulebook, you can’t help but still feel the charm of Chris Cottam‘s dramedy across its breezy 100 minutes. Co-written by Paul Reiser, the Mad About You alum layers a certain American view to the Irish countryside that…
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Hopefully a film that won’t just become infamous for its lack of being seen – after it previewed one single screening at 2022’s Toronto International Film Festival it was withdrawn due to “rights issues” – The People’s Joker is a bold, bonkers debut feature from Vera Drew that reimagines the mythology of a slew of…
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In the same way that it was quite the baffling result that 2019’s Joker “laughed” its way to a billion dollar haul at the box office, Joker: Folie à Deux and all its “Fuck you” energy to WB fandom and mainstream appeal is a strikingly anti-audience effort that deserves praise for being so bold with its…
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Thanks to polished cinematography, bloody, brutal violence, and another fierce performance from Samara Weaving that furthers her chokehold on horror at large, Azrael transcends any tropes it may flirt with and forges through as a strong example within the post-apocalyptic subsect of the genre. A visceral survivalist actioner with biblical undertones, the Azrael of the title…
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Operating as a double entendre for both the literal titular roadside placement and the relationships within Jason Buxton‘s tense drama, Sharp Corner lays focus on the vehicular and emotional torture put forth by a series of fatal crashes that take place on a suburban front lawn that kisses the edge of a tight curvature on…
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When it comes to depicting real-life violence on screen, Australian director Justin Kurzel has an enviable history of such. His 2011 debut, Snowtown, was a harrowing re-enactment of the South Australian body-in-a-barrel murders that plagued the 90s for close to a decade. In 2021 he represented the 1996 Port Arthur Massacre through the psychologically taxing…
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