Four Stars

Sydney Film Festival Review: Una (UK/USA, 2016) is a gripping abuse drama that thrives through unhesitating commitment

It would have been too easy for a film like Una to result in something unreservedly perfunctory. The fable of the abuse victim confronting her perpetrator has been depicted more than one would wish to count, and the argument can be made that a fair share wishes to portray the subject matter no more than…

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Sydney Film Festival Review: Wind River (USA, 2017) is a tight, often brutal thriller

Having proven his worth as a screenwriter with both Hell or High Water and Sicario, Wind River serves as scribe Taylor Sheridan’s directorial debut.  Arguably arriving with high expectations, Sheridan’s tight, often brutal thriller proves his workings with such professionals as David Mackenzie and Denis Villeneuve has paid off, showcasing an ease behind the lens…

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Sydney Film Festival Review: Wild Mouse (Austria, 2017) spectacularly spirals down the rabbit hole of the modern mid-life crisis

Making his directorial debut, penning the script and holding the starring role, Austrian actor Josef Hader has impressed festivals around the world with the dark comedy Wild Mouse – which has had its Australian premiere this week as part of the Sydney Film Festival. The film stars Hader as Georg, a classical music critic who…

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Sydney Film Festival Review: The Farthest (Ireland, 2017) is a documentary of astronomical proportions

I don’t want to make a Star Trek joke – it’d be too obvious and you would only resent me for it – but as much as it pains me, I do need to say that space really is the final frontier. It’s always right there, just outside our atmosphere, and for decades we humans…

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Film Review: Cars 3 (USA, 2017) is a near-perfect return for the franchise

It has finally arrived! After the teaser trailer that saw Lightning McQueen being absolutely annihilated on the racetrack months ago, we were all left wondering exactly where the Cars franchise had taken us with this all new installment, especially after the disappointing Cars 2 and Disney’s attempt at making it a broader universe with the…

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Netflix Review: The third season of Unbreakable Kimmy Schmidt season is fun, hilarious and surprisingly deep

It doesn’t take very long for the third season of Netflix’s Original Series Unbreakable Kimmy Schmidt to remind its audience why it’s such a powerful and unexpected treasure. In 2015, the show first hit Netflix and was praised by critics and general audiences for its humour and overall freshness from the generic television show. By the…

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Sydney Film Festival Review: Spoor (Poland, 2017) explores the extent of one woman’s compassion

Agnieszka Holland creates a character to love and to loath in Spoor, the Polish thriller-comedy that follows one woman’s passion for animal justice in a town that doesn’t share the same sentiments. Spoor, meaning the tracks left by an animal, is a film that rarely falls from the trail, coming together as a poignant comedy…

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Sydney Film Festival Review: Happy End (France, 2017) plays like a greatest hits album for Haneke

Michael Haneke is a bit of a misanthrope, isn’t he? Granted, I haven’t seen all of his films, but the few that I have seen seem to have a very critical view on society and human nature. And compared to mainstream fare, he makes films with plenty of space for the audience to contemplate and…

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Sydney Film Festival Review: The Forest of Lost Souls (Portugal, 2017) is an eerie and unconventional horror

Out of all the cinematic genres, horror is, in my opinion, the best outlet for creative storytelling. Whether in a metaphorical sense, a symbolic sense, or just nuts-and-bolts mainstream filmmaking, horror can engage, thrill, scare and surprise, regardless of what it looks like on the outside. Case in point, David Cronenberg‘s The Fly. With a…

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Sydney Film Festival Review: The Untamed (Mexico, 2016) is a slimy slice of social realism and alien sex

The Untamed, Amat Escalante’s oddball genre film built with space monsters and sexual tension, could have worked just as well as a dysfunctional family drama. The eccentric Mexican director has packed a lot into his fourth feature, an instantly memorable and incredibly unique piece that understands its best possible tension comes from contrasting a heady…

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Film Review: My Cousin Rachel (USA, 2017) is a wonderful dance along the fine lines between good and evil

For most things in life we ae encouraged to leave our judgements at the door. But this is not the case for the thrilling, gothic romance, My Cousin Rachel. In this case the lady is a woman of mystery wrapped up in a riddle and topped off by an enigma, which means you are in…

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Sydney Film Festival Review: 78/52 (USA, 2017) is a delightful homage to cinema’s greatest scene

It’d be an arduous task to contemplate a more significant moment in the history of cinema than that of the shower scene in Alfred Hitchcock’s masterful slasher Psycho. As not only would its value of shock go on to define the representation of violence and sex for years onwards, it has definitively etched itself into…

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Sydney Film Festival Review: Whitney Can I Be Me (UK, USA 2017) is a comprehensive look at the rise and fall of Whitney Houston

In 2015 there was the outstanding film Amy by Asif Kapadia and following on from that comes yet another biopic that examines the life and all too tragically early death of a different powerhouse musical performer. In Whitney ‘Can I Be Me’ we go from the beginning right through to the end of Whitney Houston’s…

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Film Review: 20th Century Women (USA, 2016) is an exploratory tale of finding one’s own happiness

After detailing his own father’s coming out at the age of 75 in the Oscar-winning 2010 outing Beginners, writer/director Mike Mills tackles the stories of his mother and sister in 20th Century Women, an exploratory tale of finding one’s own happiness. As Mills opts to create an individual snapshot for each of his female role…

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Film Review: Wonder Woman (USA, 2017) is the heroine we need and deserve

After what can only be said as the frustrating and disappointing efforts of Man Of Steel and Batman Vs Superman: Dawn of Justice and Suicide Squad in the DC Comics movie universe. The hopes of the DCEU and an opportunity for it to be redeemed appeared to rest on the shoulders of Wonder Woman. The…

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Film Review: Norman: The Moderate Rise & Tragic Fall of a New York Fixer (USA, 2017) is like a conga dance, blurring the lines between friendships & manipulation

Norman: The Moderate Rise and Tragic Fall of a New York Fixer is a light comedy film about a human of New York. But he’s not just any human. The eponymous Norman is a wheeler/dealer and the undisputed king of networking. The film is what you’d get if The Ides of March were directed by…

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Film Review: The Zookeeper’s Wife (USA, 2017) is a beautifully told true story

The Zookeeper’s Wife follows the real events of the owners’ of the Warsaw Zoo in Poland from 1939 until 1946. It centres on their moral struggle of not being a mere bystander of the ghettos and executions during the Holocaust. It’s a film that has the rare potential to educate  its audience with a fascinating story, without…

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Film Review: Jordan Peele’s directorial debut Get Out (USA, 2017) is a triumph

Fresh off the writing table of comedy sketch duo Key & Peele, Jordan Peele tackles his solo directing/writing debut in this racially-fueled thriller determined to leave you with a bad taste in the mouth in the most wonderful of ways. Peele is without a doubt best known for his comedy, so his new project was…

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Film Review: Certain Women (USA, 2016) proves Kelly Reichardt the master of quiet filmmaking

Proving to be the master of quiet filmmaking, Kelly Reichardt has established quite a name for herself within the independent cinematic industry. With slow-burning, patient films like Old Joy and Wendy and Lucy, her newest picture follows the style of her preceding work. Certain Women, an adaptation of short stories by Maile Meloy, shows Reichardt…

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Film Review: Guardians of the Galaxy Vol. 2 (USA, 2017) evokes the weird wonderment of the original

Whilst the general consensus is that the Marvel cinematic universe as a whole is one of the more consistent entities for audiences and critics alike, their track-record for delivering underwhelming sequels (at least compared to their predecessors) is hard to quarrel against.  Iron Man 2, Thor: The Dark World, and Avengers: Age of Ultron are all…

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Film Review: Festival bound Supergirl (USA, 2016) is an inspiring documentary about achieving the impossible

It’s a bird…it’s a plane…it’s Supergirl! The documentary, Supergirl is a film about an American girl with superhuman strength. It’s an inspirational story that is about kicking down barriers and achieving the impossible in the competitive world/sport that is powerlifting. This documentary is the debut feature length film by director Jessie Auritt. The story focuses…

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Gold Coast Film Festival Review: Sophie & The Rising Sun (USA, 2017) is an intense story about a powerful & forbidden love

Before there was Loving there was Sophie & The Rising Sun (well, sort of). Sophie & The Rising Sun is a romantic story and like Loving it is one that’s all about a bi-racial couple. The film is ultimately a beautiful but fictional love story where you can really sit back, relax and get lost…

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TV Review: Netflix’s The Get Down (Part Two) is filled with sensational, bombastic and breathtaking musical numbers

The second part of The Get Down first season (the story of the rise of Hip-Hop and reign of Disco in the 70s’ created by Baz Luhrmann) is an over-dramatic affair, hampered by an occasional inconsistent narrative and schmaltzy performances and yet, the latter half of its five part run is some of the best TV…

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Film Review: Their Finest (UK, 2016) is a consistent delight from beginning to end

Lone Scherfig is a filmmaker who has always frustrated me, delivering a mixed bag of films amongst her career. Her Dutch films were great, but apart from An Education, her films were ultimately flops, especially the turgid One Day. So I have to admit that I wasn’t looking forward to Their Finest, but when I…

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TV Review: The Merge returns in the Outcast Season 2 premiere “Bad Penny”

Robert Kirkman’s Outcast returned this week and I had the pleasure of being around for its return. I am so glad that a well written and tight nit team of characters and story has graced the screen for another round and I will happily be reviewing the series on a weekly basis. Over the course…

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SXSW Film Review: Divine Divas (Brazil, 2017) is both a beautiful preservation and an accomplished slice of filmmaking

More a celebration of drag culture than a heavy-handed expose, Divine Divas proves a fascinating watch as it allows a peak behind the curtains of one of Brazil’s first establishments to showcase men dressed as women. In 1960’s Rio de Janeiro, the Rival Theatre – under the forward thinking of Americo Leal – was one…

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TV Review: The Walking Dead Season 7 Episode 16 “The First Day of the Rest of Your Life” ends with a touching tribute

Curious choices defined The Walking Dead’s season 7 finale “The First Day of the Rest of Your Life”, and while it didn’t quite make up for what’s been an average season at best, it featured all the big beats characteristic of a landmark episode mixed in with those small character moments that teetered between nauseating…

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SXSW Short Film Review: Tough (UK, 2016) redefines the documentary genre tag with inventive animation

A bold colour palette expressing traditional Chinese imagery overlays both the personal and political difficulties filmmaker Jennifer Zhang has with her mother in Tough, a short student film that redefines the documentary genre tag. In the space of four short minutes, Zhang manages to convey an alarmingly detailed view of her relationship with her mother,…

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AF French Film Festival Review: Being 17 (France, 2016) is a thoughtful coming-of-age story

If Being 17 is any indication, the 2017 Alliance Francaise French Film Festival is off to a great start. Coming-of-age films are a genre that I deeply appreciate. With no need of a strong reliance on plot, seeing the progression of a protagonist through young adulthood can be compelling on a cinematic level. So when…

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