Review

Film Review: On the Count of Three navigates the fragility of mental health with a bleak sense of humour

A buddy comedy centred around a suicide pact isn’t exactly going to be the easiest sell (or the most pleasant viewing experience), and coming out on the other side of a global pandemic where mental health issues surged certainly doesn’t help matters either, but here we are with On the Count of Three, an at-times…

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SteelSeries Arctis Nova 1 Gaming Headset Review: Quiet Entry-Level Achiever

The SteelSeries Arctis Nova 1 aims squarely at the entry-level end of the market, while putting comfortability and sound quality at the forefront of the experience. Although the Arctis Nova Pro Wireless X serves as my daily driver, the Arctis Nova 1 largely succeeds at providing gamers many of the same benefits and perks that…

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Film Review: Raven’s Hollow is an atmospheric gothic horror tale that favours story over scares

Not exactly an origin story in the traditional – or autobiographical – sense, but a healthy start all the same as to how legendary horror writer Edgar Allan Poe fuelled his creativity for all things macabre, Christopher Hatton‘s Raven’s Hollow indulges in the author’s aesthetic for an atmospheric chiller that favours story over scares. In…

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My Policeman suffers from a glossy sheen that doesn’t naturally represent its queer merit: TIFF 2022 Review

Given how wild everyone – or teenage girls, to be a little more accurate – are for pop’s main man-candy Harry Styles, it will no doubt throw much of his female following off as to how graphic the sexual scenes are in My Policeman, a queer love story that perseveres with grand intentions but, sadly,…

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V/H/S/99 flexes its creative muscle with a shaky form: TIFF 2022 Review

One of the more unlikely franchises of a resilient nature, V/H/S/, a retro-appearing horror anthology effort that often compiles a series of genre directors flexing their creative muscle through short horror narratives, is now in its fifth iteration in the form of V/H/S/99. The horror tales that often are confined within the V/H/S/ films are always…

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The Wonder is a restrained, elegant film boasting another committed turn from Florence Pugh: TIFF 2022 Review

When The Wonder first begins there’s a rather pretentious and, ultimately, unrewarding additive that runs the risk of undoing all that will follow.  Niamh Algar‘s soothing vocal tone greets us as our eyes glaze over a constructed film set.  Algar informs us that we are indeed watching a film, but the players involve believe in…

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The Banshees of Inisherin is impossibly funny and heartbreakingly bleak: TIFF 2022 Review

Though he certainly didn’t lose any of his sense of comfort by travelling across the Atlantic for his last film – 2017’s Three Billboards Outside Ebbing, Missouri – there’s a sense of grandeur in writer/director Martin McDonagh returning to his homeland for The Banshees of Inisherin, an impossibly funny and, at times, heartbreakingly bleak dramedy…

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Baby Ruby is a disturbing psychological drama about the uncertainty of new motherhood: TIFF 2022 Review

As much as this film titles itself after an infant whose actions drive much of its horrifically-laced narrative forward, it’s the newborn’s mother that earns much of the focus in Baby Ruby, an unsettling psychological drama from Bess Wohl, the writer/actress making her directorial debut here. That mother is Jo (Noémie Merlant, best known for…

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Film Review: Confess, Fletch; the long awaited sequel we didn’t know we needed

The idea of a Fletch remake/reboot/sequel has long been discussed for almost three decades now.  The obvious suggestions of Jason Lee and Jason Sudeikis were thrown around for contention to follow in Chevy Chase’s comedic footsteps during its production, but after consistent stop/starts it has fallen to Jon Hamm to pick up the mantle and…

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Steven Spielberg’s autobiographical The Fabelmans is a thing of cinematic beauty: TIFF 2022 Review

“Mommy and Daddy will be right next to you the whole time.” From the opening line of dialogue in Steven Spielberg‘s The Fabelmans, an autobiographical coming-of-age tale that boasts itself as his first writing credit since A.I. some two decades prior, we get a sense of what’s to come as, outside a New Jersey movie…

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The Good Nurse adheres to a more refreshing approach when detailing its true crime narrative: TIFF 2022 Review

There’s something incredibly refreshing about The Good Nurse in that its true-crime temperament isn’t marred by overt manipulation – as so many of such adapted tales can be. Jessica Chastain (as typically great and committed as expected) is Amy, the titular good nurse, a single mother who is hiding her own ailment as she dedicates…

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The Son is emotionally manipulative in its interrogation of teenage depression: TIFF 2022 Review

The claustrophobic and emotional resonance Florian Zeller created with 2020’s The Father is unfortunately nowhere to be found in The Son, a prequel of sorts based off another of Zeller’s stage plays. A chamber piece on the subject of dementia that rightfully won Anthony Hopkins his second Best Actor Academy Award, The Father expressed subtlety…

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Glass Onion: A Knives Out Mystery is a playful experience that speaks to Rian Johnson’s ease as an intricate storyteller: TIFF 2022 Review

Rian Johnson had far too much fun paying homage to the works of Agatha Christie in 2019’s star-studded crime comedy Knives Out.  To say he executed it perfectly would be putting it mildly, but whilst a sequel to such a set-up seemed like a given, how anything secondary would be navigated was another mystery in…

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Film Review: George and Julia keep Ticket To Paradise a satisfactory destination

Few actors possess and exude as much movie star wattage as George Clooney and Julia Roberts.  And it’s his attractive gruffness and her screen-lighting smile that keep Ticket To Paradise from being a destination you’d request a refund for. Local audiences – predominantly those based in Queensland – are sure to get a thrill from…

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Pearl takes pride in being a demented character study over slasher genre thrills: TIFF 2022 Review

If X was Ti West‘s homage to classic 70’s horror effort The Texas Chainsaw Massacre, then Pearl could almost be aligned with The Wizard of Oz, just with, you know, a lot more blood and dry-humping scarecrows. The fact that X was an initial singular success story was enough of a win for independent horror…

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Splatoon 3 Review: more than just a new paintjob

You may be wondering what new grounds Nintendo could explore with Splatoon 3, especially when Splatoon 2 is already such a thoroughly enjoyable experience. I was too. Yet, what may initially come across as laziness in minimal core changes to multiplayer soon becomes an experience of wonderful re-identification of the Splatoon series. Splatoon 3 is…

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Causeway is a quiet drama anchored by a stripped back Jennifer Lawrence: TIFF 2022 Review

A low-key slice of independent cinema that you imagine wouldn’t be given as big of a spotlight had it not been for lead Jennifer Lawrence, Causeway nonetheless deserves its attention as it’s a determined and moving picture about one’s healing, both emotionally and physically. Adhering to the stripped-away mentality that drove her to her first…

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Film Review: Moonage Daydream is a headfirst dive into the unmatched, other-worldly psyche of the one and only, David Bowie

A feast for the eyes and the ears, Brett Morgen‘s Moonage Daydream is a headfirst dive into the unmatched, other-worldly psyche of the one and only, David Bowie.  In some aspects Morgen – who is no stranger to the musician-centred medium, having helmed the Nirvana doco Kurt Cobain: Montage of Heck – has adopted an…

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Sisu is a shamelessly playful and violently unpredictable exercise in modern exploitation cinema: TIFF 2022 Review

There’s both a sense of adhering to the temperaments of action films gone by and embracing the current and future state of the genre present in Jalmari Helander‘s Sisu. Matching its dark sense of humour (and I mean dark) with a violently bloody mentality (and I mean bloody!), Sisu manages to present the simplest of…

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On The Come Up harnesses a strong, fierce voice that cuts through narrative familiarities: TIFF 2022 Review

Author Angie Thomas has become something of a contemporary prose lyricist for the new wave of young coloured youths through her breakout novels The Hate U Give and On The Come Up.  Breathing a certain life into their own coming of age stories, her words prove a promising soundboard for actress Sanaa Lathan‘s foray into…

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Mean Spirited is an enthusiastic horror-comedy that delights in the purposefully awkward: FrightFest Film Review

When watching Mean Spirited I couldn’t help but wonder why Jeff Ryan isn’t a household name.  As a director he has worked within a duo of spaces that have well been tested – the mockumentary comedy and the found footage subsect of horror – but both this and his previous effort (YouthMin) prove he has…

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Destroy All Humans! 2: Reprobed Review: Extra-terrestrial Hijinks

I’ll admit right off the bat that I have very fond memories of both Destroy All Humans! games when they each released over 15 years ago. I don’t know if it was the satirical humour, wacky gameplay mechanics or both, that drew me into the admittedly insane premise. That being said, I had doubts about…

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Film Review: The Invitation; serviceable enough to accept or best to return to sender?

It’s all too easy to wax lyrical these days about trailers spoiling and “giving too much away” for the keyboard warriors who oft decide they hate a film before they even see it.  Whilst the jury is still out on how many will dislike The Invitation, I can attest that, as far as spoilers go,…

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Film Review: Orphan: First Kill adopts a blackly comic, campy personality that succeeds in shocking its audience

Of all the unexpected horror sequels to come to fruition, Orphan: First Kill would be up there as one of the more unlikely titles.  Yes, it’s a prequel, first and foremost, but original star Isabelle Fuhrman is back in the unsettling role of Estonian psychopath Esther that birthed her career in 2009’s Orphan.  Why this…

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Film Review: Beast is a B-grade popcorn thriller with a surprising injection of emotion and immersion

Given that we’ve had a share of snakes and sharks and bears (Oh My!) over the years as the creatures that have opted to stalk various familiar-faced talent, it’s only fair that the majestic king of the jungle get their due too. If the circle of life taught us anything, it’s that what goes around…

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Film Review: Glorious is surprisingly contemplative for a lightly demented horror film

With a rest-stop bathroom glory hole serving as a type of universal gateway between a confused, confined Ryan Kwanten and an unseen, but very heard, J.K. Simmons, one would be forgiven for thinking Glorious may be, well, just a little filthy. Sure, it’s dirty at times and leans into a gory mentality when it sees…

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TCL 30+ Phone Review: You gave me a plus, now give me the guts

When you think of mid to low range phones, who do you think of? Oppo, Google’s A series, Samsung, Xiaomi maybe even Huawei. TCL, anyone? Probably not. Best known for their dexterity in the consumer tech world, you may not have realised their venture into the smartphone world. It’s a lucrative market, the most lucrative…

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Film Review: Bosch & Rockit is a spirited and emotional film that succeeds off its own scrappiness

A meditative presence, a sometimes-actor, and now writer/director, Tyler Atkins seems to revel in the difficulty of categorisation.  And it’s that loose scrappiness that shapes his feature-length debut, Bosch & Rockit, a spirited and emotional film that’s equally as uneasy to singularly designate. Based on Atkins’ own childhood, the film flirts with multiple genre temperaments…

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Please Baby Please muses on gender and orientation in a manner that’s more sleazy than it is stylish: Melbourne International Film Festival Review

A gaudy game of cat-and-mouse and pseudo-philosophical musings on sexual orientation and gender sit at the core of Amanda Kramer‘s Please Baby Please, a wild but, sadly, insufferable drama that’s more sleazy than it is stylish. Set in 1950’s New York, the film reveals its bizarre, sexualised tone in its early minutes when bohemian couple…

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Film Review: Good Luck To You, Leo Grande is an intelligent and refreshing comedy about the joys of shameless sexual awakenings

Whilst there’s no surprise revealed in the fact that Emma Thompson truly deserves to be considered one of the greatest living actresses working today, it’s always appreciated when a performance solidifies such a statement.  And in the deliriously charming and strikingly emotional Good Luck To You, Leo Grande, Thompson turns in career-best work that leans…

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