Three and a Half Stars

Film Review: Netflix’s The Babysitter (USA, 2017) delights in being supremely distasteful

Beginning its streaming season on the rather appropriate date of Friday the 13th, Netflix’s nasty, bloodied The Babysitter proves a suitable entree for the feast that is the Halloween film season. Playing with the conventions of an 80’s style slasher whilst simultaneously maintaining an air of modern self-referential wit, McG‘s splatter comedy is a quick…

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Film Review: Happy Death Day (USA, 2017) survives on the strength of its sense of humour

As varying subsets of the horror genre have forged ahead in 2017 as some of the year’s biggest successes (Split, Get Out and It remain three of the most fruitful ventures), it only makes sense that the slasher genre attempt the resurgence it so desperately deserves. It simply isn’t enough however to let a film…

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Cunard British Film Festival Review: Breathe (UK, 2017) is a love letter from one Cavendish to another

Breathe is a love letter from producer, Jonathan Cavendish to his inspiring parents. The film is a bio-pic that chronicles the enduring love that this couple shared for each other as well as their refusal to give up in the face of a devastating disease. This story is an important one that is a testament…

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Greek Film Festival Review: Amerika Square (Greece, 2016) scales the political polarity in Greece to a single housing block

Until the day when Pixel Buds are so finessed that we no longer need those streaming lines of text, subtitles will be (for most of us) our one entry to foreign films. It’s rare though for subtitles to impact the film in any other way, but in Yannis Sakaridis’s Amerika Square, those flashing words do…

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Film Review: Battle of the Sexes (USA, 2017) is topical, crowd-pleasing entertainment

Despite its 1973 setting, Battle of the Sexes is very much a film for the now with Billie Jean King’s story appearing just as relevant today as it did back then.  Stances on sexuality and the pay parity between genders as depicted here is likely to strike a chord with many an audience member, but…

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Film Review: Captain Underpants: The First Epic Movie (USA, 2017) is a family treat for the senses

DreamWorks Animation is back with a new film, and what can we say about this little animation company, soon to celebrate a successful 20-year run? They’ve come an exceedingly long way since their first animated feature, Antz, in 1998, a film that felt so forced to catch up with Pixar (who released A Bug’s Life around the…

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OzAsia Film Review: Pop Aye (Singapore/Thailand, 2016) is an amiable, bittersweet and surprisingly surreal piece of work

Although I am a fan of all film genres, I have an affinity for the human-fantasy friendship trope. Whether it’s between a human and a horse (War Horse), a human and a robot (The Iron Giant), a human and a mutant super-pig (Okja) or a human and a Totoro (My Neighbour Totoro), a strong bond…

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Film Review: Patti Cake$ (USA, 2017) constantly subverts our expectations

Patti Cake$ is the kind of movie that could have gone horribly wrong. The story of an overweight, white (trash) suburban girl gunning for glory in the hip-hop scene isn’t the most accessible story, nor is it culturally appropriate. Thanks to the wit of writer/director/composer Geremy Jasper though, Patti Cake$ disarms any of these potential…

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Film Review: The Dinner (USA, 2017) is an uncomfortable debate that will stay with you after you’ve left the cinema

In We Need To Talk About Kevin writer Lionel Shriver explored the idea of a mother grappling with her son’s heinous act. In The Dinner, four parents deal with the ramifications of a shocking crime perpetuated by their boys. They have to decide how far they will go in order to protect their teenage sons….

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Film Review: Ali’s Wedding (Australia, 2017) is a warm comedy with a big heart

It’s a mad, mad, mad, mad world. The events depicted in Ali’s Wedding, the new Australian film and Muslim rom-com are based on true events. Unfortunately. This comedy is a funny and vibrant look at life in Australia for a family of Middle Eastern immigrants and like Looking For Alibrandi, The Family Law and Acropolis…

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Film Review: Killing Ground (Australia, 2017) is an assured and unapologetic debut feature

Offsetting its grand, sprawling Australian outback locale with a dark, often uncomfortably intimate story that crosscuts between altering timelines, Killing Ground is an assured, at times unapologetic, debut feature from writer/director Damien Power. Taut, tightly wound and brutal without resorting to exploitation, the film initially focuses on sprightly couple Ian (Ian Meadows) and Sam (Harriet…

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Film Review: Hampstead (UK, 2017) is London’s answer to Lady & The Tramp

Hampstead is a film that is based on a true story. But you get the sense that it’s a glossy, feel-good version of reality. The film is a pleasant rom-com that is a nice way to wile away 102 minutes so long as you don’t expect any surprises or social realism. The film is directed…

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Film Review: Logan Lucky (USA, 2017) is a calculated, charming caper

It’s been a few years since director Steven Soderbergh had a feature film on the big screen but with Logan Lucky he makes a welcome return in this rollicking comedy-heist. It would be easy to boil this down to a red-neck dirty overalls wearing, whiskey swigging, pick-up truck driving version of Soderbergh’s own hit Ocean’s…

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Melbourne International Film Festival Review: Jungle (Australia, 2017) tells of Yossi Ghinsberg’s Intense and Dramatic Journey

Ever since his resounding success with the Harry Potter franchise Daniel Radcliffe has continued to push the boundaries of his acting career with fantastic and varied performances in both Swiss Army Man and Imperium. Now Radcliffe has completed one of his most physically demanding roles yet portraying Yossi Ghinsberg, an Israeli adventurer who became stranded…

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Film Review: Annabelle: Creation (USA, 2017) is a vast improvement over its dull predecessor

When James Wan’s The Conjuring hit cinemas in 2013 it was rightfully heralded as one of the greatest supernatural horrors ever made, instantly shooting to the very top of many genre aficionados’ lists and sewing the seeds for an ever-expanding cinematic universe to the scale no horror franchise has pulled off before. Then Annabelle was…

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Melbourne International Film Festival Review: Unrest (USA, 2017) is an illuminating documentary about people with Chronic Fatigue Syndrome

Unrest is a documentary that was difficult to make and a challenging one to watch. The film is the debut feature by journalist, Jennifer Brea who chronicles her life with myalgic encephalomyelitis (ME) or chronic fatigue syndrome. She also speaks to others that have this condition by conducting interviews from her bed via Skype. ME…

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Film Review: Atomic Blonde (USA, 2017) collates enough action, sensuality, and humour to deem it worthy

Proving that the no-hold barred mentality he so masterfully captured as co-director of the original John Wick was no flash in the pan, director David Leitch ventures as a soloist for the excessive Atomic Blonde and manages to collate enough action, sensuality, and humour to deem it a project worthy of one’s attention. It doesn’t…

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Film Review: The Big Sick (USA, 2017) Makes The Case For Big-Screen Romance

It sometimes feels like today’s romantic-comedy films have become a little of out of sync with the rest of the modern blockbuster landscapes. You just don’t see as many being made these days. There’s an easy argument to be made that the audience for these kinds of stories have largely migrated to TV shows like…

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Film Review: A Monster Calls (USA, 2017) Strikes At Your Heart

It would be a mistake to write A Monster Calls off as ‘just another one of those’ modern young adult bestsellers that’s gotten the Hollywood treatment. Sure, the narrative of the film is propelled forward by the on-screen performance of an emerging child actor (Lewis MacDougall) and the CGI-performance of a big established figure (Liam…

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Film Review: Edgar Wright is a slave to the rhythm in Baby Driver (USA, 2017)

It’s obvious that great care and thought was put into Baby Driver; we should have expected nothing less from visionary Director Edgar Wright, he who has brought us incredibly unique films like Scott Pilgrim Vs. The World and Shaun of the Dead in the past. With the idea snowballing in his head for decades, road-tested…

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Melbourne Documentary Film Festival Review: China’s 3 Dreams checks the aftermath of The Cultural Revolution two generations on

It’s been more than forty years since Emperor Mao Zedong passed, yet the events of the Revolution remain a foreign subject to much of China’s youth. Beneath the doctored history, propaganda and piecemeal curriculum, the impact of Mao’s leadership remains present in the generation that survived it. This is the heart of Nick Torrens’ documentary,…

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TV Review: Fear the Walking Dead Season 3 Episode 6 “Red Dirt” fixates on fear

“Red Dirt” continues Fear the Walking Dead’s vast improvement over its previous seasons as Broke Jaw Ranch is thrown into a panic in response to news that the show’s latest villain, Walker, is coming to claim the land by force. That’s some great material for the show to start exploring, leaving the walking dead out…

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Sydney Film Festival Review: The Beguiled (USA, 2017) is a worthy remake with an excellent cast and crew

Apart from Lost in Translation and Marie Antoinette, I haven’t seen much of director Sofia Coppola‘s work. Known for her filmmaking approach to humanize her subjects with unorthodox methods like gentle pathos, looking through different character points-of-views outside the norm and the use of anachronisms, Coppola has achieved a reputation of being a director that is…

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DVD Review: A Cure For Wellness (USA/Germany, 2016) discovers glee in its unrestrained European sensibility

Returning to the genre that arguably brought him to fruition, Gore Verbinski’s (The Ring) A Cure For Wellness is a decidedly morbid slice of cinema that revels in its own jarring weirdness. Here’s a film that has considerable monetary backing (something of a surprise for a particularly eerie horror experiment) yet comes off more like…

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Film Review: Detour (UK, 2016) tells its simple story with a violent edge and an air of unpredictability

Having made something of an underground name for himself in the horror genre with such European productions as Creep, Triangle, and Black Death, British filmmaker Christopher Smith opted out for a brief moment to helm some TV work and an out-of-character holiday-themed comedy; Get Santa with Jim Broadbent and Warwick Davis, for those playing along…

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Sydney Film Festival Review: The Little Hours (USA, 2017) is a fun, irreverent, often non-sensical comedy

Fans of off-kilter comedy should find something of value in Jeff Baena’s quirky spoof The Little Hours, a play on the 14th-century Giovanni Boccaccio novella The Decameron. With hefty doses of witchcraft, torture, and pan-sexuality peppered throughout the script, it’s not hard to see some viewers being confounded by Baena’s film just as much as those…

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Sydney Film Festival Review: Rumble (Canada, 2017) gives long-overdue credit to American Indians & their contributions to popular music

It seems that American Indians have been erased from the history books, including the chapters relating to contemporary music. Until now. The documentary, Rumble: The Indians Who Rocked The World looks set to change all of that by celebrating the contributions of these individuals and finally giving credit where it’s due. The film is directed…

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Sydney Film Festival Review: Wet Woman in the Wind (Japan, 2016) beckons the return of the Roman Porno

Akihiko Shiota’s Wet Woman in the Wind is a feature-length manhunt, set into motion by Shiori (Yuki Mamiya) riding her bike into the sea. She emerges as she entered, focused and unwavering, locking on to Kosuke (Tasuku Nagaoka), a playwright in pursuit of celibacy. Shiota’s film develops into a playful take on a Japanese sub-genre…

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Sydney Film Festival Review: You Have No Idea How Much I Love You (Poland, 2017) Gently Taps Into The Tragic

At first glance, I’m tempted to drum up some connection or parallel between You Have No Idea How Much I Love You and last year’s Europe, She Loves. Both are European documentaries that engross themselves utterly in their subjects and return with captivating insights into modern humanity. However, aside from the size of its ambitions,…

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Sydney Film Festival Review: Winnie (South Africa, 2017) is a documentary that for better or worse celebrates the mother of a nation

When you consider the name Winnie Mandela do you think of the mother of a nation or a terrorist? The documentary, Winnie tends to sit in the former camp by telling this woman’s history and story from her own point-of-view. It’s fascinating to hear her out and this documentary is a long overdue one, but…

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