Two reviews of films from the Lavazza Italian Film Festival, Loro by Paolo Sorrentino and Boys Cry, a gangster film from the D’Innocenzo Brothers.
Ben Ferris’ experimental docu-drama hybrid 57 Lawson has aged as an important archive of a brief period of time, a lyrical tribute to Australia’s often ignored lower class population.
How To Get Away With Murder’s case-of-the-week format will work for some but those welcoming of the more complex journey of yester-series will find the current set-up lacklustre at best.
An incredibly funny film, An Evening with Beverly Luff Linn is a wonderful example of a film that is able to be surreal, comic, and emotional – even if the ending is really very, very bad.
After nine seasons, we say goodbye to one of the Gallaghers in what is easily the best episode of this season of Shameless thus far.
Studio 54 was blessed to be a documentary about something unendingly interesting, unfortunately, by taking on a big topic and failing to ever get specific,it fails to live up to its great potential.
Glass blends M. Night Shyamalan’s Split & Unbreakable, pitting Unbreakable’s security guard (Bruce Willis) against Split’s creature (James McAvoy).
We spoke with Derrren Brown about his latest Netflix show Sacrifice, as well as his development as a performer, and his future projects.
Roma is a film that improves with each passing minute; even though occasionally underwhelming, the longer it lingers in your mind, the more of an impact it will have.
Green Book is cinematic comfort food, equipped with witty performances and the aura of social importance, yet undistinguishable from the tons of other polite Oscar dramas that came before it.
I Still See You is another entry to the endless array of young adult fare, and it’s a near flop that doesn’t look to be boundary-defying, instead playing it safe.
Though easily levelling with The Wonders in terms of visual quality, the lack of investment leaves Happy as Lazzaro a rather transitory collection of charming anecdotes.
In Hirokazu Kore-eda’s Shoplifters, a family of small-time crooks take in a child they find on the street.
On numerous conscious and subconscious levels, Jean Vigo’s Zero for Conduct is one of the most honest examinations of humanity and human society yet made in cinematic form. That is Anarchic Cinema.
Disquieting and deeply moving, Sadie takes its story to extreme lengths while still feeling utterly grounded in the emotional reality of its characters.