Daphne is a more of a character study than a film whose design cleverly portraying a layered and complex character rarely see on screen.
Jay Baruchel steps behind the camera for cult sports comedy sequel Goon: Last Of The Enforcers, and forgets what makes the original special.
Flatliners is a terrible remake of an already bad movie, whose basis is genuinely interesting but the vision poorly conceived.
Alex Lines reports from Adelaide Film Festival, and reviews Aussie films Guilty, Sweet Country Cargo and more!
Gotti is the long-awaited biopic about the infamous New York mobster of the same name, starring John Travolta.
Chloe, Alistair and Ryan report from BFI London Film Festival, reviewing films Wonderstruck, Pickups, Breathe and many more!
In Andrew Haigh’s Lean On Pete, a young boy bonds with a horse headed to a slaughterhouse, and is a great cinematic experience.
War Dogs is a hyper-masculine film that, offensively but not surprisingly, uses its main female character simply as a plot device.
Mike Flanagan’s Gerald’s Game, though not quite as dark as its source material, still showcases his talent for immersive horror film-making.
At NYFF, the series calls Genre Stories contains a plethora of short films, from sci-fis to horror, and made from a diversity of backgrounds.
In The Foreigner, after a terrorist attack, Quan (Jackie Chan) dedicates his life to finding the men responsible for his daughter’s death.
We analyze some of the interpretations of Twin Peaks: The Return, the dreamlike sequel series to David Lynch’s early ’90s TV show.
Stephanie Archer reports on two films from the NYFF 2017 that examine the loss and struggle of an American Cowboy and the Florida projects.
How might a predominately white community wield its power to dismiss a black life? The documentary Strong Island offers unsettling answers.
After spending three years in post-production purgatory, Friend Request arrives in US cinemas – and is certainly not worth the wait.