Film Festivals
Despite excellent performances from Binoche and Deneuve, Koreeda’s The Truth is rather more conventionally dull.
John Crowley’s adaptation of The Goldfinch lets down its source material and is, above it all, limp Oscar-bait.
Katrin Gebbe’s Pelikanblut is a balance of dramatically written material and an underbelly of deliciously spooky horror.
Thoughtfully composed and steadily educational, Super Whale Highway’s reflection on the domestic duties of the humpback whale is a trip worth taking.
The King may not be Michôd’s best by any means, but with strong performances and cinematography, it’s a strong effort nonetheless.
Om det oändliga (About Endlessness) can be painfully slow at times, but it is superbly captured with a truly delightful aesthetic.
Adults In The Room is a hard sell, failing to deliver an intriguing narrative despite being about the political cunning behind the Greek financial bailout.
Equalled with terrific editing and a beautiful turn of cinematography, Revenir is a terrific boiling pot of emotional intensity.
An alluring fixture with a hefty and enlightening impactful weight, The Laundromat drowns due to an overindulgence in material and excessive narrative.
Dark and gritty, Joker is a pressure cooker of emotional abuse that is just ticking, ready to blow at every minute.
While Ad Astra is no doubt visually stimulating, ultimately Gray’s film is a meandering lifeless existential entity that overly emphasises on simplicity.
Marriage Story is a heavy-hitting and brutal feature that leaves no stone unturned and no fallen tear allowed to escape from the camera.
Go! is the perfect adversary to the rising encroachment of American animated films that dominate Australian cinemas every holiday period – it’s old fashioned for sure, but undeniably fun.
Alex Lines reports from Melbourne International Film Festival and reviews three more films: Particles, Something Else and Iron Fists and Kung Fu Kicks.
The Day Shall Come is a dark, biting commentary on systemic racism of law enforcement and the weird Kafkaesque nature of the War on Terror.