Film Reviews
Concrete Cowboy is a heartfelt reclamation and tribute to a long lineage of Black frontiersman that’s largely been swept under the rug.
I Care a Lot subjects its audience to the devils whose company is never entreated, but whose dastardly dispositions are never without flair.
Chloe Zhao’s Nomadland surpasses the wildest expectations to become the first true all-around festival standout of the year.
With its flashes of humor and music, The Hole is a disturbingly timely depiction of humanity in crisis that speaks to our current isolation.
Charles Officer’s film Akilla’s Escape is an engaging and hypnotic look at a young man’s attempt to break away from a violent lifestyle.
Genuinely funny and made with a real passion for its heroes, Bill & Ted Face the Music is a most excellent addition to the franchise.
Brutal in its subtlety, Língua Franca is a harrowing portrait of not only Trump’s America but also Duterte’s Philippines.
Apples is a gritty, subversive take on identity, memory and grief and an outstanding first feature from Greek director Christos Nikou.
There is a rare nature and rough surface to Holler that will resonate with audiences through the need for survival, perseverance and opportunity.
Matthias & Maxime, Xavier Dolan’s most open and tender film to date, sees him reclaiming his wunderkind status as a director once again.
While it may not land as smoothly as it hopes for, what #Alive offers here is still refreshing, warranting the attention of its audience.
In our latest report from the Sheffield Doc/Fest 2020, Musanna Ahmed looks at Please Hold the Line and The Viewing Booth.
While the energy soars, I Am Woman is certainly neither the greatest musical biopic nor the most intriguing account of a musician.
Slim & I, one of the rare Australian features to sneak back into cinemas post-quarantine, delivers the history of Dusty Slim with a little cunning twist.
Rent-A-Pal succeeds in recreating its 90s aesthetic as it examines the videotape dating culture of the 1990s in this retro horror film.