Film Reviews
For our final report from the inaugural Fantastic Film Festival Australia, we take a look at two films that were in production for many years, Away and S He.
Honeyland proves to be an immensely intimate look at the life of a woman whilst also remaining completely universal.
The problem is not only that The Jesus Rolls doesn’t work as either a Lebowski spinoff or a Going Places remake, but that this movie barely works as anything.
Romeos gets points for being one of the few films out there about a trans-man who gets a happy ending, but it is mired in unlikable characters who run the gamut of stereotypes.
Vivarium is a strange beast and not everything works within its bizarre world, but it’s an endlessly compelling watch.
Despite an all-star cast of respectable and often captivating actors, The Last Thing He Wanted ultimately falls apart due to its convoluted storytelling.
Suffering from poor editing and poor character development, Run This Town seems fated to become lost in a sea of releases.
Wilson Kwong reviews two films from emerging filmmakers that screened at Berlinale 2020: Ordinary Justice and Pari.
This telling of White Snake adds an action-fantasy plot to its romance story, and feels like a mesh of other fantasy films you’ve seen before.
For our second report from the Fantastic Film Festival Australia, we take a look at…
The Roads Not Taken is surprisingly immersive and punctuated with many emotional beats along the way.
There are real issues to address in Greed, yet there feels to be very little intent to showcase these.
The Lodge is inventive, it’s clever and it’s pretty damn spooky. If you’re a horror fan, don’t let this one slip under the radar.
From its opening scene of a mansion overlooking the ocean to its anxiety-inducing conclusion, The Invisible Man brings Universal Monsters to a whole new level.
To say that Tsai Ming-Liang’s Rizi is a challenging film would be understating the staggering experience of actually watching the film.