Film Reviews
Director Rebekah Fortune’s Just Charlie is an empathetic transgender coming out tale that slowly becomes a moving story of self-acceptance.
Becoming Jessica Nigri documents Nigri’s uniquely devoted cosplay, delving into what it means to her in addition to the idea of cosplay in general.
Amid the rubble that is The Commuter, there is an entertaining enough film to provide respite during the Winter blues, just don’t expect too much.
In This Corner of the World is a beautifully captured and quietly tragic animation, which succeeds due to how it captures the sadness underneath the mundanity of life in a war-torn country.
12 Strong feels on a par with the cringeworthy, overly patriotic action films made during the significant wars of America’s past, with nothing to say about the nature of war itself.
There are seven remarkable films at the heart of Femme Frontera, a short film showcase…
FREAK SHOW: Alex Lawther Dazzles In A Transformative, Career-Making Performance
The BBQ is a low-key Australian family comedy that aspires to be 2018’s answer to 90’s Oz comedy classic The Castle, but it’s too pedestrian to follow in that films footsteps.
With a multitude of successful hits across television and film, Netflix misses a beat with their latest film The Open House, its convoluted story and under utilized characters causing the film to fall flat before it even begins.
Director Hong Sang-Soo’s latest effort, On The Beach At Night Alone, is one of his most deeply autobiographical (and best!) to date, but it isn’t particularly accessible for newcomers to his filmography.
The arresting visuals at their most peculiar would be the biggest reason to recommend Sheikh Jackson, but it’s worth watching as a good coming-of-age story with a nuanced depiction of faith and a strong character arc at the centre.
For a studio whose storytelling style and command of visuals is so wonderfully inventive, in Early Man they’ve opted for the laziest, most obvious narrative trajectory imaginable, without even a winning sense of humour to back that up.
A provoking film that resonates long after the credits have roles, The Strange Ones is an understated debut, with just enough external beauty and internal unease to keep us hopeful for their cinematic future.
David Heinz’s excellent debut American Folk is an ardent plea for togetherness in a divided world. Aided by his leading actors, talented cinematographer, and ear-worm of a soundtrack, this journey is a privilege to share.
Devil’s Gate frustratingly flirts with greatness- however, director Clay Staub’s genre mash-up is too uneven to sustain the entirety of its running time.