London Town is a fictional story about a boy in 1970s London meeting up with his music idol, Joe Strummer; it is a mostly entertaining romp.
Between three men and a coterie of animals, Uncertain tells a richly rewarding story around the primal themes of death, birth and rebirth.
Departure is a coming-of-age film focused on the budding romance between a boy and his friend, yet it doesn’t fully succeed in this prospect.
Admirably performed, It’s Only the End of The World suffers from underwritten characters and a refusal to bring his trademark widescreen scope
Although a warm hearted documentary, David Stratton: A Cinematic Life cares more about Australian cinema than its subject.
While Lego Batman is essentially a spoof movie, it’s especially impressive that this film was able to keep us laughing from beginning to end.
There’s no living with, with a killing. There’s no going back from it. Right or wrong, it’s a brand, a brand that sticks.
Headshot is a bit too melodramatic and tries to emulate The Raid sequels too blatantly, yet it is just enough to satisfy action junkies.
Though with a contrived ending, Goodnight Mommy is a mostly intriguing Austrian horror film that plays on inborn, relatable fears.
John Wick: Chapter 2 is a film which, while containing the flurried action of the original, is still utterly unique and compelling.
The Salesman is the latest by renowned filmmaker Asghar Farhadi, succeeding as both a political thriller and a tightly-knit character drama.
Real Artists is an Orwellian science fiction short film written, directed, produced & performed by women – a rarity – but it sure delivers.
With finely tuned performances, The Man With Four Legs is also a visual treat, working within a genre that is often difficult to define.
With overly drawn-out scenes and a sprinkle of randomized and at times unnecessary drama, Fifty Shades Darker left much to be desired.
Billy Lynn’s Long Halftime Walk is atypical for Ang Lee; though the visuals are impressive, the film surrounding it fails to have an impact.