2017
Plotless, joyless and cash-grabbing, The Emoji Movie deserves the brunt of our wrath because it showcases everything wrong with Hollywood.
England Is Mine is a blend of fact and fiction, delving into the early life of The Smiths frontman Steven Morrissey.
Pilgrimage is rife with metaphors connecting the Dark Ages with contemporary issues, making us wonder if we’ve advanced as much as we think.
6 Days is a mostly well-made film based on true events, but its similarity to our current political climate makes it an uncomfortable watch.
As a coming-of-age tale, Liza, Liza, Skies Are Grey is inoffensive, as a reminiscence of the Cold War years, it’s inert, as a whole it’s completely inconsequential.
In Megan Freels Johnston’s The Ice Cream Truck, sweet treats and sugary snacks are traded for bloodshed and suburban violence.
More Than a Word discusses and explores the Washington football team’s controversial name, casting new light on a longstanding issue.
Although filled with flaws, this charming mini-sequel, Red Nose Day Actually is hard to criticise due to its good, charitable intentions.
Chronically Metropolitan is a quirky romantic indie about life in New York City; though not perfect, it’s reasonably enjoyable.
With effective sound design and plenty of earned scares, Annabelle: Creation is another successful entry in the continuing Conjuring saga.
The Incredible Jessica James has an infectious charm to it, bolstered by Williams’ strong lead performance and a positive central message.
The Passion of Augustine offers glimpses into life before womanhood sets in and all the growing pains that come with this journey.
Though with potential, Risk is ultimately an unoriginal look at Julian Assange, and pales in comparison to Poitras’ past work.
Australia Day is a Crash-style drama that contrasts 3 different minorities facing persecution and racism on the backdrop of Australia Day.
Beyond Food is a documentary that explores recent trends and diets in the food industry, asking advice from numerous professionals. We spoke with director Tom Reyes.
