2020
On the surface, Sphere — a 1998 flop directed by Barry Levinson and adapted from Michael Crichton’s hit sci-fi thriller — is perfect for lockdown.
Alex Wheatle is yet another strong showing from Steve McQueen and company, and one that feels more personal than the rest.
A genuinely unusual movie that will elicit a genuinely unusual reaction, Wild Mountain Thyme is shockingly terrible.
Mariusz Wilczynski’s Kill It and Leave This Town is art in its purest form; sincere, evocative, and intimate.
Jim Dixon sat down to interview with director Vladislav Kozlov and the cast of their upcoming film, Immortalist.
The Queen’s Gambit is stunning and exhilaratingly enjoyable, but it ultimately leaves me as a viewer just wanting more of it as a whole.
Dear Santa is a film that proves love and charity are all around, showing that Christmas is not just for children, but for the communities and the heart.
While Mank isn’t David Fincher’s best work, it certainly places quite high in his repertoire.
While we always talk about The Beatles and The Beach Boys, but the impactful legacy of The Ventures deserve their due.
The Xrossing steadily forms into a heartbreaking variation on familiar story beats that blends regional melodrama with a hard-edged crime-thriller.
The Jinkx & DeLa Holiday Special is a labor of yuletide love that shows the raw creativity and determination of queer performers.
“I’m sorry I’m late”, I say when I’m connected through to Karim Saleh. We’re here…
Fatman is an exhausting, vile, depressingly boring movie which might have been kinda funny as a skit or short.
Black Bear goes to such lengths to get across a mundane idea that even its lack of meaning is forgivable in light of its wild viewing experience.
As part of Melbourne’s annual Monster Fest, we got a look at one of the films in the lineup: Brandon Cronenberg’s Possessor.