2020s
There are real issues to address in Greed, yet there feels to be very little intent to showcase these.
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.
Brahms returns in this pointless sequel to The Boy, which starts out with some promise but loses its plot halfway through.
In our final review from Sundance 2020, Janet Lee reviews MinarI, a film that brings an honest story of family, love, selfishness, and humility.
What should have been a sun-soaked blockbuster, Fantasy Island leaves us feeling shamelessly entertained and frustratingly ripped-off.
Yalda, A Night For Forgivness is a solidly crafted a socially conscious film while making some truly bold cinematic choices.
In his first report from Fantastic Film Festival Australia 2020, Matthew Singleton reviews Saint Maud and A Serial Killer’s Guide to Life!
After Midnight shows much potential in its early-goings, which makes the lack of a satisfying follow-through all the more disappointing.
The Times of Bill Cunningham would serve better as an extras-feature on a Blu-Ray than as the stand-alone documentary it is.
Even with the brilliance of Faran Tahir’s believable portrayal of a broken villain, I Am Fear flaws weigh heavy, even in the final moments.
It’s Onward and downwards for Pixar, as their Dungeons and Dragons inspired latest is one of their most disposable efforts to date.
Viral: Antisemitism in Four Mutation is timely and it is vital; it is a documentary that not only a community needs, but all of us do.
While Reichardt seems to be well intentioned here, First Cow falters by being frustratingly empty in both its delivery and narrative focus.
Unfolding like a fever dream with strong performances throughout, Caitlin Kennedy reckons that Horse Girl is well worth each twisting moment.
In She’s in Portland, the elements feel superficial, with the core relationship feeling especially hackneyed.