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Widows is a thrilling, satisfying and breathtaking experience that toys with the conventions of the genre while bringing enough depth and surprises of its own.
Daredevil is still the stunner of Hell’s Kitchen, and of the Netflix Marvel world, with an adept season three that goes back to its roots, but also grows from them.
Although it’ll be overshadowed by The Hate U Give, River Runs Red is an important film. The themes it explores make it a vital piece of social commentary.
S. Craig Zahler’s loyal cult following will find much to love with Dragged Across Concrete, although first time viewers will find it a difficult watch.
The Hate U Give is an important film; it understands the suffering poor communities go through, and how economic circumstances can enflame racial tensions.
London Fields feels like it’s trying to accomplish too much, and as a result, accomplishes very little.
In his final Film Fest 919 recap, Josh Martin delves into Jake Gyllenhaal’s latest, a challenging take on the Western and the most delightful film of the festival.
The Old Man and the Gun is a love letter to many things: the 1970s/early ’80s, the aging outlaw trope so often seen in Westerns, and to film itself.
For this latest report from Film Fest 919, we into Robert Redford’s final film, the documentary about Orson Welles, and a Hillary Swank-starring drama.
How To Get Away With Murder’s case-of-the-week format will work for some but those welcoming of the more complex journey of yester-series will find the current set-up lacklustre at best.
An incredibly funny film, An Evening with Beverly Luff Linn is a wonderful example of a film that is able to be surreal, comic, and emotional – even if the ending is really very, very bad.
Another decent episode of How To Get Away With Murder, “Whose Blood Is That?” continues to build a solid fifth season but it’s yet to match the series’ highs we’ve seen before.
The Two Jakes may be an inferior sequel to Chinatown, but this Jack Nicholson-directed follow up is more intriguing than its reputation suggests.
In our first report from Film Fest 919, Josh Martin recounts the nauseating absurdity of Dogman, memorably fascinating Destroyer and Cannes’ Palme d’Or Shoplifters.
With an unapologetic, feminine roar, City Of Joy takes on a wholly ignored genocide, racism, toxic masculinity and bloodthirsty greed, a rallying cry for survivors of violence and product consumers.