drama
Om det oändliga (About Endlessness) can be painfully slow at times, but it is superbly captured with a truly delightful aesthetic.
Monos isn’t simply a film you watch, it’s an unflinching descent into chaos in the best way possible, haunting you long after the film has ended.
Adults In The Room is a hard sell, failing to deliver an intriguing narrative despite being about the political cunning behind the Greek financial bailout.
Equalled with terrific editing and a beautiful turn of cinematography, Revenir is a terrific boiling pot of emotional intensity.
Despite the overt silliness of I Was A Teenage Werewolf, it might give us a useful way to think about the cultural impact of one Dr. Jordan Peterson.
An alluring fixture with a hefty and enlightening impactful weight, The Laundromat drowns due to an overindulgence in material and excessive narrative.
The Death of Dick Long might easily be the most bizarre film of the year, but it’s also one of the funniest.
Dark and gritty, Joker is a pressure cooker of emotional abuse that is just ticking, ready to blow at every minute.
The plot thickens in episodes 4-6 of Mindhunter: Season 2, as the dramatic fallout of the first season fades into the rear view mirror and the intense conflict of this new season shifts to the forefront.
While Ad Astra is no doubt visually stimulating, ultimately Gray’s film is a meandering lifeless existential entity that overly emphasises on simplicity.
Marriage Story is a heavy-hitting and brutal feature that leaves no stone unturned and no fallen tear allowed to escape from the camera.
Go! is the perfect adversary to the rising encroachment of American animated films that dominate Australian cinemas every holiday period – it’s old fashioned for sure, but undeniably fun.
Driven is a film that, despite a unique structure and talented cast, doesn’t feel as inventive as it sets out to be.
Season 2 of Mindhunter reminds us why we adore this show: it’s gripping, intoxicating television, as engaging on a scene-to-scene basis as it is on a grand narrative level.
Where’d You Go, Bernadette feels remarkably lacking in passion from those involved, save Cate Blanchett.