family
Beast is a gritty psychological-mystery with a brilliantly dark, pulsating and atmospheric heart, with an exceptional lead performance from Jessie Buckley. Michael Pearce delivers a brilliantly assured and confident feature-length directorial debut.
95 And 6 To Go follows the Takesues in a one-of-a-kind document; exploring the family’s innately meaningful transgenerational memories.
This belated sequel to Gnomeo and Juliet poorly attempts to expand the cinematic universe – and merely exposes the poor storytelling within.
There are those that may find Sgt. Stubby a little too twee for their tastes and it may not appeal to those who are not won over by doggy antics, but for those that are susceptible to a four legged friend, you will find Stubby a real heart-warmer.
Samuel Maoz’s Foxtrot toys with our emotions, but that doesn’t mean it lacks any of its own. This is an energetic and structurally audacious jukebox of sensations, prioritising impulse over precision and thought over action.
Though grounded by a strong presence in the young Madison Wolfe, I Kill Giants is often too dreary to be truly engaging, and too under-realized to be an immersive escape into a fantastical world.
Birthmarked is a comedy struggling with an identity crisis. Maybe that’s the point, or was more nurturing required?
It was absolutely inspiring to see so much strong female content at SXSW Conference and Festivals, and Family, the debut feature by Laura Steinel, was no exception.
Father Figures is a swing and a miss, lacking enough entertaining or cogent material to sell this half-hearted comedy.
Relying heavily on the personal over the historical, 1985 is a gripping reminder that the social drama need not be loud and tumultuous for it to be effective.
The narrative debut of director Miranda Bailey, You Can Choose Your Family, is a misjudged dark comedy that earns enough goodwill through the committed performances from its ensemble.
Koreeda Hirokazu’s intimate family drama After the Storm captures a side of Tokyo rarely seen in cinema, as well as beautifully depicting a turbulent familial relationship with glimmering hope.
A Wrinkle in Time has many touching and beautiful moments, in large part due to the incredible and relatable performance of its young star. However, the heavy-handed direction and sugary-sweet story may wear on adults used to more nuanced fare.
Dark River feels more like a transitional gateway to better films, bridging the gap between Clio Barnard’ older social realist efforts and flirtations with experimental works likely to come.
The BBQ is a low-key Australian family comedy that aspires to be 2018’s answer to 90’s Oz comedy classic The Castle, but it’s too pedestrian to follow in that films footsteps.
