Author: Peter Gray

Seasoned film critic and editor. Gives a great interview. Penchant for horror. Unashamed fan of Michelle Pfeiffer and Jason Momoa. Contact: [email protected]

Film Review: Patti Cake$ (USA, 2017) constantly subverts our expectations

Patti Cake$ is the kind of movie that could have gone horribly wrong. The story of an overweight, white (trash) suburban girl gunning for glory in the hip-hop scene isn’t the most accessible story, nor is it culturally appropriate. Thanks to the wit of writer/director/composer Geremy Jasper though, Patti Cake$ disarms any of these potential…

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Film Review: Small Town Killers (Denmark, 2017) never completely commits to its nasty premise

Like fellow Danish filmmakers Lars von Trier and Nicholas Winding Refn, Ole Bornedal made the leap from his homeland to Hollywood, though he opted for more an entertaining stance on his career as opposed to the heavy artistry his peers practiced; Bornedal was behind the rather unspectacular 2012 haunted house pic The Possession, whilst von…

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Film Review: God’s Own Country (UK, 2017) is a moody and haunting emotional journey

As easy as it is to liken God’s Own Country to the similarly themed Brokeback Mountain, doing so is only ultimately stripping Francis Lee‘s film of its own identity.  A moody and haunting emotional journey for its protagonists, God’s Own Country is a slow burning, though rewarding drama propelled by a duo of strong performances…

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Film Review: Killing Ground (Australia, 2017) is an assured and unapologetic debut feature

Offsetting its grand, sprawling Australian outback locale with a dark, often uncomfortably intimate story that crosscuts between altering timelines, Killing Ground is an assured, at times unapologetic, debut feature from writer/director Damien Power. Taut, tightly wound and brutal without resorting to exploitation, the film initially focuses on sprightly couple Ian (Ian Meadows) and Sam (Harriet…

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Interview: American Made director Doug Liman talks about uncovering the heart at the centre of his action films

Doug Liman has never been a director afraid of making bold choices. Whether he’s taking the leap from indie cinema ala Swingers to expensive actioners like The Bourne Identity and Mr. and Mrs. Smith, or honing his skills as a wrangler in order to challenge a fearless performer such as Tom Cruise, the New York…

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Film Review: American Made (USA, 2017) is a sharply paced outing that proves a welcome return to form for Tom Cruise

Simultaneously stepping away from the action brands they’re both primarily recognised for, there’s a sense of material re-engagement for director Doug Liman (The Bourne Identity, Mr. and Mrs. Smith, Edge of Tomorrow) and star Tom Cruise with American Made.  Telling a story that’s less reliant on aesthetic spectacle and star power, Gary Spinelli’s account of…

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Film Review: Wind River (USA, 2017) is excitingly tense and beautifully shot

Having proven his worth as a screenwriter with both Hell or High Water and Sicario, Wind River serves as scribe Taylor Sheridan’s directorial debut.  Arguably arriving with high expectations, Sheridan’s tight, often brutal thriller proves his workings with such professionals as David Mackenzie and Denis Villeneuve has paid off, showcasing an ease behind the lens…

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TV Review: Amazon’s Comrade Detective is a tough-sell of a show that manages to overcome its bizarre concept

In the 1980’s, Romanians would gather in record numbers in front of their TV sets to watch Comrade Detective.  Fronted by Florin Piersic, Jr as hard-nosed police detective Gregor Anghel, the series promised to be an action-heavy event that would both entertain its citizens whilst promoting communist ideals.  Sadly, after the collapse of the Berlin…

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Film Review: Atomic Blonde (USA, 2017) collates enough action, sensuality, and humour to deem it worthy

Proving that the no-hold barred mentality he so masterfully captured as co-director of the original John Wick was no flash in the pan, director David Leitch ventures as a soloist for the excessive Atomic Blonde and manages to collate enough action, sensuality, and humour to deem it a project worthy of one’s attention. It doesn’t…

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DVD Review: A Cure For Wellness (USA/Germany, 2016) discovers glee in its unrestrained European sensibility

Returning to the genre that arguably brought him to fruition, Gore Verbinski’s (The Ring) A Cure For Wellness is a decidedly morbid slice of cinema that revels in its own jarring weirdness. Here’s a film that has considerable monetary backing (something of a surprise for a particularly eerie horror experiment) yet comes off more like…

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Film Review: Detour (UK, 2016) tells its simple story with a violent edge and an air of unpredictability

Having made something of an underground name for himself in the horror genre with such European productions as Creep, Triangle, and Black Death, British filmmaker Christopher Smith opted out for a brief moment to helm some TV work and an out-of-character holiday-themed comedy; Get Santa with Jim Broadbent and Warwick Davis, for those playing along…

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Sydney Film Festival Review: Phantom Boy (France, 2015) is oddly engaging and effortlessly weird

Whilst animation in film has evolved immensely over the last 20 years, there’s something immediately charming about Phantom Boy‘s deliberately flat and simple palleted aesthetic.  It may lack the emotional weight of the technically more refined Pixar offerings, but this film’s distinct look feels organically melded to its somber mentality. Coming courtesy of French directing…

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Sydney Film Festival Review: Final Portrait (UK/USA, 2017) can’t overcome its bland setting

Based on a memoir by American writer James Lord and adapted for the screen by actor Stanley Tucci, Final Portrait is a concise passion project with committed performances and evident production care that sadly doesn’t overcome its bland setting. Anchored by a wonderful turn from Geoffrey Rush as eccentric painter Giacometti, this dramedy of sorts…

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Sydney Film Festival Review: The Little Hours (USA, 2017) is a fun, irreverent, often non-sensical comedy

Fans of off-kilter comedy should find something of value in Jeff Baena’s quirky spoof The Little Hours, a play on the 14th-century Giovanni Boccaccio novella The Decameron. With hefty doses of witchcraft, torture, and pan-sexuality peppered throughout the script, it’s not hard to see some viewers being confounded by Baena’s film just as much as those…

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Sydney Film Festival Review: Call Me By Your Name (Italy/USA, 2017) is a near-flawless picture that celebrates the universality of love

Thoroughly engaging, immensely poignant, and remarkably evocative, Call Me By Your Name functions as both a coming-of-age tale and a love story, likely to surprise viewers as to where it travels on both accounts. Based on the novel by Andre Aciman, and co-penned for the screen by director Luca Guadagnino (A Bigger Splash), James Ivory…

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Sydney Film Festival Review: Wind River (USA, 2017) is a tight, often brutal thriller

Having proven his worth as a screenwriter with both Hell or High Water and Sicario, Wind River serves as scribe Taylor Sheridan’s directorial debut.  Arguably arriving with high expectations, Sheridan’s tight, often brutal thriller proves his workings with such professionals as David Mackenzie and Denis Villeneuve has paid off, showcasing an ease behind the lens…

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Sydney Film Festival Review: Lady Macbeth (UK, 2016) is an undeniably powerful piece of cinema

Based on the Nikolai Leskov novel Lady Macbeth of the Mtsensk District, itself inspired by the character in Shakespeare’s classic Macbeth, William Oldroyd‘s daring film is far from the period piece one might expect given its title. Tightly pieced together by Alice Birch‘s bold screenplay via a star-making performance from Florence Pugh, Lady Macbeth is a psycho-sexual thriller disguised…

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Film Review: The Mummy (USA, 2017) disappointingly squanders any promise it showcases

In 2014 it was believed that the Luke Evans-led Dracula Untold was going to launch Universal Studios’ proposed shared universe of classic movie monsters.  Dubbed Dark Universe, the ambitious project akin to the connected phases of Marvel and DC films ultimately let that idea fall to the wayside when the aforementioned feature was hardly the…

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A look at the stars and industry heavyweights set to attend the 2017 Sydney Film Festival

The 64th annual Sydney Film Festival shows no signs of slouching on the line-up front this year, with the announcement that star Steven Yuen (TV’s The Walking Dead), 2017 Cannes Palme d’Or contender Bong Joon-ho, and Australian actor Daniel Henshall (Snowtown) will attend for the premiere of their feature Okja, fresh from its controversial showing…

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TV Review: Netflix’s Orange is the New Black is a combination of salvation and suffering in its fifth season

In the second-to-last episode of season four, Orange is the New Black presented the death of one of the show’s main characters in a supremely upsetting, but flawlessly executed scene that referenced America’s senseless police brutality against African Americans.  It was in stark contrast to the previous season’s more uplifting closer where the inmates of…

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Film Review: 20th Century Women (USA, 2016) is an exploratory tale of finding one’s own happiness

After detailing his own father’s coming out at the age of 75 in the Oscar-winning 2010 outing Beginners, writer/director Mike Mills tackles the stories of his mother and sister in 20th Century Women, an exploratory tale of finding one’s own happiness. As Mills opts to create an individual snapshot for each of his female role…

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Film Review: Hounds of Love (Australia, 2016) rewards those with strong stomachs with one of the best films of the year

Assuredly disturbing and revelling in its ability to flip the conventions of the serial killer genre, Ben Young‘s debut feature Hounds of Love is one for those that appreciate their stories without gloss. Counterbalancing its Christmas setting with a tale unflinching in its disturbing nature, this Australian thriller manages to escape the confinements of the “torture porn”…

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Film Review: Wilson (USA, 2017) lacks both pattern and personality

After showcasing his worth as a filmmaker to keep an eye on with 2014’s The Skeleton Twins, Craig Johnson sadly suffers a sophomore slump with Wilson, an episodic dramedy that proves to be too far removed from Johnson’s directorial capabilities. It’s not that he is unable to guide dark material to fruition – something he…

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Film Review: Guardians of the Galaxy Vol. 2 (USA, 2017) evokes the weird wonderment of the original

Whilst the general consensus is that the Marvel cinematic universe as a whole is one of the more consistent entities for audiences and critics alike, their track-record for delivering underwhelming sequels (at least compared to their predecessors) is hard to quarrel against.  Iron Man 2, Thor: The Dark World, and Avengers: Age of Ultron are all…

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Film Review: The Fate of the Furious (USA, 2017) is completely aware of how ridiculous it is

An impressively persistent beast of sorts, the Fast & Furious franchise has become one of the most lucrative commodities of today’s industry, despite an initial series of less-than sequels that threatened to burn the title out before it had a chance to properly compete. Whereas most sequels fail to maintain momentum (especially when dealing with the…

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Film Review: CHiPs (MA15+) (USA, 2017) seldom earns its comedy tag

After proving himself a competent director and screenwriter with the rather modest (at least in comparison) action/comedy Hit & Run in 2012, Dax Shepard unfortunately fails to pair the aforementioned genres together again with CHiPs, an extremely loose adaptation of the popular 1977 television series, which attempts to blend sordid humour with high-grade action and…

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SXSW Film Review: Divine Divas (Brazil, 2017) is both a beautiful preservation and an accomplished slice of filmmaking

More a celebration of drag culture than a heavy-handed expose, Divine Divas proves a fascinating watch as it allows a peak behind the curtains of one of Brazil’s first establishments to showcase men dressed as women. In 1960’s Rio de Janeiro, the Rival Theatre – under the forward thinking of Americo Leal – was one…

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The Mummy summons Tom Cruise and Russell Crowe for red carpet duties in Sydney

Hot on the heels of the release of the new trailer for The Mummy comes news that Sydney will act as the first stop on a global tour headlined by the film’s star Tom Cruise. Cruise, alongside co-stars Russell Crowe, Annabelle Wallis, Sofia Boutella (who stars in the titular role) and director Alex Kurtzman, will…

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SXSW Short Film Review: Tough (UK, 2016) redefines the documentary genre tag with inventive animation

A bold colour palette expressing traditional Chinese imagery overlays both the personal and political difficulties filmmaker Jennifer Zhang has with her mother in Tough, a short student film that redefines the documentary genre tag. In the space of four short minutes, Zhang manages to convey an alarmingly detailed view of her relationship with her mother,…

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New scripted Australian series The Out There is being released exclusively on Instagram

Given that Instagram has graduated from being a mere platform to showcase one’s selfie abilities, travel experience and meals in all their hashtag foodporn glory to a more interactive experience, thanks to live streaming and video stories, it seems almost odd that it has taken this long for someone to take full advantage of the…

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