Film

Australian Box Office Report: Despicable Me 3 regains top spot for school holidays

Seems that you can’t keep a good Gru down, as Despicable Me 3, last week’s 2nd place title on the box office ladder, has regained its no. 1 spot, making $3.42m in the process. Earnings slipped this week by 3%, but was added to 10 more screens nationally for the school holiday period. As a result, last…

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Melbourne Documentary Film Festival Review: Play Your Gender (Canada, 2016) is an inspiring music documentary that encourages female producers & engineers

Artists like Madonna, Beyoncé, Taylor Swift and Katy Perry are some of the biggest names in the music industry. But in the shadows of these successful women you will see lots of men. When you look behind-the-scenes at the music business it is one big old boys’ club but does it have to be this…

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Film Review: Monsieur Chocolat (France, 2016) (France, 2016) is the less colourful counterpart to Moulin Rouge!

Breathtaking and magical, Monsieur Chocolat (directed by Roschdy Zem) is one to watch if you want to experience a Parisian night. Immerse yourself in the world of 19th-century French circus and follow the biopic story of Chocolat (Omar Sy). He journeys from a performer acting as the “cannibal” to a more respected position as a…

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Australian Box Office Report: Transformers tops a crowded film franchise chart

It’s a sign of the times that the school holidays (and the USA’s summer blockbuster season) are upon us, as Transformers: The Last Knight tops the chart this week, making $4.46m in the process. It’s not a particularly impressive sum, however – the amount is the smallest opening weekend for a #1 film since King Arthur: Legend…

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Director Bong Joon-Ho on bringing Okja to life, and the creative freedoms of Netflix

Netflix’s new film Okja hits the streaming service this Thursday, a film whose director Bong Joon-Ho has citied George Miller’s Babe: Pig in the City amongst its influences. With the acclaimed Korean director in Sydney for the Sydney Film Festival, where Okja sat as the closing film, I caught up with the man himself (and…

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Sydney Film Festival Review: Vaya (South Africa, 2016) is a brutal coming of age story set in an unforgiving Johannesburg

Like it’s Tsotsitaal namesake meaning “to go”, Vaya, Directed by Akin Omotoso, literally begins on the move. Opening on a train bound to Johannesburg Vaya follows the intertwining paths of three young South Africans journeying from their rural homes in Kwazulu-Natal to eGoli, the city of Gold. All three are tasked with their own promises…

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Sydney Film Festival Review: A Quiet Dream (Korea, 2016) wakes up an invisible side of Seoul

Placing itself somewhere between the genres of mumblecore and slice of life, A Quiet Dream directed by Zhang Lu, is an almost observational look into the invisible world of lower class Seoul. Set in the grimy fringe suburbs of Seoul, A Quiet Dream is a glimpse into the everyday of misfits bound to a life determined…

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Film Review: Transformers: The Last Knight (USA, 2017) is a nonsensical, explosion littered mess

It’s gotten to a point now where it doesn’t matter what you think. 2014’s soft reboot Transformers: Age of Extinction was a woeful film, torn apart by critics and made its predecessors look like Citizen Kane in comparison. And yet, it grossed over $1 billion worldwide. It maintains a spot in the top 20 highest…

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Sydney Film Festival Review: The Beguiled (USA, 2017) is a worthy remake with an excellent cast and crew

Apart from Lost in Translation and Marie Antoinette, I haven’t seen much of director Sofia Coppola‘s work. Known for her filmmaking approach to humanize her subjects with unorthodox methods like gentle pathos, looking through different character points-of-views outside the norm and the use of anachronisms, Coppola has achieved a reputation of being a director that is…

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Australian Box Office Report: Despicable Me 3 takes the lead as Wonder Woman tops $20 million

This week, Gru and his minions beat out Wonder Woman and her Lasso of Truth, as new release Despicable Me 3 takes the lead and premieres at no. 1, earning $5.89m in the process.   Wonder Woman dropped to no. 2, but not without earning $3.35m in the process.  It’s now made over $20m nationally since debuting a fortnight…

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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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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: Kung Fu Yoga (China/India, 2017) is a disappointment for Jackie Chan fans

Before I get into this review, let’s get this out of the way. Ever since I first saw one of his films on SBS, I’ve been a huge fan of Jackie Chan, due to his incredible dexterity, creative fight choreography, amazing stuntwork and his likable aw-shucks persona. But like every action hero, the thing that…

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Sydney Film Festival Review: The Young Karl Marx (France, 2017) is a safe bio-pic about the famous philosopher & socialist

The Young Karl Marx (Le jeune Karl Marx) is a bio-pic that feels authentic because it captures the period well in a visual sense. But you also get the feeling that it is only telling a part of the story and not least because it is all about Karl Marx’s youth. This dramatic film is…

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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: Song to Song (USA, 2017) is a soulless endurance test with no plot or point

A song is as song except when it’s a Terrence Malick film. The famous director’s latest experimental offering is an absolute waste in that it is all show and no substance. It weaves together cameos from famous A-list creatives and a cast of Hollywood’s finest actors and then it does nothing. Absolutely nothing. For 129…

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Sydney Film Festival Review: The Go-Betweens: Right Here (Australia, 2017) is a love letter to a seminal Aussie band

The story of The Go-Betweens had previously been largely untold save for Robert Forster’s autobiography, Grant & I. But the film, The Go-Betweens: Right Here is set to change that. It’s a wonderful music documentary that plays out like a love letter to a seminal, Australian band. It also dives head-first into the melodrama, adventure,…

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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: Una (UK/USA, 2016) is a gripping abuse drama that thrives through unhesitating commitment

It would have been too easy for a film like Una to result in something unreservedly perfunctory. The fable of the abuse victim confronting her perpetrator has been depicted more than one would wish to count, and the argument can be made that a fair share wishes to portray the subject matter no more than…

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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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Mel Gibson and John Lithgow join Mark Wahlberg & Will Ferrell in the first trailer for Daddy’s Home 2

The sequel to the 2015 smash comedy Daddy’s Home has received its first trailer and it’s a star studded affair that’s shaping up to be hilarious. Sean Anders directs again as Dusty (Mark Wahlberg) and Brad (Will Ferrell) join forces to provide their kids with the perfect Christmas. Their newfound partnership is put to the test when…

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Sydney Film Festival Review: Wild Mouse (Austria, 2017) spectacularly spirals down the rabbit hole of the modern mid-life crisis

Making his directorial debut, penning the script and holding the starring role, Austrian actor Josef Hader has impressed festivals around the world with the dark comedy Wild Mouse – which has had its Australian premiere this week as part of the Sydney Film Festival. The film stars Hader as Georg, a classical music critic who…

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Sydney Film Festival Review: Those Who Make Revolution Halfway Only Dig Their Own Graves (Canada, 2017) is unwieldy but compelling

Audacious is definitely the right word to start with when it comes to describing the Mathieu Denis and Simon Lavoie-directed Those Who Make Revolution Halfway Only Dig Their Own Graves. At 180 minutes, it’s a leviathan of a film that often comes across as equal parts provocative and indecipherable. The central narrative here centers on…

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Sydney Film Festival Review: The Farthest (Ireland, 2017) is a documentary of astronomical proportions

I don’t want to make a Star Trek joke – it’d be too obvious and you would only resent me for it – but as much as it pains me, I do need to say that space really is the final frontier. It’s always right there, just outside our atmosphere, and for decades we humans…

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Film Review: Cars 3 (USA, 2017) is a near-perfect return for the franchise

It has finally arrived! After the teaser trailer that saw Lightning McQueen being absolutely annihilated on the racetrack months ago, we were all left wondering exactly where the Cars franchise had taken us with this all new installment, especially after the disappointing Cars 2 and Disney’s attempt at making it a broader universe with the…

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Film Review: Despicable Me 3 (USA, 2017) finds that love, family and Minions make for an excellent third chapter

Despicable Me 3 opens this week and it brings with it a charming, if not a little repetitive, new chapter in the franchise. The entire gang is back to cause, create and then solve a global catastrophe. More of a good thing isn’t always better, kind of like chocolate and wine (ok, maybe just chocolate),…

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Film Review: Rough Night (USA, 2017) brings plenty of laughs from a strong cast in a disjointed dark comedy

Lazily touted in headlines as “The Hangover for women” by writers who couldn’t possibly find another film to compare it to from the last decade (Bachelorette or Bridesmaids immediately come to mind, both of which were also compared to The Hangover at the time of release – hell, even Bad Moms was!), Rough Night is…

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