Film

Australian Box Office Report: Wonder Woman tops the charts again with a higher per-screen average

Wonder Woman took the top spot at the box office for the second week in a row, earning $5.70m.  Its screen average was $13,589, up more than $2k per screen from its opening weekend – something almost unheard of for “blockbuster” film; a testament to the incredible buzz around the film. Don’t expect it to fall…

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Sydney Film Festival Review: Spoor (Poland, 2017) explores the extent of one woman’s compassion

Agnieszka Holland creates a character to love and to loath in Spoor, the Polish thriller-comedy that follows one woman’s passion for animal justice in a town that doesn’t share the same sentiments. Spoor, meaning the tracks left by an animal, is a film that rarely falls from the trail, coming together as a poignant comedy…

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Sydney Film Festival Review: To Stay Alive – A Method (Netherlands, 2016) is a quiet and thoughtful piece with Iggy Pop & Michel Houellebecq

Some people subscribe to the theory that you’ve got to suffer for your art. Two such individuals include the Godfather of Punk, Iggy Pop and the best-selling French novelist, Michel Houellebecq. In To Stay Alive – A Method the pair share a meeting of minds in a film that is artistic, experimental and semi-autobiographical and…

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Sydney Film Festival Review: Better Watch Out (Australia, 2016) is a brilliant twist to the home invasion thriller

You may want to walk away from Better Watch Out during its first half. For the first 30 minutes Chris Peckover gives us a Christmas-themed home invasion thriller that is sorely lacking in originality and only manages a few mild chuckles, upheld by teenage actors who are clearly struggling with the seemingly insipid material script….

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Film Review: All Eyez on Me (USA, 2017) is not the biopic Tupac Shakur deserves

In the years leading up to release, slipping out of John Singleton’s reliable hands and finding a way to Benny Boom didn’t inspire much confidence in All Eyez On Me, the long-gestating biopic of seminal emcee Tupac Shakur. Long before Straight Outta Compton chewed up the box office charts, those inside and outside of the…

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Sydney Film Festival Review: Rumble (Canada, 2017) gives long-overdue credit to American Indians & their contributions to popular music

It seems that American Indians have been erased from the history books, including the chapters relating to contemporary music. Until now. The documentary, Rumble: The Indians Who Rocked The World looks set to change all of that by celebrating the contributions of these individuals and finally giving credit where it’s due. The film is directed…

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Sydney Film Festival Review: Happy End (France, 2017) plays like a greatest hits album for Haneke

Michael Haneke is a bit of a misanthrope, isn’t he? Granted, I haven’t seen all of his films, but the few that I have seen seem to have a very critical view on society and human nature. And compared to mainstream fare, he makes films with plenty of space for the audience to contemplate and…

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Sydney Film Festival Review: Wet Woman in the Wind (Japan, 2016) beckons the return of the Roman Porno

Akihiko Shiota’s Wet Woman in the Wind is a feature-length manhunt, set into motion by Shiori (Yuki Mamiya) riding her bike into the sea. She emerges as she entered, focused and unwavering, locking on to Kosuke (Tasuku Nagaoka), a playwright in pursuit of celibacy. Shiota’s film develops into a playful take on a Japanese sub-genre…

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Sydney Film Festival Review: You Have No Idea How Much I Love You (Poland, 2017) Gently Taps Into The Tragic

At first glance, I’m tempted to drum up some connection or parallel between You Have No Idea How Much I Love You and last year’s Europe, She Loves. Both are European documentaries that engross themselves utterly in their subjects and return with captivating insights into modern humanity. However, aside from the size of its ambitions,…

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Sydney Film Festival Review: The Forest of Lost Souls (Portugal, 2017) is an eerie and unconventional horror

Out of all the cinematic genres, horror is, in my opinion, the best outlet for creative storytelling. Whether in a metaphorical sense, a symbolic sense, or just nuts-and-bolts mainstream filmmaking, horror can engage, thrill, scare and surprise, regardless of what it looks like on the outside. Case in point, David Cronenberg‘s The Fly. With a…

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Sydney Film Festival Review: Sami Blood (Sweden, 2016) highlights the brutality of extreme prejudice

Fundamentally there is much about Sami Blood that cinema has seen many times over, though for her debut feature writer-director Amanda Kernell has delivered a uniquely complex and painfully relevant coming-of-age while also shedding light on the largely unknown indigenous population of Swedish Lappland. A film of cultural identity and great pain, the prodigiously talented…

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Sydney Film Festival Review: Ingrid Goes West (USA, 2017) Savages Social Media

At first glance, the logline for Ingrid Goes West can sound a bit twee, tacky or hyperbolic. In the wrong hands, this feels like a film that could easily have come off the wrong way. However, it’s to the credit of director Matt Splicer that it feels less like a lecture from your parents more…

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Sydney Film Festival Review: The Public Image Is Rotten (USA, 2017) is a thorny look at the love & defiance of Johnny the PIL

This is not a love song- it’s a review of Public Image Limited’s (PiL) documentary. The film, The Public Image Is Rotten is one that focuses on John Lydon AKA Johnny Rotten AKA the band’s one mainstay (just like The Cure’s Robert Smith). It shows an outspoken and spiky man who has tempered through age…

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Sydney Festival Film Review: Axoltl Overkill (Germany, 2017) burns up Berlin with heavily stylised hedonism

Adapting her own novel for the big screen, German author-director Helen Hegemann makes a polished feature debut with Axolotl Overkill. Pulse firmly on the rapid strobe-lit streets of Berlin, the film is very much a muse on teenage excess and independence, as self-destructive as in can be, with an assured sense of style and impressive…

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Sydney Film Festival Review: A Modern Man (Denmark/Germany, 2017) leaves you asking, “Who is Charlie Siem?”

A Modern Man is a documentary about a handsome, contemporary classical violinist named Charlie Siem. But who is Messer Siem? Unfortunately that question is not really answered in this film because this British-Norwegian musician puts up a wall that is largely impenetrable. This film is directed by Eva Mulvad (The Good Life). It begins with…

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Sydney Film Festival Review: Winnie (South Africa, 2017) is a documentary that for better or worse celebrates the mother of a nation

When you consider the name Winnie Mandela do you think of the mother of a nation or a terrorist? The documentary, Winnie tends to sit in the former camp by telling this woman’s history and story from her own point-of-view. It’s fascinating to hear her out and this documentary is a long overdue one, but…

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Sydney Film Festival Review: The Untamed (Mexico, 2016) is a slimy slice of social realism and alien sex

The Untamed, Amat Escalante’s oddball genre film built with space monsters and sexual tension, could have worked just as well as a dysfunctional family drama. The eccentric Mexican director has packed a lot into his fourth feature, an instantly memorable and incredibly unique piece that understands its best possible tension comes from contrasting a heady…

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Sydney Film Festival Review: Dries (Belgium/Germany, 2016) celebrates a fashion designer that works to the beat of his own drum

In a world where fashion can be fickle and disposable a designer like Dries van Noten is a gem. The Belgian designer has spent over three decades in the business and remans fiercely independent when other fashion houses have allowed themselves to be bought out. He rallies against the notion of fast fashion and strives…

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Sydney Film Festival Review: Roller Dreams (USA/AUS 2017) tells the story of the roller skating dancers you’ve never heard of

It’s the late 1970’s Venice California is the birthplace of a new go-to trend, roller-dancing, and a group of young roller skaters, almost all exclusively African-American, are about to bring it to the people. Documentary film Roller Dreams takes a look at this iconic but short-lived group of skaters, the Venice scene in the 80’s…

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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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Sydney Film Festival Review: Spookers (NZ/AUS, 2017) finds therapy under a mask of terror

Kiwi filmmaker Florian Habicht jumps from making documentaries about Pulp and demolition derbies to modestly prodding around the Southern Hemisphere’s biggest horror theme park with Spookers, a stylish 85-minute piece that manages to weave together stories of exploitation and therapy amongst a whole heap of (fake) blood, guts and playful vignettes. It’s clear Habicht and…

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Sydney Film Festival Review: In My Own Words (Australia, 2017) is an inspiring documentary about a program we should all support

Imagine living in a world where you found it impossible to understand your bills, where you couldn’t text people and you had difficulty getting a driver’s licence because you couldn’t pass the Ls test. For around 40-65% of Indigenous Australians this is a reality because they are functionally illiterate. The documentary film, In My Own…

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Sydney Film Festival Review: Game of Death (Canada, 2017) Is Bloody, Forgettable, Fun

Right at home in the “Freak Me Out” strand of this year’s Sydney Film Festival, Game of Death is probably more-or-less exactly the film you expect it to be. It’s a simple but fun romp that manages to eke out the most from its wacky premise, despite being held back by structural shortcomings and uneven…

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Film Review: My Cousin Rachel (USA, 2017) is a wonderful dance along the fine lines between good and evil

For most things in life we ae encouraged to leave our judgements at the door. But this is not the case for the thrilling, gothic romance, My Cousin Rachel. In this case the lady is a woman of mystery wrapped up in a riddle and topped off by an enigma, which means you are in…

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Sydney Film Festival Review: Ellipsis (AUS, 2017) is an intimate and beautifully real film

There’s a lot that can happen in 24 hours, and unless you stop and take a moment to let it sink in, you might just miss something magical. From acclaimed actor David Wenham comes his feature film directorial debut with Ellipsis, a film that came together under unusual circumstances but the end result is something…

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Australian Box Office Report: Wonder Woman conquers the box office, breaking records along the way

After much anticipation, a few misogynistic reports from international screenings and a genuine “please don’t f**k this up” vibe by keen DCEU fans (probably reeling from the Batman v. Superman: Dawn Of Justice debacle), Wonder Woman, starring Gal Gadot, opened this weekend and promptly moved up to top spot on the box office chart, earning $6.76m….

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Sydney Film Festival Review: Citizen Jane: Battle for the City (USA, 2016) is about one woman’s intriguing fight to preserve New York

The prospect of watching a documentary on town planning probably won’t have people tripping over themselves to watch it. But when you realise that the subject of the film, Citizen Jane: Battle For The City helped preserve some significant parts of New York, it’s a different story. This film is a brief but intriguing look…

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Sydney Film Festival Review: 78/52 (USA, 2017) is a delightful homage to cinema’s greatest scene

It’d be an arduous task to contemplate a more significant moment in the history of cinema than that of the shower scene in Alfred Hitchcock’s masterful slasher Psycho. As not only would its value of shock go on to define the representation of violence and sex for years onwards, it has definitively etched itself into…

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Sydney Film Festival Review: Ana, mon amour (Romania, 2017) is an unflinching if uneven take on love surviving mental health

In many ways, Cãlin Peter Netzer’s latest feature Ana, mon amour provides an elegantly poignant dissection of when solicitude collides with mental illness. It is unflinchingly explicit, raw in its psychoanalysis and mostly effectual to the ideals it is aiming to exude. Although, dissimilar to Netzer’s previous film, the Golden Bear winning Child’s Pose, the…

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