Reviews

Sydney Film Festival Review: Beirut (USA, 2018) is an absorbing thriller that doesn’t break convention

Aided by a sense of retro charm and bathed in a yellowy hue that appears to be the go-to filter for Hollywood’s take on anything Middle East, Brad Anderson‘s Beirut is an absorbing thriller that doesn’t break convention, but manages a certain robustness that keeps it sailing along with intrigue. Opening in 1972, the titular…

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Sydney Film Festival Review: Westwood: Punk, Icon, Activist (UK, 2018) is about a style iconoclast & punk who became one fine dame

Westwood: Punk, Icon, Activist shares some things in common with David Bowie’s song, “Fashion” and not just for the obvious fact that Vivienne Westwood is a fashion designer. Consider Bowie’s “Listen to me- don’t listen to me/Talk to me- don’t talk to me/Dance with me- don’t dance with me, no” lyrics. It’s a curious dance…

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Sydney Film Festival Review: Nico, 1988 (Italy, 2017) shows the songstress left behind after all tomorrow’s parties

A bio-pic can be a tricky beast. When a person has achieved so much in their lifetime what part of the story do you focus on? If you’re Italian director, Susanna Nicchiarelli you eschew the obvious and omit the lauded days. Nicchiarelli instead focuses on later life and this is precisely the scene we are…

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Sydney Film Festival Review: Chef Flynn (USA, 2018) is as neat & tidy as an entrée but you will probably be left wanting more

It’s fair to say that most of us home cooks are more like Nailed It! contestants than MasterChefs. So imagine how surprising it is to see a young child cooking up fine dining dishes with aplomb. Chef Flynn is a documentary about Flynn McGarry, this particular child prodigy. While it’s an entertaining story you can’t…

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Film Review: Hereditary (USA, 2018) is the dictionary definition of horror

When light finally filled the theatre at Austin’s Alamo Drafthouse Cinema I could see that the older man sitting next to me was visibly shaken. In fact, I could see many people who looked like they were in desperate need of a good, long hug and maybe a bathtub full of bright yellow rubber ducks…

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Sydney Film Festival Review: The Seagull (USA, 2018) is a charming bore

Despite scene-swallowing work from Annette Bening (fabulous, as to be expected), the quiet mastery of Saoirse Ronan, and a brilliantly comical Elisabeth Moss, Michael Mayer‘s The Seagull (adapted from Anton Chekhov‘s classic play) fails to deliver them material worthy of their considerable talent. The story has all the right ingredients to be a farce of…

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Sydney Film Festival Review: Nature and nurture square off in the fascinating Three Identical Strangers (UK, 2018)

BAFTA-nominated documentary director Tim Wardle has an enviable subject with the highly publicised reunion of long-lost-triplets Robert Shafran, Eddy Galland and David Kellman, who found each other at the age of 19, tracking three identical New Yorkers separated at birth by a prominent Jewish adoption agency. It’s the kind of stranger-than-fiction story that the most…

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Sydney Film Festival Review: The Heiresses (Paraguay, 2018) is a low-key, yet compelling character study

If one were to describe this film briefly, The Heiresses could be seen a cross between Wong Kar-wai‘s Happy Together and Albert and David Maysles‘ Grey Gardens. As Kar-wai says about the title of his film, being happy together is being happy with oneself, and it is within that context is where the journey in…

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Sydney Film Festival Review: Cold Blooded: The Clutter Family Murders (USA, 2017) is more than just the making of two murderers

In a small town in Kansas the residents kept their doors locked until the day a brutal, quadruple murder rocked the neighbourhood. The scene is a tragic and hard one to fathom but in a complicated turn of events these also became famous thanks to the writer, Truman Capote and his seminal book. Cold Blooded:…

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Film Review: Ocean’s 8 (USA, 2018) proves acceptable escapism that’ll steal your attention during its running time

Whilst it may not quite boast as impressive an ensemble as the original Ocean’s trilogy managed to concoct (George Clooney, Brad Pitt, Matt Damon and Julia Roberts to name a few), Ocean’s 8 still steers ahead on charm and glamour, proving that an octet of women can do anything just as capable as an eleven-strong…

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Film Review: Tea With The Dames (UK, 2018) is a delightful romp down memory lane you won’t want to leave

There are some viewers who might dismiss Tea With The Dames as “Anecdotage by those in their dotage.” But they’d be wrong. This documentary starring four great dames of the British stage and screen is a fascinating look at some brilliant careers and a revealing look into their respective personalities. There’s also lots of gossip…

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Film Review: The Bookshop (UK, 2018) will make you want to stay home and read a book instead

Isabel Coixet has always been a talented filmmaker, making understated drama films dealing with issues like existentialism and inner turmoil to great aplomb. Although there have been some highs in her filmography like My Life Without Me and The Secret Life of Words (both starring the talented actress/director Sarah Polley), her last few films have…

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Film Review: Solo: A Star Wars Story (USA, 2018) is the epitome of fun fan servicing

Once again we return to a galaxy far, far away for another installment in the “A Star Wars Story” films. This time we explore the back story of one of our favourite rogues Han Solo, the people and aliens he meets up with, and their misadventures aboard the iconic Millenium Falcon. We first meet Han…

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Film Review: Deadpool 2 (USA, 2018) Gives Us The Merc With The Mouth And A Warm Fuzzy Heart

Considering the risks 20th Century Fox took in greenlighting Deadpool, the 2016 film was released and became a global success, it seemed the risk now fell on the shoulders of its sequel. Deadpool 2 markets itself as “it feels bigger” and in some ways this is true and in others it’s not. The film leans…

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Film Review: Tully (USA, 2018) is a return-to-form for both Reitman and Cody

If there’s one creative collaboration that many look forward to, it’d have to be between director Jason Reitman and writer Diablo Cody. Their first collaboration was the 2007 comedy-drama Juno. With its hip dialogue, wonderful performances and a refreshing view of the coming-of-age genre (for that time), it was a critically-acclaimed hit that was a…

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Film Review: Breath (Australia, 2017) thrives on deflecting expectation and wallowing in its own ethereal state

After a near two-decade absence from the Australian film industry, Simon Baker makes a glorious (ahem) splash with the soulful Breath.  Taking cue from the evocative descriptions set about in Tim Winton‘s 2008 novel, Baker proves both assured and affectionate as he takes directorial duties for an equally vivid and placid coming-of-age tale that benefits…

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Film Review: Unsane (USA, 2018) is an eerie and timely shocker with a powerhouse performance from Claire Foy

With films like Sex, Lies and Videotape and King of the Hill, Steven Soderbergh is known to be one of the greatest filmmakers to come from independent cinema. But he became a bigger name when he ventured into commercial filmmaking with crime films like Out of Sight, The Limey and the Ocean’s film series. Since then,…

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Film Review: I Feel Pretty (USA, 2018) proves that beauty is only skin deep

The average woman is said to criticise herself around eight times each day. It is in this headspace and society that a rom-com like I Feel Pretty exists. The film had the best of intentions and tries to tackle some complex topics like how hard we women can be on ourselves and the feelings of…

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Film Review: Ghost Stories (UK, 2018) is a refreshing and original horror anthology

With high replay value and some clever pacing, Andy Nyman and Jeremy Dyson have transposed their West End play Ghost Stories to the big screen with a refreshing eye for originality, spinning a grand three-part horror anthology into one thoroughly entertaining and unpredictable film that never stops subtly building towards its tremendous finale. And that’s…

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Film Review: Gurrumul (Australia, 2018) is a striking and emotive portrait of one of Australia’s greatest musical talents

With Gurrumul, director Paul Damien Williams has created a striking and emotive portrait of one of Australia’s greatest musical talents – Geoffrey Gurrumul Yunupingu. But more than that, Gurrumul also affords us all a glimpse into the cultural life and traditions of the Yolngu people in North Eastern Arnhem Land, in what are some of…

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Film Review: Super Troopers 2 (USA, 2018) is mostly an enjoyably goofy, charmingly raunchy affair

First and foremost it must be noted that Super Troopers 2 is indeed a film made for a particular audience. The original 2001 comedy came and went theatrically without much notice, but over the years it earned rightful cult status as its receptive audience came to appreciate its random, low brow humour. As successful as…

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Film Review: Truth Or Dare (USA, 2018) is a cinematic game best left unplayed

Before Truth or Dare even begins, you know exactly what kind of movie you’re about to see.  Hoping to be some sort of new-era Final Destination, but failing miserably in the process, Truth or Dare follows every beat you expect it to, and it’s in this predictability that the film succeeds in being a massively entertaining ride for all the…

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Film Review: Isle Of Dogs (USA, 2018) is a tail of love and adventure in the face of adversity

Director Wes Anderson has gradually been making a name for himself as a quintessentially quirky auteur with his unique but meticulously detailed style. So it is no surprise at all that his latest stop-motion animation feature, Isle Of Dogs, is probably his most fine tuned film to date. Bringing a heartwarming tale about love, loyalty…

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SXSW Film Review: Wobble Palace (USA, 2018) is alt-lit in cinema

You anticipate a film to be vogue when millennial buzzwords and Internet culture forms the first ten minutes. You probably wouldn’t expect that film to be any good either. I didn’t. But by the time Wobble Palace had reached its epilogue, it had convinced me of a couple of things. The first, that it wasn’t…

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Film Review: The Party (UK, 2017) delivers pitch-black comedy at its best

Black comedies can be a very hard genre to pull off. Since it dwells within serious issues that could potentially be seen as taboos within the genre, it requires a certain balance between empathy, humour and darkness. But like all films, they have to have a certain amount of humanity for the audience to cling…

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Film Review: A Quiet Place (USA, 2018) is masterful genre filmmaking that soars leaps and bounds above expectation

Even when working off a plot device that doesn’t exactly test the limits of originality, a clever script and utter dedication from its workers can transform the familiar to something beyond our expectations.  Such is the case with A Quiet Place, an impossibly eerie chiller that presents civilisation as a fallen project, and those who…

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Film Review: Love, Simon (USA, 2018) is a sweet, likable and unassuming queer teenage rom-com

Dear Blue, Queer cinema has came through quite well back in 2017. We’ve had great examples like Call Me By Your Name, Battle of the Sexes and Moonlight; foreign entries like BPM (Beats Per Minute), Oscar-winning A Fantastic Woman and BAFTA-winning The Handmaiden and hidden indie gems like Princess Cyd, Beach Rats and God’s Own…

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SXSW Film Review: A Vigilante (USA, 2018) proves an inspiring, powerful debut for its Australian Director

Directed by Australia’s own Sarah Daggar-Nickson and starring Olivia Wilde, A Vigilante is a powerful drama that sees Wilde play the titular role – Sadie, a vigilante who helps domestic abuse survivors get out of their situation by literally bringing the abusers to their knees. Spurred on by her own experiences and a tragedy, the…

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