Reviews

Film Review: In This Corner of the World (Japan, 2016) is thought-provoking anime for older audiences

Similar to the majority of other anime titles on offer, In This Corner of the World is suitably aimed at older audiences.  Whilst the animated medium usually suggests family-friendly viewing, Sunao Katabuchi‘s thematically heavy drama is more thought-provoking than visually reliant. Concerning itself predominantly with the bombing of Hiroshima towards the end of World War…

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Film Review: The Disaster Artist (USA, 2017) is a profound display of fearlessness

Tommy Wiseau’s laughably bad The Room has such a strong and passionate cult following that the “disasterpiece” is still being discussed, screened and dissected 14 years after its limited cinematic release. There aren’t many films that can boast that kind of staying power, existing in a singular universe where something is so bad it takes…

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Film Review: Wonder Wheel (USA, 2017) sees Woody Allen & cast over promise and under deliver

On paper, Wonder Wheel seems to have all of the right credentials. It’s a dramatic film set in the 1950s so it’s bound to look great. It stars Kate Winslet and is directed by Woody Allen. It is also set at the Coney Island Amusement Park. But even with all of this stuff on offer,…

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Film Review: Only the Brave (USA, 2017) is a heartfelt tribute to heroism and integrity

Given his capable work on Tron: Legacy and Oblivion it was interesting to see what Joseph Kosinski would do with a rugged autobiographical drama like Only the Brave. The true story upon which this human versus nature story is based is rife with strong emotion; dark and inspiring with a tale of redemption embedded within,…

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Film Review: Shot Caller (USA, 2017) is a powerful showcase for Nikolaj Coster-Waldau

A performance removed from his knowing talents on Game of Thrones, Nikolaj Coster-Waldau‘s turn in Shot Caller is a strong, powerful showcase for the actor in a film worthy of seeking out during its limited season. When Ric Roman Waugh‘s film begins, Coster-Waldau’s character, Jacob Harlon, is referred to as “Money”, and his appearance checks…

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Film Review: Wonder (USA, 2017) overpowers the negativity of bullying with its heart and pluck

As easy as it would’ve been for writer/director Stephen Chbosky (The Perks of Being a Wallflower) to nail Wonder‘s sentimental subtext into the ground – those grand old morality notes like “beauty is only skin deep” and “never judge a book by its cover” are covered here nicely – there’s something alarmingly non-saccharine about the…

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Film Review: The Butterfly Tree (Australia, 2017) is visually lush but fails to produce a story to match

Given how lush Priscilla Cameron‘s debut feature The Butterfly Tree appears, it’s a real shame that the material at hand doesn’t match its aesthetic.  With its jazz-influenced pop soundtrack and Baz Luhrman-like colour pallet, there’s no denying how visually appealing the film is, but it becomes strikingly evident that it’s all for show when Cameron’s…

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Film Review: Daddy’s Home 2 (USA, 2017) is an unnecessary sequel constricted by its family-friendly mentality

Who ever would’ve thought the day would come that Mel Gibson would be re-established enough to earn himself a prime role in a family-aimed comedy?  Whilst the controversial figure has been steadily working over the least few years, either headlining under-seen projects (Get The Gringo, Blood Father) or co-starring in ensemble pieces (Expendables 3, Machete…

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Film Review: Netflix’s Mudbound (USA, 2017) is a breathtaking film that is persistent in its treatment of a difficult subject

Despite being associated with Netflix, Mudbound is no made-for-streaming affair.  Premiering to rave reviews in the earlier half of the year at Sundance, Dee Rees‘s film was snapped up by the media service after surprising snubs from the other major studio players.  Rees is arguably having the last laugh though as this film more than…

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Film Review: Borg vs McEnroe (Sweden, 2017) is an uneven film that never feels complete

Borg vs McEnroe feels like a film more tailored for the streaming services market.  A minor feature that’s likely to only really be of interest to tennis fanatics, and even then they might prefer a more traditional documentary, Janus Metz Pedersen‘s drama never feels like a complete production, despite its substantial focus on Bjorn Borg…

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Film Review: Justice League (USA, 2017) is a fun yet inconsistent ride that breezes by on the charm of its cast

It’s been something of an arduous trek but the Justice League have finally made their way to the big screen.  Long before Joss Whedon earned the tick of approval from comic enthusiasts the world over with his take on The Avengers, George Miller (Mad Max, Happy Feet) was planning on brining the titular crew to…

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Film Review: Lucky (USA, 2017) is an affecting swan song for the late Harry Dean Stanton

Very few actors have been afforded a send-off as fitting as Harry Dean Stanton has in Lucky.  Throughout his 6 decades of working across both film and television, Lucky, next to his most substantial screen-time turn in 1984’s road movie Paris, Texas, stands as a true showcase for the actor; regardless of the film arriving…

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Film Review: Blade of the Immortal (Japan, 2017) shows that excess and overkill are good things

Takashi Miike, back in the V-cinema (straight-to-video) era, was a complete madman. Not in a human state (or maybe he is, who the hell knows?), but in his creative state, as the images and ideas he comes up with can only come from a man who is completely bonkers. This is the man who directed…

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Film Review: Kathryn Bigelow doesn’t hold back in Detroit (USA, 2017)

Kathryn Bigelow has already proven a competent and imaginative voice when tackling tough, complex subjects featuring the kind of gutsy brutality that doesn’t need excessive gore or sci-fi elements. She’s much more concerned with real-world situations, exploring human nature as a function of and reaction to extreme pressure; in some ways, it’s similar to the…

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Film Review: Murder On The Orient Express (USA, 2017) beautifully captures the essence of Agatha Christie’s material

With its classic style, striking ensemble, and lack of action-heavy set pieces, Murder on the Orient Express may be a little too refined for modern audiences versed in the ways of today’s distraction-centric filmmaking where bigger and louder equals better. Despite the film being void of any staple action moment, Orient Express still delivers on…

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Film Review: Professor Marston and the Wonder Women (USA, 2017) has such a compelling bond between the three leads, it will tie you in knots

Biopics these days feel like forced Oscar Bait; as though the formula for an award, on behalf of the actors, is to talk in a funny accent or shout. To truly nail a true character, there’s more to it than just imitation. Films like Patch Adams, Diana and even A Beautiful Mind fail to succeed…

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Film Review: Jigsaw (USA, 2017) attempts to piece together the Saw franchise

Was rebooting the seven-film-deep Saw franchise seven years after the abysmal Saw 3D really necessary? No, not really. The gore-porn films have always been enormously successful despite a substantial drop in quality from the first two entries, so financially there’s little to lose, but the story of the “Jigsaw Killer” really has nothing left to…

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Film Review: Bad Moms 2 (USA, 2017) is not for the taint-hearted

Ahh yes, the cinematic comedy sequel. These past several years, we have gotten many comedic sequels, whether they were made by popular demand, the means of nostalgia or the fact that Hollywood is running out of ideas. Although we have some gems like 22 Jump Street, the Kung Fu Panda films… even Men In Black 3,…

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Film Review: Three Summers (Australia, 2017) is an amiable comedy about diversity

Three Summers is a film that is as light and breezy as its title suggests. It’s also an ensemble comedy that is written and directed by the legendary, Ben Elton. The latter is known for his novels and the TV shows: The Young Ones and Blackadder. In Three Summers he creates a warm-hearted and well-intentioned…

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AMW Film Festival Review: Breaking The Mould (Australia, 2017) is a compelling documentary about Australia’s female musicians

If there was Australia’s answer to the film, Play Your Gender, then Breaking The Mould is it. This music documentary includes interviews with Australian artists about their thoughts and experiences with gender in the local industry. The film is an interesting one about our history and it is something that should help shape the conversation…

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Film Review: Loving Vincent (UK, 2017) is an ambitious work of art

The Beatles sang “All you need is love” but they weren’t talking about movies. The film, Loving Vincent is one that is positively brimming with love. It was a labour, a passion project and it’s one of its kind that reads like a love letter to its namesake. But while the final result is something…

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Film Review: Thor: Ragnarok (USA, 2017) may be the best entry into the MCU yet

Thor: Ragnarok hits Australian cinemas tomorrow, and by now you’ve heard that this Marvel series’ third instalment lives up to expectations. Helmed by the great Kiwi director Taika Waititi, who assembled a cast of returning favourites and a few excellent additions from his own repertoire, Thor: Ragnarok takes the Marvel Cinematic Universe to new heights,…

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Film Review: The Snowman (USA, 2017) is in desperate need of an ice kicking

WARNING: May contain excessive amounts of puns. Another week, another film set in the snowy terrain. This week, we have The Snowman, a serial killer thriller starring Michael Fassbender, Rebecca Ferguson and a embarrassment of talent. But unlike the prior film, The Mountain (of Cheese) Between Us, this film has achieved quite a negative reception…

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Byron Bay Film Festival Film Review: An American In Texas (USA, 2017) is a film for the disenfranchised

It’s a hard fought ninety-seven minutes for the protagonists in An American in Texas, but it’s a fight they could never really win. In Anthony Pedone’s latest, it’s the early 90’s and the U.S has its sights set on a war in the Middle East. As the effects of the conflict settle across the States,…

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Greek Film Festival Review: Mythopathy (Notias) (Greece, 2016) is a coming-of-age story that should appeal to Greek audiences

Mythopathy (Notias) is a film about a boy. Except he’s not just any old kid. This child is one that experiences heartbreak in a novel way. When it happens, he looks towards ancient Greek mythology and stories and he changes aspects of these to suit his own narrative. This coming-of-age story is emotional and imaginative…

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Cunard British Film Festival Review: That Good Night (UK, 2017) is a dull adaption of a stage play that grapples with morality

That Good Night is a film that could be been called “The Last Night.” This is because it’s a drama about second chances and forgiveness. This handsome film is the last one that the late Sir John Hurt acted in and while it has some intriguing moments, it ultimately suffers from being a play that…

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Film Review: Netflix’s The Babysitter (USA, 2017) delights in being supremely distasteful

Beginning its streaming season on the rather appropriate date of Friday the 13th, Netflix’s nasty, bloodied The Babysitter proves a suitable entree for the feast that is the Halloween film season. Playing with the conventions of an 80’s style slasher whilst simultaneously maintaining an air of modern self-referential wit, McG‘s splatter comedy is a quick…

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Film Review: Happy Death Day (USA, 2017) survives on the strength of its sense of humour

As varying subsets of the horror genre have forged ahead in 2017 as some of the year’s biggest successes (Split, Get Out and It remain three of the most fruitful ventures), it only makes sense that the slasher genre attempt the resurgence it so desperately deserves. It simply isn’t enough however to let a film…

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Film Review: The Mountain Between Us (USA, 2017) is a romantic survival tale submerged in cheese

WARNING: This review may contain heavy traces of cheese. Before I start off this review, let me just make this one thing clear. I do like romantic films. This year alone, we have great films like Their Finest, The Big Sick, Our God’s Country and Call Me By Your Name. As much as I cannot…

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