Reviews

Film Review: Dunkirk (USA/UK, 2017) may be the most spectacular war film ever produced

When the name Christopher Nolan is attached to a film, you know you’re in for a blockbuster by any standards. Whether it’s a big budget sci-fi epic (as in Interstellar) or a comic book trilogy (The Dark Knight) to rival any of the genre, Nolan’s work has been virtually unmatched by any of his contemporaries….

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Film Review: Paris Can Wait (USA, 2016) proves a dull exercise of endurance

When it comes to names in the film industry, none are more venerable than that of the Coppola’s. Illustriously crafting some of the greatest films in history, from Francis exalting works such as Apocalypse Now to The Godfather and more recently with his daughter’s Sofia success at Cannes with The Beguiled, the name brings an…

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Film Review: Netflix’s To the Bone (USA, 2017) will create controversy, but succeeds with strong cast and direction

Films containing subject matter of death or disease, particularly the ones that aim for a teenage audience, tend to be sappy (like My Sister’s Keeper), melodramatic and even deeply misguided, if done wrong. I tend to cringe whenever I hear about another film tacking such subject, but in the case of Netflix’s To the Bone…

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Film Review: Edgar Wright is a slave to the rhythm in Baby Driver (USA, 2017)

It’s obvious that great care and thought was put into Baby Driver; we should have expected nothing less from visionary Director Edgar Wright, he who has brought us incredibly unique films like Scott Pilgrim Vs. The World and Shaun of the Dead in the past. With the idea snowballing in his head for decades, road-tested…

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Melbourne Documentary Film Festival Review: The Orb playfully profiled in Lunar Orbit (Canada, 2016)

If you have never heard of The Orb before I would recommend listening to their 1989 hit A Huge Ever Growing Pulsating Brain That Rules from the Centre of the Ultraworld. Even just reading that title would be enough to vaguely understand what The Orb is about and what they continue to represent. Mixed in…

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Melbourne Documentary Film Festival Review: China’s 3 Dreams checks the aftermath of The Cultural Revolution two generations on

It’s been more than forty years since Emperor Mao Zedong passed, yet the events of the Revolution remain a foreign subject to much of China’s youth. Beneath the doctored history, propaganda and piecemeal curriculum, the impact of Mao’s leadership remains present in the generation that survived it. This is the heart of Nick Torrens’ documentary,…

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Film Review: It Comes at Night (USA, 2017) is a nightmare filled with suspense

It would be easy to expect a horror film from the trailer of It Comes At Night, but those familiar with Trey Edwards Shults’ debut feature Krisha should know better. Though he may not be quite skilled at the in-your-face scare, Shults is clearly an intelligent and unique voice for those who love to mix…

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Melbourne Documentary Film Festival Review: Placebo Alt.Russia (UK, 2016) is a fascinating documentary about Russia’s art & black market music

Placebo have always been a band that proudly sit outside of the mainstream. So it’s not a giant leap for this group of alternative musicians to want to seek out like-minded individuals when they are on tour. Placebo Alt.Russia is partially an arts and political documentary and part travelogue as the band traverse through different…

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Melbourne Documentary Film Festival Review: The Slippers (Canada, 2016) is unbelievable, whimsical and charming

In the film, The Wizard of Oz Dorothy taps her ruby red slippers and says, “There’s no place like home.” But have you ever wondered where was home for those striking shoes? The documentary, The Slippers is a fascinating film that covers what became of this beloved slice of movie history in a story that…

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Film Review: Spider-Man: Homecoming (USA, 2017) is a triumphant return to form

By the conclusion of The Amazing Spider-Man 2, the character and lore behind it had lost all sense of vigour on screen. The film was tired, painful and offensively deplorable, so much so it managed to master what many would consider near impossible — it made the promise of future instalments as something to dread…

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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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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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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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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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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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