Reviews

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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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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Sydney Film Festival Review: Maliglutit (Canada 2016) is made with skill, but proves a sporadically stirring thriller

There is certainly something splendid somewhere within Maliglutit, the first collaboration between directors Zacharias Kunuk and Natar Ungallaq, unfortunately, it is all but concealed. The distinguished pair have taken on the task of adapting classic material, and despite the endeavour of imbuing the film with idealism and vigour, Maliglutit can never amount to anything significantly…

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Sydney Film Festival Review: Whitney Can I Be Me (UK, USA 2017) is a comprehensive look at the rise and fall of Whitney Houston

In 2015 there was the outstanding film Amy by Asif Kapadia and following on from that comes yet another biopic that examines the life and all too tragically early death of a different powerhouse musical performer. In Whitney ‘Can I Be Me’ we go from the beginning right through to the end of Whitney Houston’s…

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Film Review: The Mummy (USA, 2017) disappointingly squanders any promise it showcases

In 2014 it was believed that the Luke Evans-led Dracula Untold was going to launch Universal Studios’ proposed shared universe of classic movie monsters.  Dubbed Dark Universe, the ambitious project akin to the connected phases of Marvel and DC films ultimately let that idea fall to the wayside when the aforementioned feature was hardly the…

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Film Review: Churchill (UK, 2017) is a bio-pic focused on a single chapter in WWII

Neil Finn may have said that history never repeats but former British PM and legendary statesman, Winston Churchill worried that the opposite would happen. During World War II he was concerned that the tragedy of Gallipoli would be repeated. The film Churchill is a dramatic bio-pic that examines this very issue in fine detail but…

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Film Review: 20th Century Women (USA, 2016) is an exploratory tale of finding one’s own happiness

After detailing his own father’s coming out at the age of 75 in the Oscar-winning 2010 outing Beginners, writer/director Mike Mills tackles the stories of his mother and sister in 20th Century Women, an exploratory tale of finding one’s own happiness. As Mills opts to create an individual snapshot for each of his female role…

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Film Review: Baywatch (MA15+) (USA, 2017) is campy fun, but wipes out on the comedy wave early on

Ever since the first trailer was released, Baywatch has always been self-aware. The wind in a golden-blondes hair as she runs down the beach (obviously in slow motion) in the iconic red bathing suit is an image the new reboot has embraced, but it doesn’t fare well in a feature length film. To put it…

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Film Review: Wonder Woman (USA, 2017) is the heroine we need and deserve

After what can only be said as the frustrating and disappointing efforts of Man Of Steel and Batman Vs Superman: Dawn of Justice and Suicide Squad in the DC Comics movie universe. The hopes of the DCEU and an opportunity for it to be redeemed appeared to rest on the shoulders of Wonder Woman. The…

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