Reviews

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: Brigsby Bear (USA, 2017) is a peculiar yet heartfelt viewing experience

When you hear a film that is green-lit and it is basically a vehicle for an SNL star, chances are that one would expect the film to be bad. Films like A Night at the Roxbury, Superstar and The Ladies Man are all garbage. That said, some of them do gain a cult following over…

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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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Cunard British Film Festival Review: Breathe (UK, 2017) is a love letter from one Cavendish to another

Breathe is a love letter from producer, Jonathan Cavendish to his inspiring parents. The film is a bio-pic that chronicles the enduring love that this couple shared for each other as well as their refusal to give up in the face of a devastating disease. This story is an important one that is a testament…

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Greek Film Festival Review: Amerika Square (Greece, 2016) scales the political polarity in Greece to a single housing block

Until the day when Pixel Buds are so finessed that we no longer need those streaming lines of text, subtitles will be (for most of us) our one entry to foreign films. It’s rare though for subtitles to impact the film in any other way, but in Yannis Sakaridis’s Amerika Square, those flashing words do…

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Greek Film Festival Review: Afterlov (Greece, 2016) is a quirky film that dissects the concept of a break-up

If a relationship break-up has ever left you questioning, “Why?” or “What’s next?” then Afterlov is the film for you. This Greek dramedy sees its main protagonist grappling with these questions to the point of obsession. So what is this leading man to do but confront these things as well as his ex. The only…

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Film Review: Blade Runner 2049 (USA, 2017) is an instant classic

When the original Blade Runner was first released in cinemas in 1982, it made waves for its stunning cinematography and special effects, moody and now iconic soundtrack from Vangelis, and its truly innovative adaptation of a short story from sci-fi writer Philip K Dick; the rare instance where a film has outdone its source material….

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Film Review: Stanley Tucci’s Final Portrait (USA, 2017) is filled with effortless charm

We meet Alberto Giacometti (Geoffrey Rush) in a state of supreme boredom – another day, another exhibition. With his hair sticking up, and a cigarette hanging eternally from his lips, he looks like a crumpled echidna whose snout is on fire, but who cares. It’s James Lord (Armie Hammer) who bothers to bring us this…

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Film Review: The Meyerowitz Stories (New and Selected) (USA, 2017) Boasts Outstanding Performances From An All Star Cast

Acclaimed writer/director Noah Baumbach is back with his latest character centric story focusing on a dysfunctional family who put their quarrels aside to come together and celebrate their ageing father’s artistic work. The Meyerowitz Stories (New and Selected), a drama/comedy, boasts an all-star cast from Emma Thompson to veteran actor Dustin Hoffman and comedic giants…

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Film Review: Wakefield (USA, 2016) is a dull character study about a mad man

Wakefield is a long, drawn-out rendering of a short story. It shows one man’s descent into madness and how he becomes a voyeur of his own family. The film is a dramatic one and while the central idea seems original enough, it’s something that was better in the written format than in a full-length, feature…

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Film Review: Flatliners (USA, 2017) shows very little signs of life

When a film isn’t pre-screened for media or has its review embargo lifted on the same day of release, you know that the studio isn’t confident in the quality of their product. And this is what happened with the latest remake (although, in recent reports, it is claimed to be a sequel) of Flatliners. At…

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Film Review: Battle of the Sexes (USA, 2017) is topical, crowd-pleasing entertainment

Despite its 1973 setting, Battle of the Sexes is very much a film for the now with Billie Jean King’s story appearing just as relevant today as it did back then.  Stances on sexuality and the pay parity between genders as depicted here is likely to strike a chord with many an audience member, but…

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