Few performers could claim the type of year Anne Hathaway has enjoyed. Across five major releases – Mother Mary, The Devil Wears Prada 2, The Odyssey, The End of Oak Street and Verity – the Academy Award winner has moved between wildly different characters and filmmakers, revisited one of the most beloved roles of her…
Catherine Zeta-Jones being hunted across Europe by seven of the world’s deadliest assassins is already a fairly irresistible proposition. Give her a wicked sense of humour, a violent criminal history and permission to beat the living hell out of anyone standing in her way, and Kill Jackie has all the ingredients of a gleefully unhinged…
Rob Riggle may be best known for his comedic work, but in Nickels, the actor taps into a far quieter and more dramatic register as Tom Monroe, a successful entrepreneur and devoted family man still carrying the grief of losing his older brother as a teenager. When, three decades later, his neighbour’s son Mitch (Aaron…
Nickels is the type of film that could have very easily overwhelmed itself. A story about grief, possible reincarnation and the signs we attach meaning to could have exploded into melodrama or lengthy monologues about faith. Instead, director Spencer King approaches the material with admirable restraint, allowing uncertainty to hang over the film and trusting…
Colleen Hoover may not exactly be considered one of the great literary voices of our time, but there’s an amusing moment in Verity when struggling writer Lowen Ashleigh (Dakota Johnson) describes the titular author’s output as the type of books you pick up at the airport. It’s a knowingly cheeky assessment of Hoover’s own particular…
Of all the romantic choices Friends made across ten seasons, few have been treated with as much contempt as Joey and Rachel. Their brief attempt at becoming a couple is regularly dismissed as a late-series mistake, a storyline born from writers running out of ways to keep Ross and Rachel apart before inevitably putting them…
Alejandro G. Iñárritu has never been particularly interested in making films that quietly disappear into the background, and Digger may be one of his boldest swings yet. An absurdist, visually audacious satire about power, ego, environmental catastrophe and the stories people construct around themselves, it is the type of ambitious studio filmmaking that deserves to…
Brandon Sklenar finally gets his leading-man moment in The Rescue, a new action thriller that looks to put a distinctly Western spin on the familiar Taken formula. Sklenar stars as former rodeo cowboy Jamie Lee Betts, whose quiet existence is shattered when his daughter is kidnapped and held for ransom. Rather than wait for someone…
Thanks to Sony Pictures Australia, we have 5 double in-season passes (Admit 2) to see the anticipated sequel to The Social Network, Aaron Sorkin‘s The Social Reckoning, starring Jeremy Allen White, Mikey Madison and Jeremy Strong, only in Australian cinemas from October 8th, 2026. Inspired by true events and the whistleblower who started the social…
John Francis Daley and Jonathan Goldstein’s Mayday may wear the familiar uniform of an old-school 1980s buddy movie, but beneath the action, comedy and Cold War absurdity is a surprisingly tender story about two men questioning the lives they were taught to want. Ryan Reynolds stars as Lieutenant Troy “Assassin” Kelly, a hotshot U.S. Navy…
God Bless You, Mr Kopu may unfold like a darkly comic genre piece about ambition, desperation and the seductive promise of success, but beneath its increasingly twisted surface, writer-director Alex Liu is asking a more personal question: how much of yourself are you willing to surrender to become the person you think you’re supposed to…
Yeon Sang-ho has never needed monsters to expose the uglier parts of humanity. Even when working within horror, science fiction or apocalyptic spectacle, the filmmaker behind Train to Busan and Hellbound has remained fascinated by what people become when circumstances push them somewhere uncomfortable. Following Colony and The Ugly, Paradise Lost continues that fascination on…
Happiness is an easy concept to romanticise. We spend so much of our lives imagining the job, relationship or milestone that will finally make everything fall into place, only to discover that fulfilment rarely arrives as neatly as expected. That uncomfortable distance between the life we picture and the one we actually inhabit sits at…
Lance Oppenheim’s Primetime understands that the most disturbing thing about To Catch a Predator was never necessarily what happened when Chris Hansen stepped out from behind that curtain. It was how effortlessly something ostensibly created in the name of public safety became entertainment; how quickly justice could be packaged, promoted and sold to an audience…
Robert Pattinson has rarely seemed interested in taking the most obvious route into a character. Across a career increasingly defined by peculiar, unpredictable and sometimes deeply uncomfortable performances, the actor has demonstrated a willingness to disappear into characters without necessarily explaining them. For Primetime, though, Pattinson initially wasn’t planning on disappearing into anyone at all….
To look at Ken Carter’s 90-foot ramp jutting into the Canadian skyline was to look at a monument to sheer impossibility. In The Stunt Driver, filmmaker Michael Dowse dives headfirst into the folklore of Canada’s most audacious stunt performer, who, battered by decades of broken bones, staked his survival on jumping a mile across the…
Ken “The Mad Canadian” Carter may willingly strap himself into vehicles designed to leave the ground, but don’t call him a daredevil. For Carter, the distinction matters. What he does isn’t supposed to be reckless. It requires engineering, preparation and an almost irrational faith that every calculation will keep him alive. It’s that increasingly fragile…
Young love and all the amazing, traumatic things that come with such are explored in Charlie Harper, Mac Eldridge and Tom Dean‘s emotional, non-linear romance dramedy, anchored by the moving performances – and palpable chemistry – of its leads, Emilia Jones and Nick Robinson. Centering around the two halves of its titular coupling (so no,…
Thanks to Warner Bros. Pictures, we have 5 double digital in-season passes (Admit 2) to see Tom Cruise in a role unlike any other in Alejandro G. Iñárritu‘s original dark comedy Digger, in Australian theatres from October 1st, 2026. Academy Award winner Tom Cruise stars in Academy Award-winning filmmaker Alejandro G. Iñárritu’s original film “Digger”….
At 155 minutes, and unfolding across three timelines that initially appear to have only the faintest connective tissue, La Bola Negra asks its audience to place an enormous amount of trust in directors Javier Calvo and Javier Ambrossi. For much of its first two hours, their sweeping queer epic can feel deliberately elusive, moving between…
Being encouraged to recognise your own brilliance can prove a cruel lesson when the person doing the encouraging preferred you when that brilliance remained safely beneath theirs. That uncomfortable contradiction sits at the centre of Niki Byrne’s The Julia Set, an academically minded coming-of-age drama that doesn’t rewrite the formula but finds enough intelligence and…
There’s something inherently dangerous about satire when the person holding the knife is willing to turn it back on themselves. That tension sits at the centre of Everybody Wants to F*ck Me, the provocative new film from writer-director Jonathan Schey, which arrived at the Toronto International Film Festival with Taron Egerton stepping into the uncomfortable…
Jonathan Schey’s Everybody Wants to F*ck Me is the kind of film that seems determined to make you laugh before making you question exactly why you’re laughing. What begins as a filthy comedy about modern dating gradually mutates into something darker, stranger and considerably more uncomfortable. Taron Egerton plays Adam, a London gallery worker who…
There’s an agonising distinction between wanting to live and wanting to have lived. Elsinore, Simon Stone’s deeply affecting account of the final chapter in Scottish actor Ian Charleson’s life, understands that difference intimately. Faced with a body increasingly betraying him, Charleson isn’t simply fighting for more time. He wants the time he has left to…
Films centred around degenerative illness are often walking an unenviable tonal tightrope. Push too hard towards inspiration and the characters can become vessels for an uplifting message; lean too heavily into suffering and their lives become defined entirely by their diagnosis. Onwards and Sideways understands that living with Parkinson’s can be frightening, exhausting, frustrating and,…
Onwards and Sideways may begin with a diagnosis, but its beating heart lies in everything that diagnosis cannot define. Oscar-nominated director John Madden’s tender, unexpectedly funny drama stars Rhys Ifans and Laura Linney as Tony and Emma, two strangers diagnosed with Parkinson’s disease at the same clinic on the same morning. What initially binds them…
Diagnosed with the same degenerative disease, at the same clinic, on the same day, Tony (Rhys Ifans) and Emma (Laura Linney) may suddenly find themselves bound by Parkinson’s, but Onwards and Sideways is far more interested in everything that makes their experiences entirely their own. For Oscar-nominated director John Madden (Shakespeare in Love, Proof), that…
At a certain point in a long-term relationship, “When are you having kids?” seems to stop being considered an intrusive question and instead becomes accepted small talk. Marriage apparently isn’t enough of a milestone. Happiness isn’t enough of an answer. There must be a next step, and for Annie and Aaron, the wonderfully lived-in couple…
Rebel Wilson clearly has an enormous amount of affection for the girl groups that soundtracked her formative years. Spice Girls, All Saints, Destiny’s Child and The Pussycat Dolls all hover over Girl Group, a bright, loud and relentlessly enthusiastic musical comedy that wants to bottle the particular euphoria of watching a group of women harmonise,…
Technology may have finally achieved what decades of law enforcement couldn’t: put expert pickpocket Harry Lehman out of business. Nobody carries cash anymore. Phones can be tracked. Credit cards can be cancelled before you’ve even made it to the next subway stop. For the wonderfully weathered criminal at the centre of Noah Segan’s The Only…
