There’s a certain honesty in opening your movie with the declaration that it is “based on a pathetic true story.” It’s an immediate indication of the wavelength Jeff Ryan is operating on with Mooch, a scrappy comedy noir that understands there are few things funnier – or, occasionally, sadder – than watching a grown man…
Thanks to Sony Pictures Australia, we have 5 double in-season passes (Admit 2) to see the latest chapter in the Insidious series, Insidious: Out of the Further, only in Australian cinemas from August 20th, 2026. Having earned over $740 million at the global box office, the Insidious franchise returns with a new family and a…
Australian medical drama The F Ward is officially going global, with the locally produced series securing licensing deals across 100 key international territories and becoming the fastest-selling Australian drama ever pre-launch. Commissioned by Stan and co-produced by Roadshow Rough Diamond and CBS Studios, the six-part series launched in Australia last month, introducing audiences to the…
There’s an infectious sincerity running through Nimrods that makes it difficult not to root for. On paper, it’s another coming-of-age road trip about three underdogs chasing an impossible dream. In execution, however, it plays like a love letter to the scrappy youth comedies of decades past, complete with muted colours, fuzzy VHS inserts, a wall-to-wall…
Few modern musicals have travelled quite as successfully as Hadestown. From its beginnings as Anaïs Mitchell’s independent theatre project to Tony-winning Broadway phenomenon and international hit, its journey is now taking another turn, with the celebrated musical heading to the big screen. Trafalgar Releasing has confirmed that Hadestown: The Musical, filmed live on stage at…
David Robert Mitchell has never seemed particularly interested in giving audiences exactly the movie they think they’re getting. It Follows turned a seemingly simple supernatural curse into an unnerving meditation on intimacy and mortality, while Under the Silver Lake gleefully disappeared down its own paranoid rabbit holes. So perhaps it makes perfect sense that Mitchell’s…
There’s something almost quaint about One Night Only being sold on the promise of sex. Will Gluck’s latest romantic comedy takes place in an alternate United States where premarital sex has been outlawed under a government decree known as “The Mandate.” For 364 days of the year, unmarried citizens are expected to keep their hands…
There’s something almost rebellious about a comedy as proudly, aggressively stupid as Stop! That! Train! In an era where even the lightest studio entertainment can feel burdened by franchise mythology or the need to justify its own existence, Adam Shankman’s disaster-movie spoof has a refreshingly uncomplicated ambition: make people laugh. Preferably with a dirty joke,…
From The Wedding Planner and Bringing Down the House to the gloriously larger-than-life musicality of Hairspray, Adam Shankman has spent decades making studio comedies designed, above all else, to entertain. But for his latest film, Stop! That! Train!, the director traded the machinery of a major Hollywood production for a 19-day independent shoot, a train…
If there was ever a role designed to weaponise Brooke Lynn Hytes’ statuesque presence, impeccable posture and bone-dry delivery, it’s Amber, the gloriously condescending first-class attendant she plays in Stop! That! Train! Directed by Hairspray filmmaker Adam Shankman and produced by the team behind RuPaul’s Drag Race, the unabashedly camp disaster-movie spoof takes its cues…
For Liv Hewson, a good detective story isn’t really about the crime. It’s about the people trying to make sense of what has been left behind. That philosophy sits at the heart of Treasure & Dirt, a distinctly Australian murder mystery set in the scorched, dust-choked opal mining town of Nullah, where the brutal beheading…
Fifteen years after its release, Conan the Barbarian remains one of modern fantasy cinema’s most understood films. Dismissed upon arrival by critics and audiences alike, it was quickly branded an unnecessary remake, a hollow echo of John Milius’s 1982 classic, and a failed vehicle for a rising star. Yet time has been kinder to Conan…
There’s something inherently unsettling about the suburbs in the films of David Robert Mitchell. Familiar streets, quiet houses and seemingly ordinary neighbourhoods have a way of suggesting that something strange might be lurking just beyond the frame. With The End of Oak Street, the filmmaker behind It Follows and Under the Silver Lake takes that…
Thanks to Warner Bros. Pictures, we have 5 double digital in-season passes (Admit 2) to see Anne Hathaway and Ewan McGregor in The End of Oak Street, from director David Robert Mitchell (It Follows), in Australian theatres from August 13th, 2026. After a mysterious cosmic event rips Oak Street from suburbia and transports their neighborhood…
For countless families around the world, CoComelon is already an instantly recognisable part of childhood. Now, director Kat Good is taking JJ and his friends somewhere they’ve never been before: the big screen. Marking Good’s feature directorial debut, CoComelon: The Movie expands the preschool phenomenon into a colourful musical adventure that follows JJ (Connor Esterson)…
Pregnancy has long been fertile ground for horror cinema, but Son of Sara transforms familiar fears into something far more intimate. As Sara, a woman whose increasingly disturbing cravings coincide with the return of her estranged boyfriend and the terrifying possibility that something sinister is growing inside her, Chloe Van Landschoot delivers a performance that…
Son of Sara opens with a compelling premise. Sara (Chloe Van Landschoot) is heavily pregnant after a one-night stand and living with her supportive partner, Carol (Tymika Tafari), but increasingly disturbing symptoms – an insatiable appetite for raw meat, violent bouts of sickness and terrifying visions – suggest something far more sinister than a difficult…
Eli Roth has never been a filmmaker I’ve felt compelled to defend. He’s a provocateur whose work often lives or dies by how much you’re willing to embrace outrageous violence, juvenile humour and unapologetic excess. At his best, films like Cabin Fever, Hostel and Thanksgiving understood the particular corner of horror they occupied, balancing their…
BINGE has unveiled a first look at its upcoming original series Apocalypse, while also confirming longtime Australian television presenter Jonathan LaPaglia as the show’s narrator. Best known for hosting Australian Survivor and Top Gear Australia, LaPaglia will guide viewers through the eight-part reality series, which poses a simple but daunting question: Could you survive the…
There’s something gloriously difficult to pin down about Phillip Philadelphia. At once a queer melodrama, an absurdist comedy, a portrait of creative decay and a love letter to the strange beauty lurking beneath the Gold Coast’s sun-soaked façade, Adam C. Briggs‘ latest feature refuses to settle into any one identity. Shot on luminous 16mm, it…
For Allan Clarke, documentary filmmaking isn’t simply about preserving history – it’s about challenging audiences to confront the stories they’ve long ignored. The award-winning Muruwari and Gomeroi filmmaker, journalist and writer has built a career giving voice to communities too often left out of Australia’s national conversation, from The Bowraville Murders and The Dark Emu…
There are few comedy franchises as defiantly committed to their own wavelength as Super Troopers. Twenty-five years after the original became an unlikely cult sensation on DVD shelves and dorm-room repeat viewings, the Broken Lizard gang are still making movies that feel as though they were conceived during an extended road trip between lifelong friends;…
When Violent Night arrived in 2022, it felt like the cinematic equivalent of finding a lump of coal that somehow turned out to be the perfect Christmas gift. Tommy Wirkola’s gleefully blood-soaked action-comedy paired David Harbour’s weary Santa Claus with outrageous festive carnage, but beneath the shattered ornaments and sharpened candy canes was an unexpectedly…
After proving that Santa Claus could dispatch mercenaries with the same ease he delivered presents, director Tommy Wirkola‘s Violent Night earned an unlikely place alongside the festive classics many audiences return to every December. Beneath the gloriously excessive violence and gleefully inventive action was a surprisingly sincere Christmas story, one that found David Harbour’s weary…
For an artist as culturally omnipresent as Charli XCX, Erupcja is a fascinating first major acting vehicle; yes, depending on when you’re seeing this, she has been seen across such features as The Moment (which shouldn’t really count as she was essentially playing herself), Faces of Death and I Want Your Sex, but Erupcja was…
When Ted Lasso concluded its third season, it felt less like a television finale than a heartfelt farewell. It was the kind of ending that seemed content to leave AFC Richmond exactly where audiences hoped it would: bruised, wiser and full of possibility. So the announcement of a fourth season inevitably raised the question every…
Twenty-five years after Super Troopers transformed a group of sketch comedians into unlikely cult icons, Broken Lizard still hasn’t grown up. Thankfully. If anything, Super Troopers 3 proves they’ve become even more comfortable embracing the wonderfully bizarre universe they’ve built. What began as a relatively grounded story about Vermont state troopers amusing themselves on lonely…
Some films confront difficult subject matter. Blue Film traps you in a room with it and refuses to let you look away. Writer-director Elliot Tuttle‘s feature debut begins with deliberate provocation. Aaron Eagle (Kieron Moore), a successful Los Angeles camboy, performs dominance for an online audience, weaponising confidence, humiliation and carefully cultivated bravado as part…
Few actors have built a career as fascinatingly varied as Rebecca De Mornay. For many, she’ll forever be synonymous with Risky Business or the unforgettable menace of The Hand That Rocks the Cradle, but her filmography reveals an artist who’s consistently gravitated toward women of intelligence, mystery and quiet strength, whether in prestige dramas, thrillers…
Jane Schoenbrun has always understood that the things we watch can become part of us. In We’re All Going to the World’s Fair, the internet offered both escape and danger. In I Saw the TV Glow, television became a portal into a life its characters could barely admit they wanted. Their latest film, Teenage Sex…
