This year’s Palme d’Or winner illuminates the injustice of English welfare with slender rays of humour and humanity.
A uniquely indigenous contribution to Australian art cinema.
Only Yesterday teaches us that we can reshape our past, that we can relearn the optimism of youth and regain the possibilities of a time gone by.
While Darkness is hardly light years away from previous seasons – this is still very much a show that earns the “frequent animated nudity” classification – it’s far more fun and focused than what came before.
I believe Louis Theroux when he says he wants to make a different kind of Scientology movie; a sympathetic Scientology movie. But I’m not quite convinced he’s succeeded.
Deepwater Horizon feels deeply authentic, building remarkable tension until disaster inevitably strikes.
Trust Mike Flanagan (Oculus, Hush) to turn a flippin’ board game into a good horror film.
The Accountant attempts to leverage Ben Affleck’s star power in a John Wick-esque action thriller, but the sums don’t quite add up.
There’s a theory that there are no original stories left, only new ways to tell them. That’s definitely the case for Hell or High Water, an attempt to subvert the well worn cops-and-robbers story that almost succeeds.
A Perfect Day is a film about futility. Turns out, though, that it’s pretty futile to try and make a successful drama out of fundamentally powerless protagonists.