Brigsby Bear (2017)
People finding meaning in pop culture ephemera is so often met with mockery, so it’s refreshing to see it addressed with such compassion.
Thor Ragnarok Finds the Balance Between Waititi Silliness and MCU Formula
Thor Ragnarok is half Taika Waititi film – funny, digressive, unpredictable – and half Thor film – mired in tiresome Norse mythology and following the MCU formula note-for-note.
Jigsaw (2017)
For better or worse, Jigsaw is just another Saw sequel.
Food Wars! – Season 1
Food Wars! offers up a substantial serve of shonen anime tropes, complemented by a generous side dish of food porn. Think Dragonball Z meets Iron Chef. It’s fresh and fulfilling like a hearty Sunday roast.
Suburbicon (2017)
George Clooney, a regular Coens collaborator, knows the notes but he can’t master the music with his latest film, Suburbicon.
Is 2017 The Year Australia Finally Gets On Board With Horror?
Over at Junkee, I dig deep into the health of the Australian horror industry and Australian opinions on the horror industry.
Production Woes Plague The Snowman’s Serial Killer Schlock
The Snowman is an unmitigated disaster.
The Pink House (2017)
The Pink House is a documentary about Questa Casta, Australia’s longest-running brothel located in Kalgoorlie, Western Australia. Of course, it’s more than that.
Mike Flanagan’s Game: How the Gerald’s Game Director Exploits Human Perception
Across his filmography, Flanagan’ strives for something more insidious than the reptilian-brain jolts favoured by mainstream horror – something truly horrific; something that has you questioning your very own eyes.
Happy Death Day (2017)
Happy Death Day is a welcome example of refreshingly unpretentious B-movie filmmaking from Blumhouse.
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