This film adeptly sidesteps the obvious dangers of either explaining or empathising with Dahmer … which, unfortunately, leaves it without much of a purpose.
The smartest decision behind Halloween 2018 is to treat it as a tribute rather than trying to equal Carpenter’s superlative work.
[CENSORED] is compiled from clips excised from films imported into Australia from the late ‘50s to the early ‘70s.
The measure of success for a melodrama is simple: does it move you? In that respect, A Star is Born is an unqualified triumph.
Shoplifters unfolds with Kore-eda’s trademark warmth and generosity, but there’s a sting in its tail.
Terror Nullius satirises white Australia, but good satire is more than plastering messages on a screen for an audience of converts.
Hotel by the River is a slight, but interesting experiment for Hong Sang-soo aficionados.
The Wild Boys is the kind of film that defies words.
Brothers’ Nest takes the scepticism underneath Kenny and allows it to fester and overtake the film.
Gus Van Sant’s latest, a modest biopic of cartoonist John Callahan, casually avoids biopic and addiction story tropes.