Promising Young Woman invents a new genre. Maybe that’s an overstatement – it might be clearer to say that it iterates a new genre. This is a modern-day rape revenge story, a reimagining of an archaic exploitation genre that’s since been relegated to DTV schlock (think the execrable I Spit On Your Grave remake franchise)…
There are a few established Australian Boxing Day traditions. (For the unfamiliar, Boxing Day is the day immediately following Christmas Day.) An MCG test match. (For the unfamiliar…oh, you know what, nevermind.) Sales. Hangovers. Christmas leftovers. And, if you’re feeling especially motivated, perhaps you’ll brave the multiplex to see one of the half-dozen new releases…
Babyteeth never struck me as a bad movie, but it never engaged me enough to become a good one.
The Assistant is an important corrective to bombastic Hollywood takes on this subject.
Bloodshot is a Bon Jovi movie. I call it that because – in every respect – it’s only halfway there.
Dark Waters interrogates the clash between corporate values and America’s espoused Christian ideology with astonishing sophistication.
The Invisible Man is a showcase for its writer-director’s obvious love and talent for genre cinema.
You can’t fault Robert Eggers’ ambition.
It’s curious praise to note that a film makes you want to book a therapist’s appointment, but this is a curious film.
There’s something satisfying about a well-executed B-movie. Underwater well and truly fits the bill.