Shepherds and Butchers (2016)
Shepherds and Butchers’s biggest failing is its inability to consider race with any nuance – surprising, given its apartheid-era setting.
Shepherds and Butchers’s biggest failing is its inability to consider race with any nuance – surprising, given its apartheid-era setting.
There’s a gulf of difference between the trailers for Collateral Beauty and Passengers and the films themselves…or is there?
Good thing The Wait has some serious formal heft, or the whole exercise would be intolerable.
I’ll give Psychic School Wars this: it’s certainly very pretty.
If you can stomach Sausage Party’s dire string of lazy racial caricatures and innuendo for an hour, the final sausage in the chain is pretty tasty.
An underwhelming Aussie thriller that collapses under the weight of its own twists. At least it looks nice.
A provocative conclusion can’t disguise the familiarity of this Icelandic coming-of-age narrative.
I’ll give Goat this – it’s at least well-intentioned. So, fraternities are bad, right? The hazing they do is kinda gross and maybe dangerous, yeah? This is essentially the gist of Goat, which offers an unflinching criticism of frat culture but fails to find anything interesting to say along the way. The first fifteen minutes…
The filmmakers behind Patchwork – writer/director Tyler MacIntyre and his co-writer Chris Lee Hill – have an obvious affection for classic horror cinema. It’s not merely the way their story remixes the familiar Frankenstein mythology into a three-brained she-zombie (Tori Stolper/Tracey Fairaway/Maria Blasucci), complete with an 8-bit cameo of Frankenstein’s monster. But from the Maniac homage…
Marguerite seems like an odd choice to make the move from the Alliance Français French Film Festival to a general Australian release. Granted, it did well at the Cesars, but its pedigree is paired with a lacklustre, sluggish heap of a movie, ambling through half-assed farce and undercooked politics while finding little of merit beyond…