As you might have guessed, my triumphant return to ccpopculture hasn’t quite gone off as planned. There’s a lot I can attribute that to, but my main explanation is that the cinematic landscape as it stands isn’t particularly inviting to a COVID-inspired funk; big brainless blockbusters are perpetually delayed and I’m increasingly not in the…
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 King of Staten Island isn’t going to be anyone’s favourite film. But it’s nice. It feels authentic. It’s even a little moving from time-to-time.
The Assistant is an important corrective to bombastic Hollywood takes on this subject.
We Summon the Darkness is a perfectly competent horror film.
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.
Guns Akimbo is blessed with a few encouraging attributes, but undermined by its messy, misguided politics.