Dark Waters interrogates the clash between corporate values and America’s espoused Christian ideology with astonishing sophistication.
The Post’s images are undeniably potent, but in that big, obvious way that steamrolls the complexity of the issues.
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.
A journalism procedural movie in the tradition of All the Presidents’ Men that rigorously depicts the minutiae of investigative journalism.
Real life doesn’t fit a movie narrative – real life rarely accommodates twists, dramatic speeches, or neat climaxes. In Spotlight, an excellent return to form for writer-director Tom McCarthy, a true story is presented exactly as it (presumably) happened, for better …and sometimes for worse. Spotlight follows four journalists (Mark Ruffalo, Rachel McAdams, Michael Keaton,…
Avengers: Age of Ultron is, for better or worse, the culmination of Marvel Studios’ approach to commercial cinema. By this stage, their much-discussed directorial departures – Patty Jenkins from Thor: The Dark World, Edgar Wright from Ant-Man – and the homogeneity of their output make it clear that this is about as far from auteurist…
Thanks to Icon Film Distribution Australia, ccpopculture has 5 buy-one-get-one-free passes to Infinitely Polar Bear, releasing in Australian cinemas Thursday March 26th, along with a DVD drama pack featuring Dan in Real Life, The Burning Plain, Last Chance Harvey and The Beaver. “Fresh from his much lauded performances in Foxcatcher and TV’s The Normal Heart,…
There’s something incredibly endearing about Infinitely Polar Bear’s unostentatious simplicity. Constructed on familiar indie tropes – a hand-made, whimsical aesthetic, a period setting, a family unit defined equally by conflict and closeness – the film sidesteps cliché to conjure an utterly charming experience. Infinitely Polar Bear’s impossibly twee title is paraphrased from Faith Stuart’s (Ashley…
In many respects, film criticism is about finding an intellectual justification for an emotional response. Take Whiplash, for example, one of my favourite films of last year. I saw the film twice, and each time was overcome by a visceral, physical response; but to simply record that response as a review felt somehow inadequate. Instead,…
Birdman, or the Unexpected Virtue of Ignorance is a divisive film, leading this year’s Golden Globe nominees and attracting a suite of five star reviews on one hand and repulsed pans on the other. It’s the sort of film that invites – nay, demands – hyperbole. The screenplay even presents the viewer with two distinct…
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