The Party (2017)
There’s a kernel of a decent film in The Party, but it’s scuttled by clumsily blatant attempts at satire.
Tangled Between Techno-Thriller and James-Bond-esque Action: The Girl in the Spider’s Web
We watch Bond movies to be transported to glossy locations and marvel at beautiful people, not to trudge through underlit apartment buildings in the depths of winter.
Boy Erased (2018)
Boy Erased avoids the bombast and dramatisation that might be expected from its subject matter, instead opting for modest authenticity.
Grimoire of Zero
Grimoire of Zero simultaneously reveals the strengths and weaknesses of a short episode run.
My Friend Dahmer (2017)
This film adeptly sidesteps the obvious dangers of either explaining or empathising with Dahmer … which, unfortunately, leaves it without much of a purpose.
David Gordon Green’s Halloween Plays Tribute to a Perfect Slasher Film
The smartest decision behind Halloween 2018 is to treat it as a tribute rather than trying to equal Carpenter’s superlative work.
BIFF: [CENSORED] (2018)
[CENSORED] is compiled from clips excised from films imported into Australia from the late ‘50s to the early ‘70s.
A Star is Born is Old-Fashioned Musical Melodrama Done Right…Mostly
The measure of success for a melodrama is simple: does it move you? In that respect, A Star is Born is an unqualified triumph.
BIFF: Shoplifters (2018)
Shoplifters unfolds with Kore-eda’s trademark warmth and generosity, but there’s a sting in its tail.
BIFF: Terror Nullius (2018)
Terror Nullius satirises white Australia, but good satire is more than plastering messages on a screen for an audience of converts.
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