2010s
Chinese-Australian co-production Guardians of the Tomb is one of the most cliched, dull and shamelessly corporate creature features you could possibly imagine.
Small Town Crime delivers the goods with a layered story, enthralling mystery, classic and evocative but innovative action, and a cast and crew devoted to a singular artistic vision.
Saturday Church is a story of hope and redemption and yet another “need to see” tale, of a group of people deemed “different” by society, that ends up proving how alike we all actually are.
Abe & Phil’s Last Poker Game boasts a trio of fantastic performances, particularly from Landau in one of his finest turns in his final film, and contains just enough laughs and dramatic themes to overcome Weiner’s rookie missteps.
If you enjoy French cinema, Lover For a Day won’t disappoint you: with its black and white picture, the dramatic, intricate, sensual love story, and its earnest dialogue that comes across even sweeter to English speakers, this movie is a must-see.
From the riotous to the poignant, Sally Potter’s The Party taps into the state-of-the-nation with a smart, sharp comedy populated with hilarious characters and brought to life by a truly fantastic cast.
Director Rebekah Fortune’s Just Charlie is an empathetic transgender coming out tale that slowly becomes a moving story of self-acceptance.
Becoming Jessica Nigri documents Nigri’s uniquely devoted cosplay, delving into what it means to her in addition to the idea of cosplay in general.
Amid the rubble that is The Commuter, there is an entertaining enough film to provide respite during the Winter blues, just don’t expect too much.
In This Corner of the World is a beautifully captured and quietly tragic animation, which succeeds due to how it captures the sadness underneath the mundanity of life in a war-torn country.
12 Strong feels on a par with the cringeworthy, overly patriotic action films made during the significant wars of America’s past, with nothing to say about the nature of war itself.
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The BBQ is a low-key Australian family comedy that aspires to be 2018’s answer to 90’s Oz comedy classic The Castle, but it’s too pedestrian to follow in that films footsteps.
With a multitude of successful hits across television and film, Netflix misses a beat with their latest film The Open House, its convoluted story and under utilized characters causing the film to fall flat before it even begins.