2010s
Based on the real-life case, Johnny Frank Garrett’s Last Word is unfortunately a waste of its material, with many overused horror tropes.
Trespass Against Us is a crime film that, though with talent both in front of and behind the screen, fails to develop beyond cliché territory.
Though with an unimaginative score, Akron effectively tells a story about two gay men who meet and fall in love in Midwestern America.
Cries from Syria comes from the perspective of those standing in opposition to Assad, and serves as a tribute to Syria’s children.
Collide is a film that has talent in front of the camera, but they’re wasted through strings of mindless action and laughably poor dialogue.
I Don’t Feel at Home in This World Anymore is a dark comedy that explores timely subjects of loss of protection and fear, in an effective way.
My Name is Emily tries to be intellectual and heartwarming at the same time, but finds itself biting off more than it can chew.
London Town is a fictional story about a boy in 1970s London meeting up with his music idol, Joe Strummer; it is a mostly entertaining romp.
Between three men and a coterie of animals, Uncertain tells a richly rewarding story around the primal themes of death, birth and rebirth.
Departure is a coming-of-age film focused on the budding romance between a boy and his friend, yet it doesn’t fully succeed in this prospect.
Admirably performed, It’s Only the End of The World suffers from underwritten characters and a refusal to bring his trademark widescreen scope
Although a warm hearted documentary, David Stratton: A Cinematic Life cares more about Australian cinema than its subject.
While Lego Batman is essentially a spoof movie, it’s especially impressive that this film was able to keep us laughing from beginning to end.
There’s no living with, with a killing. There’s no going back from it. Right or wrong, it’s a brand, a brand that sticks.