2010s
With two likable stars playing unlikable characters, some witty repartee that borders on being too wordy, and an overuse of its finer points, Destination Wedding ends up getting lost in execution.
Making Montgomery Clift reminds us that the legendary actor was a mortal being, fallible but also fiercely independent.
Due to some finer details, The Land of Steady Habits is not unsatisfying per se, but it also has no staying power.
Tea With The Dames is a charming documentary, offering the once in a lifetime chance to spend ninety minutes in the company of four iconic actresses.
The Silence of Others reveals the struggle of victims of Spain’s 40-year dictatorship under General Franco, who continue to seek justice to this day. We spoke with directors Robert Bahar and Almudena Carracedo.
Australian writer-director Kosta Nikas’ Sacred Heart is a mature, thoughtful, and dramatic piece of filmmaking for a first-time feature director.
With a minimal budget, Mara will satisfy an audience that enjoys jitters, with just enough scares that as you leave the theatre you might dread your next bout of sleep paralysis.
Not bad but rather bland, The King of Thieves is too simply constructed to fully capitalise on its solid cast and compelling true-life crime story.
Carried by a flair for dramatic visual and a remarkable lead performance from Mulubwa, I Am Not a Witch is a fierce and undeniably feminist film unlike anything else in cinemas this year.
Summer of ’84 may have been passed over as a cheap Stranger Things knockoff, but there is surprising depth to it if you look beneath the surface.
Let the Corpses Tan is an exhilarating and original work of wild genius that we’ve come to expect from directors Hélène Cattet and Bruno Forzani.
By elegantly twisting the tropes of both the road movie and the war movie, The Last Suit tells a familiar story in a fresh manner.
The Toybox rises above being completely predictable with some interesting cinematic choices, and the decision to be unapologetically gruesome.
While Sierra Burgess is a Loser isn’t amazing, it’s worth a watch if you’re into something simple that has a happy ending.
The Wife is a middlebrow bore, a domestic drama with an intriguing concept that’s made easily forgettable due to the middle of the road direction from Bjorn Runge.