2018
Better Start Running feels like a cliched indie – fitted head to toe with an ever-present oddball ensemble cast – taking to the road for an adventure.
For this latest report from Film Fest 919, we into Robert Redford’s final film, the documentary about Orson Welles, and a Hillary Swank-starring drama.
Killer Kate! is silly and toneless – although flawed, it may be the calling card for debut filmmaker Elliot Feld for more suitable projects to come.
As glossy, glamorous and fast-paced as the auctions it focuses on, The Price of Everything is a fun look inside an elite world that few of us could ever imagine entering.
Rodin portrays its titular character as a fiery genius who is much better interacting with lumps of clay than he is with human beings. For an artist biopic, this is both predictable and exhausting.
Caniba is a disturbing film about human loneliness that feels rare in documentary’s contemporary canon.
When the USA is safely within the next Democratic term of office, expect The Front Runner to be looked back upon more fondly; it’s mightily enjoyable political entertainment.
As a work of storytelling, Guadagnino’s reimagining of the canonical giallo is a boring mess with higher thematic aspirations than it’s able to realise.
Two reviews of films from the Lavazza Italian Film Festival, Loro by Paolo Sorrentino and Boys Cry, a gangster film from the D’Innocenzo Brothers.
An incredibly funny film, An Evening with Beverly Luff Linn is a wonderful example of a film that is able to be surreal, comic, and emotional – even if the ending is really very, very bad.
Studio 54 was blessed to be a documentary about something unendingly interesting, unfortunately, by taking on a big topic and failing to ever get specific,it fails to live up to its great potential.
Roma is a film that improves with each passing minute; even though occasionally underwhelming, the longer it lingers in your mind, the more of an impact it will have.
Green Book is cinematic comfort food, equipped with witty performances and the aura of social importance, yet undistinguishable from the tons of other polite Oscar dramas that came before it.
I Still See You is another entry to the endless array of young adult fare, and it’s a near flop that doesn’t look to be boundary-defying, instead playing it safe.
Though easily levelling with The Wonders in terms of visual quality, the lack of investment leaves Happy as Lazzaro a rather transitory collection of charming anecdotes.