2018
For a studio whose storytelling style and command of visuals is so wonderfully inventive, in Early Man they’ve opted for the laziest, most obvious narrative trajectory imaginable, without even a winning sense of humour to back that up.
David Heinz’s excellent debut American Folk is an ardent plea for togetherness in a divided world. Aided by his leading actors, talented cinematographer, and ear-worm of a soundtrack, this journey is a privilege to share.
Proud Mary would be nothing special if it did not star Taraji P. Henson. But it does, and as a result it stands out like a beam of sunshine piercing the dull grey murk that is January at the movies.
With unflinching backlash and polarizing reviews between fans and critics, Star Wars: The Last Jedi has found little favor among the masses – but was this the fault of the storyteller or the company behind the film who always plays it safe.
Only two weeks into 2018, Swinging Safari is Australia’s worst film of the year thus far with its muddled need to elevate the material.
Despite an admittedly heartwarming message about not putting a price tag on ways to make others happy, there is very little to take away from Almost Paris. You’ve seen this one before, albeit better.
Desolation is a unique take on a traditional horror movie, bending genre conventions in to a unique (and thoroughly contemporary) nightmare.
The Insidious franchise has quietly grown to be one of the most impressive and contemporary horror- and Insidious: The Last Key is another solid entry, despite the January release date.