2019
Give Me Liberty evokes a sense of timelessness and universality that permeates through every element of the film.
Equalled with terrific editing and a beautiful turn of cinematography, Revenir is a terrific boiling pot of emotional intensity.
Thankfully, strong cast and fan following go along way to make Angel Has Fallen enjoyable despite its director’s shortcomings.
An alluring fixture with a hefty and enlightening impactful weight, The Laundromat drowns due to an overindulgence in material and excessive narrative.
The Death of Dick Long might easily be the most bizarre film of the year, but it’s also one of the funniest.
Burn is a stand-off between undeniable indie individualism and psycho-thriller, without a true path.
The Fanatic, directed by Fred Durst and starring John Travolta and Devon Sawa, is campy, a bit ill-spirited at times, but I still couldn’t turn it off.
Dark and gritty, Joker is a pressure cooker of emotional abuse that is just ticking, ready to blow at every minute.
While Ad Astra is no doubt visually stimulating, ultimately Gray’s film is a meandering lifeless existential entity that overly emphasises on simplicity.
Marriage Story is a heavy-hitting and brutal feature that leaves no stone unturned and no fallen tear allowed to escape from the camera.
Go! is the perfect adversary to the rising encroachment of American animated films that dominate Australian cinemas every holiday period – it’s old fashioned for sure, but undeniably fun.
Driven is a film that, despite a unique structure and talented cast, doesn’t feel as inventive as it sets out to be.
In the aftermath of the 2019 Women’s World Cup, women’s soccer has had a brighter…
Where’d You Go, Bernadette feels remarkably lacking in passion from those involved, save Cate Blanchett.
Sadly, Ecco fails to deliver good writing and a visual instinct to its audience, loosing trust and the ability to keep them interested.