2020s
In his first report from Fantastic Film Festival Australia 2020, Matthew Singleton reviews Saint Maud and A Serial Killer’s Guide to Life!
After Midnight shows much potential in its early-goings, which makes the lack of a satisfying follow-through all the more disappointing.
The Times of Bill Cunningham would serve better as an extras-feature on a Blu-Ray than as the stand-alone documentary it is.
Even with the brilliance of Faran Tahir’s believable portrayal of a broken villain, I Am Fear flaws weigh heavy, even in the final moments.
It’s Onward and downwards for Pixar, as their Dungeons and Dragons inspired latest is one of their most disposable efforts to date.
Viral: Antisemitism in Four Mutation is timely and it is vital; it is a documentary that not only a community needs, but all of us do.
While Reichardt seems to be well intentioned here, First Cow falters by being frustratingly empty in both its delivery and narrative focus.
Unfolding like a fever dream with strong performances throughout, Caitlin Kennedy reckons that Horse Girl is well worth each twisting moment.
In She’s in Portland, the elements feel superficial, with the core relationship feeling especially hackneyed.
Downhill skews and scraps the richness of its predecessor and replaces it with dragging drama and cringy comedy.
In spite of some of its trip-ups, it’s hard to find something so genuine in its portrayal of the prevalent anger and worry of these times.
This adaptation of The Call of the Wild doesn’t quite have the same impact as Jack London’s bold portrayal of nature versus man. But it’s hard to decry it all the same.
Come to Daddy oozes Timpson’s remarkable devotion to the emotional, surreal and vicious with grotesque gusto.
Unfortunately, Billy Crystal and Ben Schwartz aren’t enough to elevate Standing Up, Falling Down to success.
While it could have taken more risks, season one of Locke & Key gives us a feasible starting point for what could be a flourishing new fantasy series.