Australia
Dora and the Lost City of Gold is a lot of fun for the whole family, striking a delicate balance between making fun of the original and honoring the healthy lessons it wanted to share to kids.
Palm Beach lacks a sense of purpose – that despite it brimming with a number of winning personalities, its just a shame that the film they’re in lacks one itself.
Even if Douglas doesn’t match its predecessor, the material is strong enough that it could still wind up being the second greatest stand-up film of all time.
Film Inquiry’s Alex Lines got to chat with Gemma Hall, one of the co-directors of new Australian webseries Single Ladies.
Single Ladies never escapes its fleeting feeling, but is admirable for condensing an entire season of TV into the length of your average episode.
Alex Lines spoke with Emma Vestrheim, editor of Cinema Scandinavia, for her top picks ahead of The Volvo Scandinavian Film Festival.
Alex Lines spoke with director Grant Sputore about his new film I am Mother, getting picked up by Netflix, the film’s influences and how to make an original sci-fi film in 2019.
By using a traditional revenge movie template, Jennifer Kent reminds us that we can have no catharsis for the horrors of the past.
Trust Machine is a perfect introduction into a very complex field, accessible and informative to those who are unfamiliar with Bitcoin and Blockchaining, but still enlightening to those who do.
We were able to talk about Damon Gameau, director of the upcoming documentary about climate change called 2040.
The Chaperone is a film that’ll be gone by the month’s end, swallowed by the studio system and erased by this year’s loaded summer season.
Top End Wedding is filled with all the romcom tropes and cliches you expect, but Wayne Blair’s film manages to sell this spin on the formula.
Australian soccer comedy Back of the Net recalls other underdog sports films of the past, but without an ounce of creative inflection.
Thanks to our friends at Roadshow Films, Film Inquiry is happy to announce that we’ve…
This Australian horror has languished in obscurity for years, but a new restoration by Second Sight should make it the genre classic it deserves to be.