comedy
The Boy Downstairs might be much more adept at comedy than romance, yet first-time writer-director Sophie Brooks tells her story with appealing simplicity, and Zosia Mamet’s first lead performance makes you wonder why on earth it is her first.
We spoke with Jason James, director of the upcoming comedy-drama Entanglement, which will be released on February 9th.
Permission manages to explore the intricacies of open relationships in a non-judgemental way, portraying a realistic relationship as far from classic romcom tropes as you could imagine.
It’s been 25 years since Groundhog Day premiered, but its enduring quality lives on. Its humor, tender performances, sincerity, and feel-good ending are just as impactful as the raw existential statement that it provides about how to find true contentment.
Pleasantville is still relevant 20 years later: In a time where the American Dream is being redefined, Pleasantville tries to tell us that among the chaos and imperfection of this world, you can still find happiness.
Paperback is a romantic comedy, which isn’t terribly funny or romantic, falling flat because it is trying to make you root for the terrible parts of its main character.
Abe & Phil’s Last Poker Game boasts a trio of fantastic performances, particularly from Landau in one of his finest turns in his final film, and contains just enough laughs and dramatic themes to overcome Weiner’s rookie missteps.
From the riotous to the poignant, Sally Potter’s The Party taps into the state-of-the-nation with a smart, sharp comedy populated with hilarious characters and brought to life by a truly fantastic cast.
FREAK SHOW: Alex Lawther Dazzles In A Transformative, Career-Making Performance
The BBQ is a low-key Australian family comedy that aspires to be 2018’s answer to 90’s Oz comedy classic The Castle, but it’s too pedestrian to follow in that films footsteps.
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.
Diablo Cody’s directorial debut was made back in 2013, yet got buried so deep it’s easy to not know it even existed. After watching Paradise, it became clear why it never got a proper release five years ago.
The Babysitter is perfectly trashy popcorn entertainment, with a distinctive, highly-stylized vision and self-satirizing bite; a lesson in embracing genre conventions rather than falling victim to them.
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.
Paddington 2 is the rare sequel that is better than the original, filled with a good natured warmth that will delight children and parents alike.