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In his final Film Fest 919 recap, Josh Martin delves into Jake Gyllenhaal’s latest, a challenging take on the Western and the most delightful film of the festival.
The Old Man and the Gun is a love letter to many things: the 1970s/early ’80s, the aging outlaw trope so often seen in Westerns, and to film itself.
For this latest report from Film Fest 919, we into Robert Redford’s final film, the documentary about Orson Welles, and a Hillary Swank-starring drama.
How To Get Away With Murder’s case-of-the-week format will work for some but those welcoming of the more complex journey of yester-series will find the current set-up lacklustre at best.
An incredibly funny film, An Evening with Beverly Luff Linn is a wonderful example of a film that is able to be surreal, comic, and emotional – even if the ending is really very, very bad.
Another decent episode of How To Get Away With Murder, “Whose Blood Is That?” continues to build a solid fifth season but it’s yet to match the series’ highs we’ve seen before.
The Two Jakes may be an inferior sequel to Chinatown, but this Jack Nicholson-directed follow up is more intriguing than its reputation suggests.
In our first report from Film Fest 919, Josh Martin recounts the nauseating absurdity of Dogman, memorably fascinating Destroyer and Cannes’ Palme d’Or Shoplifters.
With an unapologetic, feminine roar, City Of Joy takes on a wholly ignored genocide, racism, toxic masculinity and bloodthirsty greed, a rallying cry for survivors of violence and product consumers.
Gustav Möller’s The Guilty is compact but crushing single-room drama successfully secures our emotional and visceral involvement whilst quite boldly moving into some genuinely dark areas.
Distinctively reminiscent of the show’s first season, with it looking to unfold on a case-of-the-week style basis, How To Get Away With Murder’s season premiere is taking one step back, hopefully, in order to take multiple steps forward.
A hard pill to swallow, Assassination Nation is a blunt, antagonistic, but masterful film, guided by a director who can so easily weave in between political horror, social injustice, dark comedy, and teen comedy.
Polterheist fails to succeed as a comedic or horrifying film, finding no progression of plot but rather further perpetuates racism, misogyny and homophobia.
Despite the attempt to be original with a subtly spooky fogginess, Slice is a sluggish creation, doling out little bits of plot information at an unhurried pace.
The saying goes that the story writes itself, but White Boy Rick shows that even the best tales can be crafted into a boring, listless film.