Imogen Poots
Black Christmas is not the knock-out holiday film you might be craving, but it entertaining to say the least.
Combined with Cianfrance’s ‘addiction’ to this story and the intimacy of the acting, I Know This Much Is True creates a palatable amount of realism.
Castle In The Ground is undeniably effective in its portrayal of the opioid crisis, but loses itself in its hopeless narrative. Maria Lattila reviews.
Vivarium is a strange beast and not everything works within its bizarre world, but it’s an endlessly compelling watch.
In Vivarium, a young couple looking for the perfect home find themselves trapped in a mysterious labyrinth-like neighborhood of identical houses.
Black Christmas is angry, terrifying, empowering even – all that surrounded with the threatening notes of holiday songs playing in the background and a stalker out to get you.
A group of students are stalked by a stranger during their Christmas break. A remake of the 1974 horror film ‘Black Christmas’.
Alex Lines spoke to Lorcan Finnegan, director of Vivarium, ahead of its showcase at the Melbourne International Film Festival.
The Art Of Self-Defense is a dark, sharp and poignant take on the current gender roles and expectations in society.
In The Art of Self-Defense, after a man is attacked at random on the street he enlists at a local dojo in an effort to learn how to defend himself.
The Art of Self-Defense is not only a must-see, it’s an easy contender for the best film of the year so far.
Though grounded by a strong presence in the young Madison Wolfe, I Kill Giants is often too dreary to be truly engaging, and too under-realized to be an immersive escape into a fantastical world.
Sweet Virginia is a gripping, atmospheric movie, with stellar acting and a characterful script who’s only fault is it is not long enough.
Frank & Lola is an original look at a romantic relationship affected by past sexual abuse, and is presented in a mezmorizing noir tone.
Director Jeremy Saulnier’s debut film Blue Ruin marked him out as a director to watch, a spiritual heir to the throne of the Coen Brothers at their most violent. Like the Coens in their bloodthirsty prime, Saulnier filled Blue Ruin with borderline absurdist humour and fully fleshed out characters who would appear as nothing more than walking quirks were they not so perfectly realised. Most importantly, he achieved something that few other Coen imitators manage – he perfectly understood that the violence in their movies takes place in a moral universe, where no evil deed goes unpunished.