Luke Evans
A multilayered depiction, Good Grief delivers on what its title promises and audiences will find they are richer in experience for it.
A cathartically devastating film, Our Son reaches deep into the wells of emotion.
Between bad dialogue, acting that feels as undeveloped as the characters, and an unfocused story, it’s no wonder Midway feels like a drag.
Alex Lines latest festival report from Melbourne International Film Festival features reviews of The Lodge, Angel of Mine and The Unknown Saint.
Anna just isn’t quite the fun thrill ride that one might have hoped for, suffering from a disorganized plot, characters devoid of personality, and less-than-stellar action.
In Tate Taylor’s upcoming horror Ma, a lonely woman befriends a group of teenagers and decides to let them party at her house.
It may take certain liberties with the truth, but Professor Marston and the Wonder Women is still an enjoyable, inspirational biopic.
While not as perfect as the original, Beauty & the Beast is an elegant and magnificent display that true love for a film never dies.
Dracula Untold tries to be a lot of different things – a PG-13 horror movie, a historical epic, a Gothic romance, a superhero origin story – and it does it all while at the same time trying to kick start an Avengers-style shared movie universe. Whether you call that ambitious or just the obvious product of too many cooks in the kitchen, it doesn’t succeed on every front. But remarkably enough, as a pure popcorn movie, it doesn’t completely fall apart, either.