Sony Pictures

GREED: The Unacceptable Face Of Capitalism

There are real issues to address in Greed, yet there feels to be very little intent to showcase these.

FANTASY ISLAND: A Holiday from Hell
FANTASY ISLAND: A Holiday From Hell

What should have been a sun-soaked blockbuster, Fantasy Island leaves us feeling shamelessly entertained and frustratingly ripped-off.

INVISIBLE LIFE: Home Is Where The Heart Is
INVISIBLE LIFE: Home Is Where The Heart Is

Invisible Life is an enchanting experience, one that emphasizes the power of hope in times of helplessness and the importance of love above all else.

Bad Boys For Life: The Boys Are Back With A Mixed Bag
BAD BOYS FOR LIFE: The Boys Are Back With A Mixed Bag

Bad Boys for Life’s plot is straightforward, the action doesn’t push any boundaries, and yet you still leave having had a pretty good time.

ANGRY BIRDS 2: Sony Phones It In
THE ANGRY BIRDS MOVIE 2: Sony Phones It In

Confused about its target audience, Angry Birds 2 fails to deliver the jokes or storyline bringing lttle more than a playlist and a star studded cast.

THE INTRUDER: The Housing Market is a Killer
THE INTRUDER: The Housing Market Is A Killer

Directed by Deon Taylor, The Intruder treads into territory that is unfathomable for most of us and may not be the kind of place you want to stay in.

BRIGHTBURN: A Twisted Take On The Superhero Genre

Brightburn is a fun and thrilling experience that’s bolstered by a unique narrative and chilling performances.

A DOG’S WAY HOME: Every Dog Has His Day

A Dog’s Way Home is predictable but effective – although its cuteness does eventually outstay its welcome.

STORM BOY: A Flash From the Past
STORM BOY: A Flash From The Past

Storm Boy, an adaptation of a beloved 70’s Australian children’s book, succumbs to the powers of its own nostalgia.

CinefestOz: LADIES IN BLACK: Beresford's Bare Minimum
LADIES IN BLACK: Beresford’s Bare Minimum

Failing to push boundries, Ladies in Black is the definition of someone delivering the bare minimum in film direction, where the simple monotony of Aussie contempories doesnt cut it anymore.