war
Close is frustratingly shallow, and in its breakneck pace leaves some of its character development in the dust, while trying to wring every bit of emotion out of its quieter moments.
A form of political agenda has been present in film since the dawn of cinem, with YA adaptations like Harry Potter and The Hunger Games influencing a new generation.
Hiroshima Mon Amour deals with the aftermath of a war, but primarily focuses on two peoples’ romance, which inspired future French New Wave directors.
Overlord is exactly what you would want and expect a movie about zombies created by Nazis to be: a deranged, disgusting delight.
Outlaw King is ambitious, striving for originality and historical accuracy, but overall fails to bring much to the table in terms of grounding its characters.
We were able to speak with Jeffrey Wright and Vainuupo ‘A.V.’ Avegalio, who are both involved with the documentary We Are Not Done Yet.
Although Wunderland purports to be a sincere tribute to a real event, it never finds the time to say or suggest anything about war, courage, or death.
They Shall Not Grow Old is a major monument for our memory of the British soldiers who fought in WW1 and an enormous step forward in depicting history through cinema.
Black ’47 isn’t a perfect film – the shaky characterisation prevents the emotional undercurrents from truly picking up speed. Regardless, it’s a fantastically captivating historical epic.
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.
Memoir of War is at its best when focusing on the inner life of its protagonist – but even she can’t prevent it from feeling unnecessarily drawn-out.
The Coolest Guy Movie Ever looks back at the iconic war film The Great Escape, examining its production and the legacy it still holds today.
In our first Melbourne International Film Festival report, we cover a collection of films, including Columbian crime dramas, a time-bending German war film, and an experimental exercise in young adult race relations.
The Captain is the kind of project that suffers from an identity crisis, never deciding what it wants to say or how seriously it should take itself.
Elena Miliaresis’ documentary While Time Stands Still tells the story of the hardships of military families – Laurie Agard considers the psychological aspects.