Reviews

Despite a cast bristling with talent, Jeff Nichols’ most mainstream film yet struggles to lance its themes.

Director Nikolaj Arcel makes a point that it’s not just the arid Danish land that’s troubled and treacherous: the people also suck.

A faithful retelling of the siege of O-Rākau, Ka Whawhai Tonu drops the audience right into the eye of the storm.

The director of A Royal Affair helms a stoic western set in the inhospitable 18th century Danish moorlands.

At a push you could describe Van Damme’s latest as neo-noir: a more accommodating label than the more befitting “B-movie”.

It’s hard to overstate just how affecting Inside Out 2’s depiction of anxiety becomes in the final act.

I enjoyed the film’s slippery mood; the feeling we’re on uneven ground, about to give way to some higher or lower reality.

Divinity throws caution to the wind, acid on the tongue, and audiences into a completely different universe.

It’s a minor work for the veteran director but nevertheless a rock-solid genre subversion; with Glen Powell at full affability.

I wouldn’t like to turn back the hands of time and party like it’s 1599—but it’s a delirious, absorbing trip to meet the people who do.

Top-notch performances and world-building bringing to life so many elements of 1980s New York.

Any potential humour in this 1980s-set drama gets smothered by a morose tone and sticky, moody aesthetic.

One of the most imaginative science fiction stories to come along in years – animated or otherwise.

The Beast is not a flawless film, but it is impossible not to admire its intellectual explorations.

A new doco honours the counterculture restlessness of the Western world’s surrogate father figure.

Lines like “you can’t trust any AI” feel clumsy, having no weight or impact; more like expended oxygen than human speech.

It’s the stuff cults are made of, which is the audience this film deserves.

The show’s biggest problem is not that it’s exhaustingly meatheaded and masculine (which it is) but that it’s not very funny.

John Krasinski shoots for an earnest Spielbergian glow, but arrives somewhere deflatingly twee and saccharine.

Ready to return to the Wasteland? The highly anticipated new Mad Max movie is a long and bumpy ride,

Joika will inevitably be compared to Damien Chazelle’s Whiplash. And rightly so.