Australia Korean Fest 2021: End of Lockdown Brings Major Genre-fuelled Hallyu Wave

Assuming COVID lock-down ends in Australia (good luck Sydney), the long-standing always quality Korean Film Festival in Australia (KOFFIA) may provide some excellent in-cinema viewing in Canberra, Melbourne and Brisbane this September. Assuming of course that lock-down actually ends, as...

Melbourne 2021 Review: THE GIRL AND THE SPIDER, Purposely Pretentious Chamber Piece Still Captivates

The second film in a loosely planned trilogy about 'human togetherness', The Girl and the Spider begins with the literal construction of a contemporary chamber piece, a very busy apartment move-out and later a similar apartment's move-in. The first film...

Melbourne 2021: Engaging and Eclectic MIFF Lineup Revealed

The Melbourne International Film Festival (MIFF) returns for a very nice sixty-ninth time in selected cinemas and at home via a streaming pass system this year. It initially feels quite piecemeal, making your way through the guide to work out...

THE MANY SAINTS OF NEWARK Trailer: Contemporary Nostalgia for HBO's Infamous Jersey Legend

The spirit of television's greatest mob boss, Tony Soprano, is alive and well, channeled through the late James Gandolfini's own son, in an inspired bit of casting that excuses this prequel film as anything but a passion project from series...

Review: WET SEASON, Immersive Slice of Life in Singapore

Directed by Anthony Chen, Singapore's submission for Best International Feature for the 93rd Academy Awards stars Yann Yann Yeo and Jia Ler Koh.

The Great Festival Rebound of 2020: Let The Anarchists Speak

We are not at Sundance right now. However, we do have Anarchists who are covering the festival lineup. IFF Rotterdam started today and we won't be there either. But, we do have an Anarchist all raring to go and cover...

ScreenAnarchy Top Films of 2020

One of the great advantages of ScreenAnarchy's global writing staff is that our individual end-of-year lists always have a least a few titles that the rest of us have not only not seen, but likely haven't heard of. And I'm...

Review: BLACK BEAR, A Gaslight Meta Nightmare

Black Bear could be a Hitchcock inspired-indie thriller that opens with actor--director-writer Allison (Aubrey Plaza), collecting her towel from a lake’s small dock, making her way inside a cabin where she sits, notebook and pen at the ready; a title...

JFF Australia 2020: Film Festival Goes Free, Online And Through Time

From time travel tales to enchanting animated adventure, the Japanese Film Festival returns 4th – 13th December with JFF Plus: Online Festival, a free streamed event that features a thoughtful curated program of Japanese cinema through the years. The 2020...

Busan 2020 Review: LIMECRIME, Tone Deaf Hip-hop Biopic

As a self-confessed Korean hip-hop ‘stan’, Limecrime is a dismal disappointment. This is Directed by the actual former Limecrime duo LEE Seunghwan and YOO Jaewook, who moved on from performing together in the early aughts and are no longer part...

Busan 2020 Review: THE PREDATORS, Stylish Italian Dark Comedy Debut

Twenty-eight year old newcomer Pietro Castellitto debuts with this assured, sharply scripted black comedy about class, wildly different families and the individuals that comprise them. It was frankly shocking to learn the Director of this film is so young, as...

Busan 2020 Review: GOOD PERSON Compels With Its Dizzying Morality Play

With confident direction in the first few frames alone, this debut feature from JUNG Wook is a masterful mystery. Good Person draws comparisons to European cinema; epic yet intimate portrayal of ethics, morality and human nature in the contemporary. These...

Busan 2020 Review: HAPPY OLD YEAR; Minimalist Design, Maximalist Selfishness

The philosophy or art of letting go; the artifice of such a belief or methodology questioned in a purposely staged environment is how Happy Old Year introduces its jaded protagonist Jean (Chutimon Chuengchar, Bad Genius). She is interviewed by a...

Australia Korean Fest 2020: Free and Digital Leaves No Excuses

The Korean Film Festival in Australia (KOFFIA rolls off the tongue) returns for its eleventh outing, well so to speak. Despite plague ravaged streets the festival will go on, online of course, and for free! Check all the juicy details...

David Fincher Returns With Throwback Noir Teaser For MANK

Netflix continues to be a wonderful sandbox for Auteurs, and David Fincher's latest Mank, co-written by his brother and scored by Trent Reznor and Atticus Ross, is no exception. This fantastic November release is imbued with oldschool cool and casts...

Review: THE WOLF OF SNOW HOLLOW, Smalltown Mania And Murder By Monster

The Wolf of Snow Hollow is a damn entertaining film, forget the typical tropes of werewolf creature features, this is neither a slowburn nor an exploitive gore fest. Actor and director Jim Cummings steers the plot forward through the negative...

Fantastic Fest 2020 Review: BLOODTHIRSTY Lacks Its Titular Desire

This year there has been no slow-down of low budget, singular Indie horror films set in an isolated cabin, holiday home or retreat surrounded by the elements. Bloodthirsty does nothing to differentiate itself, this is a watchable yet uncompelling feature...

New York 2020 Review: ON THE ROCKS, Sofia Coppola and Bill Murray Reunite

Sofia Coppola’s films are imbued with a bratty strained independent punk rock aesthetic that often riffs on generic genres and themes with a strong focus on characters that refuse to conform. On The Rocks is a distant memory of this...

Review: RABBIT, Bold and Confident Psychological Horror

Adelaide Clemens, Alex Russell and Veerle Baetens star in director and writer Luke Shanahan's horror mystery from Australia, now streaming on Shudder (US) and Shudder Canada.

Review: THE DEVIL ALL THE TIME, Post-war Pulp Haunts Compelling Rural Noir

Antonio Campos excels at making damaged or heinous characters front and centre, getting under the skin of a socio-psychopath (Afterschool, 2008 or Simon Killer, 2012) or delving into mental health issues and depression (Christine, 2016), Campos finds entertaining ways to...