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...

Review: I'M THINKING OF ENDING THINGS By Charlie Kaufman

In director Spike Jonze’s Adaptation, screenwriter Charlie Kaufman is in the film as himself played by Nicolas Cage. That character puts his own spin on the book in that film when he is tasked with writing a screenplay for it....

Review: THE ARGUMENT, Trifling Theatrical Experimentation

Robert Schwartzman (Dreamland, The Unicorn), part of film family royalty (brother is Jason Schwartzman, cousin is Sofia Coppola etc.) is relatively new to Hollywood's Indies. His third feature The Argument continues the trend of approachable genre experiments inherent in his...

Melbourne 2020 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...

Antonio Campos Tackles Rural Crime Noir With THE DEVIL ALL THE TIME

One of my favorite filmmakers Antonio Campos (Martha Marcy May Marlene, Christine) returns to features after four years and a stint on television (The Sinner) to deliver this freaky Ohio post-war crime drama The Devil All the Time. Featuring an...

Melbourne 2020 Review: SHIVA BABY, a Self-serving Schmear of Awkwardness

This acerbic feature, adapted from the short of the same name expands on the original with further complications, but the aesthetic of this chamber-piece remains equally grounded and squeamishly uncomfortable over the course of a socially excruciating afternoon. Uncomfortable in...

Melbourne 2020 Review: WET SEASON, Intricate Drama in the Monsoons

Singapore Director Anthony Chen returns after six years with his sophomore feature Wet Season. His first film Ilo Ilo (2013) is a tender masterfully shot race-class drama set during the 90s Asian recession. It follows a Malaysian native maid and...

I'M THINKING OF ENDING THINGS, The Next Existential Wonder From Genius Charlie Kaufman

Writer-Director Charlie Kaufman has had a busy year. His meta novel Ant Kind about a neurotic film critic who discovers a three month long movie and tries to capitalize from it is the second strangest jaunt from the visionary master writer...

Melbourne 2020 Review: Allison Chhorn's THE PLASTIC HOUSE, Experimental Meditations of Loss and Loneliness

There are no specifics on the where or when of it, and yet Director Allison Chhorn’s personal doco-fiction hybrid film The Plastic House remains confident of its place. The Plastic House is a quiet ode to an immigrant family-owned farming...

Melbourne 2020: Australia-Wide Digital Showcase Infuses Streaming

The impact of Coronavirus left little doubt the annual slate of festivals that kept every type of cinema across metropolitan Melbourne engaged would be severely impacted this year. Thankfully we adapt, and as streaming, and the proliferation of media available,...

ScreenAnarchy's Top Ten Films of 2019

As 2019 comes to an end, ScreenAnarchy’s global team of critics and cineastes weighs in with our favourite cinematic offerings from the past 12 months, which saw Netflix lead the charge for cementing the legitimacy of the streaming platforms, while...

Review: DIEGO MARADONA Doco, Director Asif Kapadia's Third Masterpiece

Asif Kapadia (Senna, Amy) strikes gold again with the near-perfect biopic of footballer Diego Maradona. The documentary director depicts what many consider ‘the hand of god’ in such a way that highlights both Maradona’s immense skills as a player, and...