Tag: review

Melbourne 2018 Review: GIRLS ALWAYS HAPPY, Yang Mingming's Biting Dysfunctional Family Film Debut

Girls Always Happy proves anything but in Yang Mingming’s feature film debut. She both directs and stars as Wu, the troubled daughter and one-half of the powerfully dysfunctional family dynamic that anchors the film. The other half is her mother...

Melbourne 2018 Review: PIERCING, Sharp, Sweet and To The Point

From the same deranged brilliant mind behind Japanese horror novel Audition comes Ryu Murakami's latest adaptation from page to film. The short novel Piercing has been given a smart and frantically fun screenplay by Nicolas Pesce, who has a unique take...

Melbourne 2018 Review: WRATH OF SILENCE Violently Twists and Turns an Epic Tragedy

Genre influenced festival fare from China keeps on impressing, and Wrath of Silence may be the best, and most commercially friendly of recent efforts yet. This is the kind of film that grips you, and long after seeing it, parts...

Melbourne 2018 Review: HOLIDAY Will Get Under your Skin

Holiday is an extremely unpleasant film, and yet it is stunningly bright, vibrant and set in a Riviera. This strange contradiction is also reflected in young mob moll Sascha (Victoria Carmen Sonne). Its opening stretch emphasizes the sun-soaked surroundings, but...

Review: DEADPOOL 2, Satirical Lunacy Cranked To 11

Expectations were pretty low for Deadpool 2. What could have easily been conceived as a cash-cow on Marvel's part, merely another cog in the exhaustive line-up of films that have been and are to come, is instead a self contained...

Review: TOMB RAIDER, Exhuming Yet Another Lifeless Video Game Adaptation on the Masses

Lara Croft, a pioneer of videogame heroic protagonists, a sex symbol, and part of the United Kingdom export of girl power, has endured since the PlayStation convinced us that pixels can be appealing. Sex, of course, was a lot easier...

SXSW 2018 Review: PROSPECT Mines Human Territory

Prospect begins with an alien moon rotating through the grungy windshield of a massive orbiting space station. But instead of the sweeping orchestral score you might expect -- one to signify the epicness of the moment -- an equally grungy...

Review: DEATH RACE 2050 (2017), another cheesefest from Roger Corman shot in Peru

Much like another Roger Corman production I reviewed a couple of months ago —the ever-hilarious and generically-named Ultra Warrior—, Death Race 2050 is an apocalyptic, grim-yet-colourful action movie set in a futuristic United States, but shot in my native Peru....

Melbourne 2017 Review: PERSON TO PERSON, A Wonderfully Expansive New York Narrative

Expanded from the quirky short of the same name, Person to Person is an effortless riff on a specific indie vibe. Crafted lovingly and naturally by director Dustin Guy Defa, Person to Person moves from his initial concept, following the quest...

Melbourne 2017 Review: INGRID GOES WEST, Hashtag Essential Satire

Truly great films that exist for the moment tackle relevant and contemporary themes, acting at times as a mirror into our own lives and critically picking apart what makes society function. It is refreshing, then, that Matt Spicer’s Ingrid Goes...

Melbourne 2017 Review: RABBIT Falls Down a Meandering Yet Mesmerizing Hole

Luke’s Shanahan’s twisted twin sci-fi thriller Rabbit is a bold and confident debut feature with wonderfully detailed small moments and plot twists that recall some of the best in psychological horror. The film has a focused idea of how it...

Review: POWER RANGERS - THE MOVIE (1995), the embodiment of 90s "radness"

I consider myself a “90s kid” (I was born in 1990), which means I grew up with the Mighty Morphin’ Power Rangers on TV. It was quite the phenomenon —the show was an immediate success both in the United States...

Review: Ultra Warrior, a no-budget sci-fi story from Roger Corman shot in Peru

Once upon a time, Peru was the Mecca for some international film production companies that wanted to shoot their films in our supposedly “exotic” locations. During the late 80s and early 90s, that honor belonged to legendary schlock producer Roger Corman who, coincidentally,...

Review: LOVE OFF THE CUFF Charmingly Caps Off the Trilogy

“n 55!w !” this string of characters is the first thing that fills the cinema screen. It is an especially important moment, as only fans of this rom-com trilogy will feel a knowing nostalgic flutter stemming from those random letters,...

Review: ALIEN: COVENANT Uses Horror to Mask Its Shortcomings

Ridley Scott returns to fill in the blanks of the maligned horrors of space, with plenty of screaming and more than enough people around to hear it in Alien: Covenant. His familiar fated take on the Alien genesis, however, sticks more...

Review: KONG: SKULL ISLAND, A Lifeless Creature Feature

Director Jordan Vogt-Roberts does not believe in subtlety, does not relish the glorious curious reveal of a brand new creature; an iconic symbol of the movies that hundreds of man-hours were spent to animate and bring to life. This is...

Review: SAIGON BODYGUARDS Doesn't Phuc With The Bromance

Professional bodyguards Viên and Trịnh's latest assignment -- protecting Henry, a rich brat who becomes heir to the LeMilk company after his father's death -- will make them sweat: the funeral is not even finished before Henry is kidnapped by...

Sundance 2017 Review: BUSHWICK, A Provocative and Chilling Picture of America in Crisis

Ever since I saw Cooties in 2014 and fought with our founding editor in order to review the film (I lost out, of course) I’ve been anxious to see how Cary Murnion and Jonathan Milott would follow up on their...

Review: In SPLIT, M. Night Channels His Best Uncanny Work Through James McAvoy

Split has it both ways; it is a film that creatively capitalizes on the thriller genre, and an excellent example of the quality and innovation the much-maligned director was initially lauded for. Through directing epic-scale flops (The Last Airbender), smaller...

Review: LIVE BY NIGHT, Ben Affleck's Uneven Gangster Epic

For Live by Night, Ben Affleck returns to the directing chair for the first time since the highly-acclaimed Argo (2012) and proves he has lost none of his directing chops. Almost polar opposite from that tense, realistic depiction of a...