Powerful is an understatement when talking about 12 Years a Slave. McQueen agitates in order to educate and it’s an unforgettable experience.
On acting and directing duties, Ben Stiller goes on an uplifting journey through physical and fantastical worlds with The Secret Life of Walter Mitty, which also doubles as a cynic’s worst nightmare, beware, this film contains optimism.
Director Ridley Scott and screenwriter Cormac McCarthy have collaborated on a cynical examination of crime that superbly portrays illegal behaviour in a foul way which is exactly what the characters and the setting deserves.
The foster kids in Short Term 12 are sorely conscious of their grim situation but are struggling to understand why their parents failed them. From the perspective of the caretakers, writer and director Destin Cretton offers a wonderfully authentic film about the families built from the fragments of broken homes.
From the plot description alone you can feel a headache developing and screenwriters Christopher Yost, with rewrites from Christopher Markus and Stephen McFeely, seem to be suffering a form of short term memory loss with elements of the plot blandly reiterated to the point of nausea.
I’ve been racking my brain as to why audiences don’t embrace horror in Australia and I think it may have something to do with (hear me out!)…Crocodile Dundee.
Compelling, ruthless and morally challenging, Captain Phillips is an astonishing piece of work.
Most of Alan Partridge: Alpha Papa thrives on Coogan’s ability to bring Partridge to life and the actor completely fades into the character.
Two reasons why 2 Guns excels: Washington and Wahlberg. Unfortunately, their collaboration is squandered.
In order to be the best, you’ve got to beat the best. Rush embodies all the zest of the aforementioned motivational line to promote rivalry as a path to self-improvement. The competition between Formula-1 drivers…
Gravity is a film that pulses along with every fibre of your being; it’s as if Alfonso Cuarón has tapped into the building blocks of our DNA and prodded the psyche. Every intense step of the journey results in a cinematic baptism that highlights the extraordinary accomplishment of life itself.
The Turning is pitched as ‘a unique cinema event’ and it’s an offer not to be refused.
The East is immaculately made with a thought-provoking emphasis on corporate espionage, but for all the polish of director/co-writer Zal Batmanglij’s film, it’s just missing intensity and grit.
White House Down has a ludicrous Jekyll and Hyde complex which wildly swerves between entertaining action and bland American sentiment. It is frustrating waiting for the film to settle into a groove that compliments the preposterous premise.
The title of Woody Allen’s new film, Blue Jasmine, is a little deceiving. It should simply be called Acting: The Movie.
The Best Offer is the cinematic equivalent of quicksand. By the time you realise something is awry you’ll already be in far too deep.
If there’s one psychotic family drama you see this year, make it this one.
The Mortal Instruments: City of Bones is cluttered, kooky and completely bonkers.
Kick Ass 2 is a cancerous pretender promising something different but only offering up crass costumed zeroes.
Writer and director Neil “District 9” Blomkamp proves he is the master of slum-sci-fi with Elysium. The brutality of a desolate futuristic setting matches hard-hitting action sequences perfectly, but middling characters disrupt the film’s impact….