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Showing all Film news in Reviews
Soaking in high production values, pop culture winks and easy nihilism, Joker is all tricks and no fun.
The Wake in Fright-lite struggles to balance the demands of a genre film with character-driven drama.
Janine Hosking's documentary investigates a complex musician and the arts establishment that failed him.
Mirrah Foulkes' delightfully dark feature film debut gives a feminist twist twist to the squabbling sideshow couple.
Sarah Ward navigates the way that Ride Like a Girl's mythic but true story plays out in the modern disquiet about the politics of horse racing.
A gripping thriller as well as a grim look at the modern slave trade.
Nick Robinson's latest environmental documentary puts the iMax screen to stunning use as it celebrates the Australian landscape.
A rich, detailed world of female friendship and a waning party vibe are key pleasures in Sophie Hyde's latest feature.
International stars Noomi Rapace and Yvonne Strahovski are the greatest assets in this Australian intimacy thriller, writes Adrian Martin.
The Babadook director returns with a different kind of horror: an essential film that gives voice to female suffering.
Inspired by a trash voodoo myth, Glitch gives the Undead an unnerving Australian edge even as it keeps the secret of its finale.
As action goes, the Fallen series has shot, stabbed and belted its way into the hearts of cinema goers and fictional presidents but this time it's personal.
This gangster tale could have been a feminist favourite, but its stellar cast are let down by one-note character writing.
Heperi Mita's directorial debut celebrates his mother's unsung legacy of bringing Indigenous stories to the screen.
Three exhibitions at Koorie Heritage Trust examine the art of cartography, Blak cinema, and contemporary adornment.
A surreal, visually arresting meditation on the future of our planet.
Funny, textured and nostalgic, Tarantino's ninth film gives us characters we want to hang out with, writes Anthony Morris.
Serge Ou's documentary unearths another unhinged history of a sub-genre that bypassed good taste, writes Glenn Dunks.
Van Grinsven's confident debut, an AFTRS Masters project and SFF audience award winner, is an evocative portrait of contemporary queerness delighting in its sexuality.
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