This was the first thing that struck me when watching Widows – the new film from Steve McQueen, and the first since his Oscar-winning 12 Years A Slave. I think we can agree that these are manifestly different films, but from the first frame it possessed that same visceral realism of his earlier work. Continue reading
Vladimir Nabokov told us that good readers shouldn’t look to emotionally identify with the protagonist of a story, and for the most part I managed to avoid falling into that trap while watching Lady Bird. Most of the film didn’t engage me very much, but the working class guilt was like a gut punch: a sometimes overplayed, but always interesting thread that permeated the mother and daughter relationship. Continue reading
The arrival of Halloween (2018) sees a return to the fundamentals of what the story is all about. The genre defining series gets a soft reboot in a modern world full of scarier things than the bogeyman. Continue reading
Turns a truly grim subject matter into something strangely uplifting with one of the best child performances ever committed to celluloid from Jacob Trembly. Continue reading
With the New Year well under way its appropriate that we take a look back and pick some of our favourite films from the past 12 months. Looking back allows us to choose from a variety of different types of cinema. Here are my personal favourites viewed in 2016. Continue reading
Every time a new Cliff Martinez score is announced it’s almost guaranteed to be included in my favourite scores of the year and his score for Nicolas Winding Refn’s latest feature The Neon Demon is no exception. Continue reading
Director – Jeremy Saulnier
A visceral and pulsating experience, Green Room felt more like a rollercoaster ride than a movie. The ensemble cast is sublime, playing off each other with skill and ease. Jeremy Saulnier proves again that he is one of the most talented Directors around, using every affordable piece of space to almost drown you in tension and fear. The direction makes every scene relevant and Green Room Continue reading
In the great tradition of American Independent Cinema, BUZZARD comes bursting onto the screen as a postmodern nod to the great ‘Indiewood’ classics of the past. Continue reading
Australian composer Michael Fugucio, aka Vi-Res, is part of a new exciting generation of soundtrack composers whose styles echo that of the classic horror and sci-fi genre movies of the 70’s and 80’s. Vi-Res already has three releases under his belt; the Imaginary scores The First People and Sunstar, as well as the recently released Lost Score, his unused score for an upcoming Australian Continue reading
