Film Review: Faces Places (2017)
On the face of it, filmmaker Agnès Varda and artist JR make an improbable team. Varda is an 89-year-old female director who initiated the…
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Film Review: Sweet Country (2017)
Sweet Country is about cruelty in a beautiful land. A bitter country would also be an apt title. Cinematographer and director Warwick Thornton returns…
Film Review: Swinging Safari (2018)
Stephan Elliot has essentially mastered his own unique sub-genre here in Australia. With outrageous comedies like Priscilla that have their own slice of humour…
Film Review: The Commuter (2018)
Before you ask, yes, he says it. Well, not the whole thing. But he does comes close. “I will kill you,” Liam Neeson declares…
Film Review: The Shape of Water (2017)
There’s been much anticipation for Guillermo del Toro’s latest feature. With a highly successful festival run (taking home best director and score at the…
Film Review: Mary and the Witch’s Flower (2017)
Having previously directed Studio Ghibli’s final film When Marnie Was There, Hiromasa Yonebayashi has returned to our screens with the debut feature of Studio…
Top 10 of 2017
Film Blerg is very pleased to announce our collective Top 10 of 2017. We base our selections on films theatrically released in Australia over…
Film Review: The Post (2017)
There is generally always some friction between governments and the media. In recent times, nowhere has this escalated more quickly than in the United…
Film Review: All the Money in the World (2017)
If you kept up with any film news in 2017 it would have been hard to miss the equally turbulent and fascinating production of…
Film Review: Big in Japan (2018)
You may know the phrase ‘Big in Japan’, perhaps from a 2014 film, a 2009 TV Series or even a 1985 song by Alphaville. It refers to…