Bringing his sense for the ridiculous and celebrating the uncelebratable, writer, curator and educator Zak Hepburn has come to Cinema Nova with a program of cult classics for your late Friday night enjoyment.

The slow intertwining of these narrative threads unfortunately gifts the audience with a particularly unfocused and muddled film. Dead Man Down seemingly wants to present itself as possessing a complex story with in-depth characters. B

I think everyone who saw The Scorpion King way back in 2002 was a little surprised that The Rock didn’t get himself an Oscar nomination. Of course, it may have been because the judges didn’t know what his actual name was at the time or perhaps they just didn’t appreciate the cheesiness. These days, he is more commonly known as Dwayne Johnson [...]

The premise is simple: Jordan (Halle Berry) is a veteran 911 call operator who has suffered emotionally on the job after a call she was on lead to the kidnapping and brutal murder of a young girl.

Filming contemporary films in black and white, and without dialogue, can invoke feelings of nostalgia for a bygone era. Or, alternatively, they can be alienating. Tabu, a Portuguese film directed by Miguel Gomes and written by Gomes and Mariana Ricardo, takes that risk, with mixed results.

11-year-old Skunk (Eloise Laurence) witnesses a senseless, brutal attack on one of her neighbours which kickstarts series of events that change the lives of three middle-class families forever.

With a name like Into Darkness, one may be expecting more elements of evil and anarchy. Don’t get me wrong, there is plenty of rampant destruction aboard the latest Star Trek vehicle, but darkness does not seem to be the proper definition. The words “Into Darkness” could really be replaced by the words “sacrificial” and “loyalty”.

Decisions, the possibility of unforeseen, and devastating consequences resonating long after they are made, are the focus of director Derek Cianfrance’s new film The Place Beyond the Pines, written by Cianfrance, Ben Coccio and Darius Marder.

The end result of this was Despite The Gods, an absorbing document of Lynch’s experience overseeing a rare collaboration between the American and Indian filmmaking worlds.

Spring Breakers deftly blends stylistic direction with critical, at times comic, insights into excessive youthful gratification. As the movie progresses the film becomes increasingly implausible, but it remains engaging because of its ability to undermine expectations.