The yellow brick road might look better than ever, but there’s no charm or substance here. The 3D facto does not add much to the experience and you will find yourself fidgeting and looking at your watches not long after we touch down in Oz.
Very minimalistic and understated, Barbara is definitely a slow burn with a somewhat predictable ending, but is well worth the wait.
Swamps, sweat, humidity and crime are the focus of Lee Daniels’ third directorial effort, which takes a curious look at Southern USA in the late…
The French auteur Francois Ozon has crafted a deftly intelligent character drama interwoven with a psychological thriller that works extremely well in the first two thirds before collapsing under the weight of expectation in its finale.
Showing as part of the section of “Women’s Stories” this year in the French Film Festival is On Air, a character driven drama that follows an emotionally damaged women’s search for closure with the mother who gave her up to an orphanage as a child.
What’s a French film festival without an unabashedly full-blown, over the top romance? Serving that purpose this year is Happiness Never Comes Alone, a movie that is to cinema what a ridiculously large lollipop is to confectionary: it starts off with a pleasant enough sweetness, but goes on way too long and by the end, it just hurts your teeth.
Written and directed by Dan Mazer (known for his work with Sacha Baron Cohen on such films as Borat and Bruno), I Give It A Year shows you life after marriage for young impulsive couple Nat (Aussie Rose Byrne famous for being the “perfect” bridesmaid in Bridesmaids) and Josh (Rafe Spall).
Any film dealing with dark themes such as child disappearances, sex trafficking, and identify theft should theoretically be greatly disturbing. But Bart Layton’s The Imposter is more exhilarating than frightening; instead of scaring the audience, it continually makes them want to see more.
In many ways, Side Effects is the perfect swan song for Soderbergh. Like many the films in his catalog, it is impeccably made, with the director showing his panache for composition, framing and editing throughout.
It has always been easy for Australian audiences to relate to Stephen Curry. In The Castle, he was the loveable son who liked to dig holes;…