Dark Diamond is a low budget, rough-around-the-edges crime thriller set in Antwerp, Belgium, that slowly builds tension and leads into a messy climax, showing that a decent story can overcome the typical Hollywood churn-out and special effects.
Daniel Burman’s The Tenth Man is a heartfelt comedy set within a lively, old Jewish neighbourhood of Buenos Aires, known as the Once district. Burman’s script is both tight and witty, and when paired with the raw and gritty shots of chaotic city streets and local merchants, the film is given a distinct and captivating documentary feel.
Acclaimed filmmaker Pedro Almodovar’s latest effort Julieta stays true to his form of detailed character study and raw human emotion in a draining but commanding effort by all involved.
Back in 2010, an oil-drilling rig by the name of Deepwater Horizon had an explosion that led to one of the biggest oil-spill disasters in history. This film is not some action-disaster flick with Mark Wahlberg slapped on the poster – a very human tale is told in this true-story-tragedy.
You’re a young man, you struggle to keep a roof over your head and support two young kids and an ex-wife’s child support in 21st century Texas. Enter your brother, an ex-convict with a history of bank robberies and a penchant for breaking the law — this is Hell Or High Water, the story of two brothers who must pay off their family ranch before it’s seized by the bank.
Ron Howard directs Tom Hanks for the third time as the character Robert Langdon, in what feels like an obligatory adaptation of Dan Brown’s novel, Inferno.
Windsor typeface, lavish costumes and soft jazzy melodies greet audiences like an old, inviting friend. Café Society, which pays homage to the style and art decor of 1930s New York and Los Angles, has everything an Allen fan expects to see when they head to the cinema to catch his latest film.
The film adaptation of Paula Hawkins’s bestseller The Girl on the Train has attracted plenty of buzz, no least because the novel has been compared endlessly to the feministic whodunit Gone Girl. But the comparisons end there. David Fincher’s adaptation of the aforementioned film packed a sadistically twisty, darkly humorous punch. Tate Taylor’s The Girl on the Train, however? Well, it essentially fails at providing audiences with a similarly satisfying proverbial blow to the gut.
Boys in the Trees is an Aussie film that tries to break the mould of a straight-up drama with elements of fantasy and horror, but ends up being a hit-and-mostly-miss bag of results in what could have ultimately been a good film.
Francofonia is part documentary, part historical drama and part biography, that recounts the events surrounding the Louvre museum under Nazi-occupied Paris.
If you thought the bird cinema season was over with The Angry Birds Movie, the infamous meme movie that actually got the endorsement of KKK and neonazis, Warner Brothers’ Storks has come to right any and all the wrongs, making a lovable animation a studio like Sony wishes it could make.
The classic western, a dying genre, finally has a film that might bring it back to life with Antoine Fuqua’s The Magnificent Seven.
After suffering a personal tragedy, Jake (Asa Butterfield) begins uncovering a mystery that leads him to a house in Wales full of peculiar people.
In what should be a compelling story that reveals one of the US government’s biggest secrets at the hands of Edward Snowden is heavily weighed down with some poor pacing and confusing computer jargon that leaves the viewer scratching their head.
Well, here we are again. Yet another Bridget Jones sequel. If you detect a hint of exasperation in that previous sentence, then I applaud you for your acute observational skills. How many sequels does a rom-com need before it can be retired for good? For what it’s worth though, Bridget Jones’s Baby is not completely terrible.
Pete’s Dragon. A remake. A reimagining. A tear-jerker. A disappointment.
