Putting the hubbub of its theatrical release to one side leaves FANTASTIC FOUR a malformed curio, and a stark reminder of how drunk on franchise fervour we’ve become.
Library Wars: The Last Mission
LIBRARY WARS: THE LAST MISSION takes a scattershot approach to a near-future manga series on free speech and censorship, finding impressive action sequences but little else.
The Polgár Variant
THE POLGÁR VARIANT finds compelling material in the lives and careers of a family of Hungarian chess prodigies, despite a soft investigative approach.
Warriors from the North
In recounting stories of young Somali men snapped up by Islamic terrorist group al-Shabab, WARRIORS FROM THE NORTH sets itself apart through a powerful sense of ambivalence.
The Storm Makers
THE STORM MAKERS is a shocking depiction of the fallout from human trafficking in rural Cambodia, examining both victims and oppressors with bracing tact.
Alex & Eve
ALEX & EVE undercuts its own cry for diversity in Australian cinema with endless rom-com pandering and crass sexism.
Salvation (dir. Paul Cox, 2008)
With FORCE OF DESTINY having screened across the country, Dominic Barlow takes a look at Paul Cox’s last dramatic effort, which takes bizarre pot shots at evangelical religion.
Pan
PAN overcomes its franchise thirst to be one of the most energetic and unique blockbusters of 2015.
Knock Knock
Keanu Reeves continues his recent glory run as the highlight of KNOCK KNOCK, an otherwise disappointing venture from director Eli Roth.
They Look Like People
Perry Blackshear’s low-budget THEY LOOK LIKE PEOPLE descends too far into dopey buddy-comic shenanigans for its horror premise to truly sing.