Evangelia Kranioti’s debut feature is a beautiful, if somewhat hollow, retelling of The Odyssey, filtered through the tales of an elderly Chilean sex worker who fell in love with her clients.
Crimson Peak
Guillermo del Toro’s latest effort is a wonderfully goofy jaunt through the terrain of Gothic Romance, framed through the lens of Giallo cinema and haunted house horror.
Salad Days
Scott Crawford’s exploration of the highly influential D.C. Punk scene is a nuanced, multi-faceted documentary that is both extensive and informative.
The Visit
M. Night Shyamalan’s return to cinema is a marked improvement on his worst films, but is far from his best output.
He Never Died
Despite low ambitions, Jason Krawczyk’s debut feature is an entertaining, if slight, riff on the Netflix B-movie spooker, elevated by an entertaining performance from Rollins.
Sicario
SICARIO, Denis Villeneuve’s second attempt at mainstream cinema, is a valiant effort held back by a lack of subtlety in its exposition.
Gone Lesbo Gone: The Untold Tale of an Unseen Film!
Jarret Gahan’s exploration of Andrew Leavold’s no-budget ’60s softcore throwback flick LESBO-A-GO-GO is an entertaining retrospective of a schlocky disasterpiece, afflicted by similar budgetary issues.
Adelaide Film Festival Announces Program Featuring Haynes, Sono, Sorrentino and Marsupials
This years Adelaide Film Festival has been announced featuring a slew of international festival favourites, numerous Australian premieres, and some impressive retrospective features straight from the National Film and Sound Archive.
We Are Your Friends
Max Joseph’s spray-tan infused cinematic debut shows flourishes of potential, but is marred by an extremely disappointing third act that is shrouded in self-seriousness.
Hitman: Agent 47
The latest cinematic attempt at the HITMAN video game is even more inept than its predecessor, a lazy and generic action vehicle with little value.