August 2016



Tallulah is one of the latest films released by Netflix – it shouldn’t go unnoticed.  Sian Heder’s drama touches upon a specific genuineness that separates it from the rest of the streaming service’s feature films.


In Order of Disappearance

In Order of Disappearance is a mainstream action/comedy for the arthouse crowd.  It’s brave enough to treat its subject matter seriously and in jest, and the performances are of higher versatility than a cast of attractive household names who signed up for a glamour project.


Hooligan Sparrow

I had a career epiphany last year after watching Harold Crooks’ financial doc The Price We Pay: maybe there’s nothing wrong with certain types of movies, maybe I’m just not fit for them.  As a critic, you try and watch a bit of everything, but if something doesn’t interest you, don’t try and fake it – respect the filmmaker and the audience they’re playing to and admit it’s not your cup of tea.


Miss Sharon Jones!

The biggest takeaway from Barbara Kopple’s electrifying doc Miss Sharon Jones! is Jones’ incredible energy and willpower.  It’s marvellous to watch the soulful musician allow music to possess her, and it’s even more astonishing considering Jones’ exhaustive struggle with pancreatic cancer.


Hell or High Water

Top-notch performances from a talented cast form the back bone of director David Mackenzie’s contemporary take on the western heist genre, but Hell or High Water is more than a well-executed thriller.  It is a carefully crafted film that isn’t afraid to cast a bold light on modern issues.


Sausage Party

Sausage Party is a shock comedy that’s heavy on “shock” and light on “comedy”.  The film is supposed to subvert clean-cut animated films with inappropriate dialogue and black humour, but ends up becoming a crass and awkward in-joke between the comic cast.