As rude and unappealing Funny Pages can be, it’s a brutally honest and funny character study of a young artist who channels trauma and grief into his aspirations to be a successful cartoonist. A true tale of an unlikely opportunist.
The Good Boss offers a mannered approach to the self-destructive character study; separating it from similar company pitched in a much more frantic, anxiety-inducing tone (Nose to Tail, Uncut Gems).
Written and directed by real-life couple Dominque Braun and Terrence Martin, Get Away If You Can is a surreal, and occasionally baffling, thriller.
If you listen closely, you can hear the faint mouth-sounds of lightsaber beams. It’s the sound of a Disney fan pretending they’re Obi-Wan Kenobi as they circle September 8 on their calendar – Disney+ Day. Along with festivities taking place globally across Disney Parks, Disney+ subscribers will be given sneak peeks of upcoming projects as well as early perks. Ranging from early access to blockbusters and newly released Disney productions, to re-released exclusives, to early…
I can’t remember that last time I wanted to grab the reigns of a movie as badly as I did while watching Sharp Stick, Lena Dunham’s return to directing self-written material since her acclaimed HBO series Girls. With this latest endeavour, Dunham is heading in a good direction with interesting and peculiar characters and then, two-thirds through the movie, Sharp Stick takes a hard turn into another character arc that seems like an unfair trade-off…
The Territory is a sobering reminder of the constant fear and danger Indigenous communities face day-by-day.
Orphan: First Kill, to an extent, pulls off its ambitious goal of being a prequel to a 13-year-old movie using the same leading actor.
Hey, parents! Do your kids like Moana? The Lion King? FernGully? Those Ice Age movies? They might find fleeting moments to enjoy in Ainbo: Spirit of the Amazon, if the movie doesn’t frighten them first.
Sex work is just another shitty job in Bliss, a tender and moving exploration of queer love and intimacy written and directed by German filmmaker Henrika Kull (Intimate Distance, Jibril).
It’s odd to perceive the high stakes drama Emily the Criminal as a game-changer for star/producer Aubrey Plaza, but it absolutely is. Her role in John Patton Ford’s feature-length filmmaking debut requires the actor to channel her deadpan demeanour towards a more serious direction that details her character’s desperation, exhaustion and, later, her vindictive desires – it’s an incredible performance in an exciting dramatic thriller.