In Andrew Trauki’s Black Water: Abyss, five friends set out to investigate an unexplored cave system in Australia, only to discover that the cave is inhabited by a crocodile with a hankering for fresh meat. It’s a bit like someone decided it would be a good idea to mash together Lake Placid and The Descent (two movies I adore, despite their flaws) – but unfortunately, Black Water: Abyss lacks both the campy charm of the…
Babysplitters centers on one man’s reluctance to commit to fatherhood. Ironically, the film itself doesn’t commit to its awkward humour or its exploration of unconventional families.
There is nothing charming, insightful, or engaging about The Departure, writer/director Merland Hoxha’s first foray into feature-ish length cinema (the total runtime is just a little over an hour).
The Incoherents is a charming, if somewhat cheesy and predictable, comedy that follows four forty-something men who attempt to revive their dreams of rock stardom by reuniting their old band.
Intended as a sequel, of sorts, to Braveheart, Robert the Bruce sees Angus MacFadyen (Braveheart, Alive) reprise his role as the titular Scottish king. Unfortunately, this is one of those movies with all the right ingredients – but no spark.
Abominable (not to be confused with last year’s animated film) is a film that I know I’m going to watch more than once, but that isn’t to say it’s good.
One thing that can be said in Hope Gap’s favour is that it has a strong sense of place. Filmed in Seaford, Sussex, the stunning white cliffs, quaint village streets, and the dark stone beaches are displayed wonderfully. Hope Gap is, at points, a visually beautiful film; unfortunately, it isn’t a particularly interesting one.
As 2019’s awards season comes to a close with the upcoming Oscars ceremony on February 9, the critics at Wylie Writes would like to shine a spotlight on the movies they thought were the very best of the year – including some festival favourites that will receive wider releases this year.
Road to the Lemon Grove is at its best when it indulges fully in its love affair with Sicily. Montages of food in market stalls, picturesque coastlines, narrow streets, fruit trees, donkeys – these are the most pleasurable moments in the film. Unfortunately, they are all too frequently interrupted by a forced plot, underdeveloped characters, and an awkward premise.
Furie, the highest grossing Vietnamese movie of all time, took North America’s digital platform by storm last month. What’s perhaps even more notable is how the vehicle has propelled Veronia Ngo to action heroine status. Ngo (Bright, Star Wars: The Last Jedi) stars as provoked mother Hai Phuong who will do anything (and fight anyone) to save her kidnapped daughter.