Film

By Linda Marric Director Laura Poitras (Citizenfour, 2014) spent 6 arduous and paranoia-filled years documenting the life of one of the most controversial figures in recent times. In Risk, Academy Awards winner Poitras offers a fascinating character study of Wikileaks founder Julian Assange, and charters in a very detailed fashion his rise from revered freedom of information hero, to maligned villain hiding in a foreign embassy to escape a sexual offence investigation. Risk is a complex yet thoroughly accessible piece...

This weekend saw the 50th Anniversary re-release of The Graduate, Mike Nichols’ seductive black comedy that followed Dustin Hoffman’s naïvely disillusioned college graduate, Ben Braddock, as he grappled with his ardent attraction for the sultry Mrs. Robinson (a captivating Anne Bancroft), and his sentimental adoration for her daughter, Elaine (Katherine Ross). Crafted from the original 35mm camera negative, this gorgeous new 4K restoration effortlessly enhances the film’s hypnotic visual vibrancy, whilst never detracting from the compellingly darker aspects of the...

By Linda Marric Fresh from igniting a lively debate about Netflix and their validity as fully fledged competitors at this year’s Cannes Film Festival, Okja finally arrives to Netflix for the rest of us to devour. Directed by Bong Joon Ho (The Host, 2006) and co-written by British writer Jon Ronson (Them, So You’ve Been Publicly Shamed, The Men That Stare At Goats), Okja offers a wild and wonderful story about animal welfare in a near future, and mixes beautifully...

Wyndham Hacket Pain @WyndhamHP Based on the bestselling novel by Fredrick Blackman of the same name, A Man Called Ove follows Ove, a grumpy old man with a similar facial expression to that of John Sergeant, whose interests include Saab cars, making sure his neighbours are well behaved, and visiting the grave of his wife. When he looses his job of 43 years he is left with nothing better to do than kill himself. What plays out is an inconvenient...

By Michael McNulty The Last Wave, released in 1977 and directed by Peter Weir, was the film that introduced the director to American audiences. Although Picnic at Hanging Rock, the film that brought Weir and Australian New Wave cinema onto an international stage, had come out two years previous it wasn’t released in the States until 1979. The Last Wave, like Picnic, delves into the worlds of fantasy, mystery and the occult.  It is a moody genre film that offers...

By Linda Marric Loosely based on real life events and staring two of the most accomplished actors of their generation, Hampstead is a big-hearted romantic comedy which is only slightly let down by a less than believable narrative and an even more far-fetched premise. Directed by Joel Hopkins and written by Robert Festinger, the film has two plot lines running alongside each other, one being a David versus Goliath tale about the dangers of mindless gentrification, and the other one...

By Michael McNulty Andrew Kötting’s Edith Walks is an absurdist, quasi-journey, experimental documentary that follows Kötting and a merry band of travellers (the role of Edith played by singer Claudia Barton, complete with irritating pixie girl voice and flowing medieval gown) as they walk from Waltham Abbey via Battle Abbey to St. Leonards-on-Sea, where there exists a large statue of King Harold. For those unfamiliar, the Edith of the title refers to Edith Swan Neck, who was the fast hand...

By Linda Marric One thing is sure about Colin Trevorrow’s The Book of Henry is that it has managed to polarise opinions from one extreme to the other. There are those who simply don't get what the fuss is about, and those who will see beyond its obvious flaws and prefer to focus on what makes this film so genuinely touching and so deeply likeable. Centring around themes of growth, loss and family ties, the film is definitely not perfect...

With a brazenly cocksure attitude, cult Belgian filmmaker Bavo Defurne’s disappointingly innocuous sophomore feature, Souvenir, begins with a credits sequence that plays against a lively backdrop of sparkling effervescence. Coupled with the starry-eyed score, composed by American pianist Thomas Lauderdale’s ‘Pink Martini’ music group, it’s a film that promises its audience plenty of fizz and flavour, but instead offers them something that’s flat and tasteless. A strong, seasoned performance from Isabelle Huppert is just about enough to make it all...