Image via http://www.thechronicle.com.au
This psychological thriller compellingly portrays the reality of toxic relationships and doesn’t let up from start to end. Continue reading
The Invisible Man (2020)
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The Lodge (2019)
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Image via miff.com.au
Austrian directors Severin Fiala and Veronika Franz have crafted a frosty and compelling suspense with horror overtones. It surpasses Hereditary (2018) with its eery themes of rural isolation and family dysfunction. Continue reading
Dark Place (2019)
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Image from Killer Native via miff.com.au
Dark Place is an anthology of short, horror films by Australian Indigenous filmmakers and it’s an indictment of Australia that they don’t need to exaggerate reality much for it to be horror. Continue reading
Little Monsters (2019)
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Image via miff.com.au
The Centrepiece Gala had me at ‘ukulele’ and ‘zombies’. Abe Forsyth’s zom-com doesn’t take itself too seriously and is full of laugh-out-loud dialogue and devastatingly winsome performances from Lupita Nyong’o, Alexander England and a class full of kindergarten kids. Continue reading
Ghost Town Anthology (Répertoire des Villes Disparues) (2019)
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Image via miff.com.au
This sober and creepy tale has an inexorable pull that keeps you watching despite what seems at first to be a simple story. Continue reading
Deerskin (Le Daim) (2019)
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Image via miff.com.au
The perfect film to see at a midnight screening, Quentin Dupieux’s Deerskin is a wry and disturbing romp that never takes itself seriously. Continue reading
Anna and the Apocalypse (2017)
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Image via Orion Pictures via collider.com
A Christmas-themed zombie musical set in a British high school? I couldn’t buy my ticket fast enough and John McPhail’s endearing comedy, packed with just the right amount of gore and catchy tunes, didn’t disappoint. Continue reading
Halloween (2018)
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Image via Universal Pictures via collider.com
This sequel in the slasher horror franchise that launched Jamie Lee Curtis’s career in the late 70s feels like a loving homage, firmly rooted in its origins albeit with better gender (but not cultural) representation. Continue reading
Good Manners (As Boas Maneiras) (2017)
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Image via miff.com.au
This is a strange film. It changes mood, pace and genre several times, beginning as a straightforward drama then veering into romance then horror then fantasy then fairytale, with the occasional musical number thrown in. Continue reading
Tigers Are Not Afraid (Vuelven) (2017)
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Image via miff.com.au
Based on the real problem of children left vulnerable when their parents are captured or killed by Mexican drug cartels, Issa López’s horror take is cast primarily with child actors who do a decent job of carrying the story. Integrating fable-like elements and some competent special effects, the result is engaging although somewhat marred by sentimentality. Continue reading
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