More to The Duke than an entertaining caper
The Duke is not quite the quirky British comedy its trailer suggests.
Step into Blanco Scales, the scene of a difficult balancing act
What makes a good boss? Early in El Buen Patrón, as it is in the original Spanish, we see Julio Blanco (Javier Bardem) holding court in the factory he owns.
Doomed orbit central to manslaughter story
There’s a certain mid-tier of made-for-streaming drama that’s best described as “sub-premium”. Think shows like Dr Death, Unorthodox and even the very good Maid.
The Responder yearns for goodness in a bleak world
Watching The Responder is an immediately gripping but totally draining experience. Martin Freeman is superb as Chris Carson, a policeman who tells his therapist he’s about to crack, and then heads out on night shifts pitted with crises that shake his fracture lines.
Seeing the world from both sides in CODA
CODA begins with Ruby (Emilia Jones) singing aloud aboard a fishing vessel. CODA begins with Ruby (Emilia Jones) singing aloud aboard a fishing vessel. Waves slap against the boat which creaks and clanks as gulls scream overhead.
A meditation on love, land and the power of connection
This is a difficult film to categorise. Structurally, its core is a famous 2004 concert, where Archie Roach and Ruby Hunter – husband and wife, and both legends of the Australian music scene – joined the Australian Art Orchestra on stage for a musical odyssey through their back catalogue.
How to cope with our upside-down world
I used to live in one of the world’s most liveable cities. Now, it’s known more for being one of the world’s most locked down cities.
Gold taps into eerie history of Australian film
There is a long history in Australian cinema of depicting natural environments as a source of psychological and physical horror.
An incandescence comes to light 40 years on
ast month Australians were all treated to the unedifying spectacle of our federal parliament debating the rights – or wrongs – of religious institutions to exclude children who are considered in some way different from “normal”, whatever that might mean.
It’s 1969 and suburbia is cosy, then violence erupts
Belfast opens with a scene of nostalgic sweetness. It’s 1969 and Buddy (Jude Hill) fights dragons in his local laneways, as mothers call children in for tea.
