Luke Buckmaster reviews Bruce Beresford's new flick Mao’s Last Dancer: an uplifting biopic that left him feeling so lazy, he went to the gym for a workout afterwards.
Luke Buckmaster chats to Jonathan auf der Heide, whose debut feature film Van Diemen's Land is charmingly described as "one of the most realistic cannibal movies ever made."
It’s mystifying that it took Dimension so long to realise that the Scream cash cow has plenty left to milk, especially since the horror/thriller genre isn’t exactly known for restraint in terms of franchise building, says Luke Buckmaster.
Like the best all-ages animation, Up mingles serious concepts into whimsical situations. It's consistently entertaining from first frame to last but it's also worthy of cinema studies-style analysis, says Luke Buckmaster.
Here’s a good idea: take a watershed moment in contemporary music history and recreate it for the big screen, minus the music! That’ll work, right? Actually yes, it works a treat in Ang Lee's Taking Woodstock.
In last week’s Sunday Age, Michael Coulter said he'd rather watch the next Transformers film than watch anything made by down-in-the-dumps local filmmakers. Crikey's movie blogger Luke Buckmaster begs to differ.
2009 has shaped up to be a bright and eclectic year for Australian cinema, showcasing the fruits of a rare period of creative oomph. And now there's news of a sequel to The Wog Boy.
Luke Buckmaster reviews Quentin Tarantino's much-hyped new flick, Inglorious Basterds, but is not as impressed as many other critics. The film has its compelling moments, he says, but is a strange and inconsistent beast.
District 9 is a pulse-pounding, convention-bending sci-fi romp, that proves there is much extraterrestrial life left in the well-worn genre of aliens-on-earth movies, writes Luke Buckmaster.
Luke Buckmaster sits down with Robert Connolly, director of acclaimed new film Balibo, which recreates the events surrounding the murder of five Australian journalists in East Timor in 1975.
