This is not an ambiguous comedy about pain and alienation; it’s an unambiguous comedy about pain and alienation.
Not Quite Hollywood director Mark Hartley's first fictional feature is a scorcher -- a cattle prod to the senses that reminds the Oz film industry that "genre" isn't a dirty word, writes Luke Buckmaster.
Australian pub rock band The Sunnyboys were big -- but not that big -- in the 1980's. A new doco about frontman Jeremy Oxley presents a compelling personal story about rock star burn-out, writes James Rose.
There's a lot of heavy duty spectacle in Guillermo del Toro's big toys blockbuster, but not much else. Luke Buckmaster wasn't impressed.
If you thought the story of Edward Snowden would make a good film, there is actually already one out there. It's an impressive work with some timely lessons for Hollywood, writes Luke Buckmaster.
Iconic web slinging superhero Spider-Man gets a franchise reboot and a heavy drinking, filthy mouthed teddy bear comes alive in Ted. It's a mutant animal special on this fortnight's The Parallax Podcast.
Finally we have proof that a David Williamson play can still provide the foundation for a great Australian film and that a new great Australian film, Face to Face, is indeed upon us, writes Luke Buckmaster.
Based in America in 2010, The Company Men is a GFC set drama about three men who face the boot at work. Comparisons with Jason Reitman’s Up in the Air and its dark-side-of-corporate-life are inevitable, writes Luke Buckmaster.
Presenting the so-called feel good film of the year: a story about a mountain climber who cuts off his own arm. Director Danny Boyle's 127 Hours should inspire, but it doesn't, argues Luke Buckmaster.
Director Roger Michell’s feel good comedy Morning Glory, set in the sleep deprived world of early morning TV broadcasting, demonstrates that Rachel McAdams can carry a movie and that Harrison Ford's career is very much in the doldrums, writes Luke Buckmaster.