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Showing all news in Reviews
Nick Robinson's latest environmental documentary puts the iMax screen to stunning use as it celebrates the Australian landscape.
Five months after its US premiere, Ramy – 'the best show not on Australian television' in Chris Boyd’s rarely humble opinion – drops on STAN this week.
A rich, detailed world of female friendship and a waning party vibe are key pleasures in Sophie Hyde's latest feature.
International stars Noomi Rapace and Yvonne Strahovski are the greatest assets in this Australian intimacy thriller, writes Adrian Martin.
The Babadook director returns with a different kind of horror: an essential film that gives voice to female suffering.
Inspired by a trash voodoo myth, Glitch gives the Undead an unnerving Australian edge even as it keeps the secret of its finale.
As action goes, the Fallen series has shot, stabbed and belted its way into the hearts of cinema goers and fictional presidents but this time it's personal.
This gangster tale could have been a feminist favourite, but its stellar cast are let down by one-note character writing.
Heperi Mita's directorial debut celebrates his mother's unsung legacy of bringing Indigenous stories to the screen.
Three exhibitions at Koorie Heritage Trust examine the art of cartography, Blak cinema, and contemporary adornment.
A surreal, visually arresting meditation on the future of our planet.
Funny, textured and nostalgic, Tarantino's ninth film gives us characters we want to hang out with, writes Anthony Morris.
Serge Ou's documentary unearths another unhinged history of a sub-genre that bypassed good taste, writes Glenn Dunks.
Van Grinsven's confident debut, an AFTRS Masters project and SFF audience award winner, is an evocative portrait of contemporary queerness delighting in its sexuality.
Originally billed as a slasher, the result is an unexpectedly joyful reflection on communal experience.
A quintet of shorts shines the horror lens on race relations and shouts the hearty arrival of new talent.
Escapist fun or oblivious contempt, Rachel Ward's film seems confused about its intentions, says Mel Campbell.
Kriv Stenders' focused scope makes this an intense viewing experience, writes Anthony Morris.
An elegant portrait of Adam Goodes was the best MIFF opener in years ahead of its national release.
The ABC brings 80s pulp crime classic to the small screen with larrikin energy but mixed results.
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