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Showing all news in Reviews
The animated tale of a blue heeler pup and her family is pure fun, says Anthony Morris. No wonder it's ABC iview's most watched show of all time.
Writer/director Miranda Nation swims through the choppy waters of gender with this psychological thriller.
A fistful of narratives converge in a searing portrait of absurd and brutal immigration policy.
It's not a prestige drama or an outright parody, which makes critical assessment tricky, says Mel Campbell.
Jess Johnson and Simon Ward’s exhibition combines virtual reality, textile works, and retrofuturistic aesthetics.
First-time filmmaker Hamish Bennett has created a gently humorous story about finding strength in yourself through those around you.
Director Kasimir Burgess creates a surprising portrait of the controversial but celebrated cartoonist.
Refreshingly earnest, this warm and playful family film caught critic Mel Campbell by surprise.
A lifelong fan of Terrence Malick, Adrian Martin considers deeply his latest film and the stylistic tendencies of this auteur.
From Shakespeare to a red dress, this Ned Kelly is a wonderful reworking of a grand narrative, if a bit mumbly, according to Chris Boyd.
A local gym comes alive with video installations exploring the body, discipline, endurance and community.
The gentle art of family films is deployed by Steve Worland who wrote Paper Planes and director Owen Trevor who made a lot of Top Gear.
Set in the Gothic heartland of Tasmania, this murder mystery is yet to deliver on its supernatural teaser, says Mel Campbell.
Despite casting qualms, this version is both a beautiful Christmas bonbon and a witty warning against sentimentality.
Remember when the future was going to be a bright, shiny place full of optimism and hope? Me neither.
Easy charm and subtle moments work better than broad comedy in this Stan Originals series.
Upright is such a developed and fully-formed work, writes Chris Boyd, it’s hard to believe it’s not an adaptation of a grand work.
Scorsese's latest is a paradoxical object – and not just because of its digitally de-aged cast, writes Adrian Martin.
It might not be groundbreaking, but this doco has the right kind of swagger and charm to pay tribute to the woman at its core.
The amiable mates follow their reliable recipe for spontaneous comedy.
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