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Showing all news in Reviews
Monica Zanetti’s queer coming out comedy has echoes of Australian high-concept teen classics. It's a refreshing crowd-pleaser, says Glenn Dunks.
A film screening, a follow-up in-depth conversation and a masterclass make for much (remotely experienced) fun.
Avoiding politics and preceding the plague, this wacky reboot is nevertheless a film for this moment, argues Adrian Martin.
Laurence Billiet's tender insight into one of our most celebrated sports stars is joyous and timely, says First Nations critic Bryan Andy.
John Wood's autobiography is written with great warmth and passion, acknowledging the transitory essence of the theatre world.
Kriv Stenders' insightful and entertaining documentary places Joy McKean in her rightful place centre stage, says Anthony Morris.
Unjo Moon's debut feature has profound affection for its subject but the script could have done so much more, argues Mel Campbell.
With The Pact, a crunchy, low-fi, tech-drama, Bitten by Productions may perhaps have bitten off slightly more than they can chew.
The ambitious Melbourne-made SBS drama deals specifically with Vietnamese experience but will resonate widely, writes Thuy On.
Told through songlines and stories, this response to the colonial celebration of Captain Cook is passionate and affirming, writes First Nations author and poet Vika Mana.
It's not breaking ground but this NZ crime caper comedy has charm and energy, and Rebecca Gibney as a great villain.
The made-in-Melbourne tale of terror on the high seas is stronger on atmosphere than genuine fear, but genre fans will enjoy the voyage.
This stage play adaptation is a far cry from your typical YA love story, writes Mel Campbell.
The well-loved comedian takes a serious but entertaining look at Australia's relationship with alcohol.
For reviewer Anthony Morris, the Paul Hogan comedy makes a series of bizarre and problematic choices that don't add up to much.
Natalie Erika James' directorial debut will resonate with anyone who’s witnessed human frailty at confrontingly close quarters.
Making use of the grammar of lockdown-filmed-at-home comedy, this ABC ensemble show feels funny and familiar, writes Anthony Morris.
A drunken Australian step-cousin of 1970s European and American cinema, Parish Malfitano's debut is a rich minestrone stew of cinephilic allusions.
Lee's latest genre satire takes a complex look at masculinity, violence, fellowship, colonialism, and racial exploitation.
Nuclear tests were just part of a longer story, as told by Larissa Behrendt's excellent documentary made as a condition for filming 'Operation Buffalo'.
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