FILM REVIEW: The Emoji Movie

The Emoji Movie (Tony Leondis, 2017)

As any pessimist will tell you, filmmakers will make movies about anything these days. And often announcements of film concepts are met with groans at the sheer awfulness of an idea. Many of us thought The Lego Movie would suck. But how wrong we were! One of the most hilarious movies in years, for both young and old, it surpassed all expectations, and the fact that it wasn’t nominated for an Oscar for Best Animated Feature is the biggest disgrace in Oscar history (according to this reviewer anyway). And so in 2017, when everyone told me The Emoji Movie would be bad, I naively thought: ‘But Patrick Stewart is poop! That’s genius! How can it go wrong?’ It turns out, very. Continue reading FILM REVIEW: The Emoji Movie

FILM REVIEW: That’s Not Me

That’s Not Me (Gregory Erdstein, 2017)

Australian comedy can be a fickle beast. While plenty of brilliant television has been produced locally, feature films can be another matter. The best Australian cinema has to offer is usually seen in dramatic features, with The RoverPredestination, and Holding the Man coming immediately to mind as some of this reviewers’ favourite films of their respective years. Comedies rarely make the same impact. Is it because there’s something just too awkward about seeing our ridiculous nature reflected back to us on the big screen? Or that it’s delivered better in thirty minute bites? It’s difficult to say. Continue reading FILM REVIEW: That’s Not Me


Gifted (Marc Webb, 2017)

It all looks fairly formulaic on paper. Captain America + cute kid + schmaltz = Gifted. The title alone may provoke groans, because it seems to be a term that is thrown around all too easily. From the outset it would seem that clichés would surely abound. Continue reading FILM REVIEW: Gifted

FILM REVIEW: A Monster Calls

A Monster Calls (J.A. Bayona, 2016)

A Monster Calls
begins with the explanation that its story starts “with a boy too old to be a kid, too young to be a man”. This is apt, given that the film is not clearly aimed at children or adults, but perhaps sits in some limbo area in-between. Initially conceived as a story by Siobhan Dowd, the novel was written by Patrick Ness after Dowd’s death from a terminal illness. Ness adapts his novel for the screen, with director J.A. Bayona (The Impossible) at the helm. Continue reading FILM REVIEW: A Monster Calls

FILM REVIEW: It Comes at Night

It Comes at Night (Trey Edward Shults, 2017)

It Comes at Night doesn’t start off like most horror films, which is an indication straight off the bat that it’s not going to be a traditional horror. From the opening we’re hit in the face with the intensity of a chilling death, with little context provided as to the who, where, when and why. After this it mellows out for some time, and some viewers may even wonder when the real horror is going to start. Continue reading FILM REVIEW: It Comes at Night


Baywatch (Seth Gordon, 2017)

Beach. Babes. Bronzer. We all know the Baywatch drill. Arriving on the big screen this week, Pamela Anderson and David Hasselhoff step aside for the new kids on the beach, led by none other than Dwayne ‘The Rock’ Johnson. Solving crimes, saving lives, and looking smoking hot while doing it, Baywatch is an utterly ridiculous romp that’s good mindless fun. Continue reading FILM REVIEW: Baywatch


Snatched (Jonathan Levine, 2017)

Just in time for Mother’s Day comes the mother-daughter kidnapping caper, Snatched. Following on from Trainwreck comes Amy Schumer’s second starring feature, although this time she’s taking a break from writing duties. Katie Dippold (The HeatGhostbusters) pens the screenplay, with director Jonathan Levine (50/50Warm BodiesThe Night Before) at the helm. Continue reading FILM REVIEW: Snatched


Table 19 (Jeffrey Blitz, 2017)

If you ever find yourself watching Table 19 on Netflix or a similar streaming service, you may be inclined to give up twenty minutes in and choose something else. But keep in mind that it does significantly improve, even if it does take until the half way point to really get going. If you go the old-fashioned route of buying your ticket to Table 19 at a cinema, you are presumably more likely to persevere even when things look bleak. Unlike the many Anna Kendrick vehicles that bypass cinemas and go straight to digital, this is one film that will rely on its cinema attendance because for home viewers spoilt for choice, it takes too long to prove its worth. Continue reading FILM REVIEW: Table 19