The man captivated the room’s attention for the full Power Hour and really at a comedy show can I ask for more? He kept on a strict beat, whether it was half-time when he plugged his merch, 15 minutes before the show ended when he plugged his merch, or when the show ended as he plugged his merch. 

While not packing the usual one-two gut punch of most of its horror contemporaries, World’s Fair blends familiar mumblecore, coming-of-age and micro-budget horror elements into a film that’s greater than the sum of its parts, equally unnerving, hypnotic and experimental in the same breath.

Happening is one of those rare films that makes you think just as much as it makes you feel. Its subject matter is intense; a young girl Anne Duchesne becomes pregnant from a one-night stand and is suddenly caught between a painful crossroad wherein one path resigns her to a life of wasted potential and shame, while the other sets her free, only this path appears seemingly impossible to gain access to.

The Good Boss works very well as a corporate satire, with biting insights into how powerful people manipulate those around them in order to maintain said power, but it wouldn’t be the same without the central performance from Javier Bardem, who makes the film endlessly watchable and entertaining.

Some viewers may find Secrets of Dumbledore to be exactly what they want, after all it does offer a fair amount of fan service and proves there is still some fun to be had with this universe, but I can only speak from my personal experience, which was woefully unmoving.

As I was watching this film I couldn’t help but remember a certain A-list celebrity who recently told people to get off their asses and work. Gavel’s film is the perfect response to comments like this; it is just an added bonus that it happens to be an enthrallingly thrilling film too.

The new trend is “villain” films, and like most of its contemporaries, Morbius can’t commit to that promise, nor does it really commit to much else.

The former 2018 Theatre Sydney Smackdown Championship winners work well off each other, effortlessly sliding in and out of different characters and scenes, each more bizarre than the next. You can truly see why they’ve been such an accomplished duo since 2017.

Wanting to dip your toes into arthouse cinema, or are you a seasoned veteran looking for something that's out of this world bonkers? Look no further, because from April 21st until May 6th, Fantastic Film Festival Australia is back in town, and it's as bold and beautiful as ever.

At its core the narrative is great on paper: the idea of taking traditionally villainous criminals and attempting to redeem them is ripe with potential, potential reaped by films like last year’s The Suicide Squad, and even Dreamworks’ own Megamind, but it’s the tropes it ends up using to get there that make it feel like it’s largely re-treading familiar ground.

Reflecting on the way one watches this film is as equally important to the viewing experience as what the film contains. And much like its release strategy, the film refuses to make a splash. Rather, its ambience reflects a still and drifting mist that has a soulful and regenerative impact.  

Koyaanisqatsi is a word used by the Hopi peoples of northeast Arizona which literally translates to “corrupted/chaotic life”, though the film prefers to define it as “life out of balance”, among other similar interpretations.

Equal parts The Texas Chainsaw Massacre and Boogie Nights, [X] follows a film crew as they stay at an elderly couple’s farm to shoot a pornographic film, unknown to the couple themselves. 

It is a treat to be able to see a movie like this. For such a seemingly introverted artist, like Courtney Barnett, to agree to a project that is so personal, makes this film a must watch for fans. However, Anonymous Club has something for everyone as we get to witness relatable day-to-day struggles from the perspective of a successful international musician.

The Book of Love follows an English writer, Henry Copper (Sam Claflin) whose book is translated by into Spanish by translator Maria Rodriguez (Verónica Echegui), who completely rewrites his novel into an erotic romance. 

Hari builds a convincing case: the odds are against us. Almost every digital platform we now rely on is deliberately engineered to steal our attention for as many hours of the day as possible. There is no incentive for this to change.

Studio 666 was released in late February this year. The story revolves around the band trying to find the inspiration to record their tenth studio album. Unfortunately, this inspiration arrives from a possessed tape, which leads to the usual shenanigans you expect from any horror movie.

The premise of Animal is unapologetically bloody from its first passage. After witnessing a former lover commit suicide - a public, gruesome performance seemingly intended to permanently mark her with the tragedy - Joan drives out of New York to a sweltering rented house on the outskirts of Los Angeles.

Tandem review of The Souvenir - a semi-biographical drama directed by Joanna Hogg and starring Honor Swinton Byrne - and its sequel The Souvenir Part II.

The critic game is a dirty business. Us movie reviewer types are bought off, blackmailing, career-ending mafiosos behind the scenes. Watching Lost Illusions, the wall was shattered, and the gig was up.