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Master and Commander at 20: an emblem of wholesome masculinity
Peter Weir's 2003 masterpiece offers a heartwarming alternative picture of male camaraderie.
Scarygirl tells a story of human-nature connection through Australian animation
Scarygirl, in cinemas now, emulates a toy aesthetic to teach kids about the natural world and the need for human-nature…
The Exorcist: Believer is a sequel that shouldn’t exist
Believer is a 'retcon', a movie that ignores or re-imagines events in previous films ... but why?
Wes Anderson's new films show the complicated legacy of Roald Dahl
Anderson’s Dahl shorts explore some grittier works from the author’s oeuvre without any creative rewriting.
Shayda marks a profound shift in Australian cinema
Shayda presents an unflinching portrayal of domestic violence and oppressive marriage.
The rules of romantic comedy: a romcom expert explains
Miscommunication, conflict, friends to lovers ... the recipe for romantic comedy has been honed like a well-baked cake.
A Haunting in Venice: it's Christie and it's camp
In his third Poirot outing as director and star, Kenneth Branagh continues the tradition of adapting Christie through the lens…
Past Lives portrays lost love and identity in the Korean diaspora
Lingering and beautifully told, Celine Song's debut asks questions about our first loves and what they mean.
Are AI films fuelling moral panic or reflecting real anxiety?
Film's like 2022's M3GAN reflect the latest wave in an ongoing concern about AI and its effects on us.
Only Murders in the Building lovingly parodies the whodunit
Much of the innovation of Only Murders lies in its incorporation of the true crime podcast with the familiar whodunit…