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  • Mystery Road

    Mystery Road

    ★★★

    The setting and lead character had potential but the film's let down by muddled storytelling, monotonous tone, over reliance on coincidences, underdeveloped characters and threads that are left unanswered. After the final shoot out I thought there'd be some explanation about the "Super dog", the connection between the aboriginal girls and the drugs, the nature of Hugo Weaving character and just what was his and Jay's plan for the final meeting?

  • Midsommar

    Midsommar

    ★★★½

    Watching the director's cut Aster's flaws as a writer becomes clearer and clearer. Whereas Hereditary was exploring similar themes of family, grief, fate, Toni Collette's character as the mother of this family had so much more meat and weight to her story. Midsommar is much more shallow, looking at an unhealthy relationship it falls into more cliched horror territory and it so clearly signals the flaws of the character's and their relationships.
    And where as I'm with Toni Collette through…

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  • The Red Pill

    The Red Pill

    ★★★½

    Overall the craft, structure/framework and Cassie as a presence within the film, it's not overly impressive but the ideas being discussed and conversation the film is attempting to have with the audience is so important and needed today that it feels dangerous how much it's questioning the status quo.
    This film and the issues it's raising shouldn't be political, it should be priority for everyone to look at the state of Men's mental health today and the struggles that Men are facing and in no way does that mean that it minimizes or takes away from Women's issues.

  • Brawl in Cell Block 99

    Brawl in Cell Block 99

    ★★★★½

    Unlike any other film I've seen in 2017. The violence is truely horrific but is earnt by the slow build of the first half of the film and becomes more and more compelling. There's an odd dream/nightmarish like tone that's rare to see in a genre film like this, but ultimately the film knows exactly what it is and nails the specific tone that makes it a little masterpiece. It's a crime there's not more Udo Kier in the world too.