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Review: Bullet Train (2022)

Watching Bullet Train, you’d be forgiven for thinking it’s a Guy Ritchie film or second-rate Tarantino rip-off.

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Review: Where The Crawdads Sing (2022)

Where The Crawdads Sing is one of the biggest books of the last decade, having enraptured millions across the globe with its writing and story by zoologist (and accused murderer) Delia Owens. But is the magic of the book lost in the transition to screen?

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Review: The Forgiven (2022)

The Forgiven is the latest splashy narrative to be released about the tensions between the elite and the working class, mixing all the elements of a thriller, dark comedy and psychological thriller to no avail in this frustrating film.

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Review: Cruel Intentions: The 90s Musical, State Theatre, Sydney (2022)

All things the 90s takes centre stage at the State Theatre in Sydney as classic flick Cruel Intentions gets the musical treatment.

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Review: M.Rock, Australian Theatre for Young People, Rebel Theatre (2022)

This revival of Lachlan Philpott’s play with a banging techno soundtrack reminds us to let our elders chase their dreams

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Review: Elvis (2022)

The long awaited Elvis Presley film has openened on screens. Years after some of the biggest blockbusters have revisited the likes of Freddie Mercury, Elton John, and more, Elvis gets his own Hollywood treatment thanks to Baz Lurhmann’s frenetic and bombastic view of his life.

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Review: Phantom Of The Open (2022)

The Phantom of the Open is one of those films that leans heavily into sentimentality and endures in its goal to please crowds, with much of it owing to its captivating story and fantastic star.

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Review: How To Please A Woman (2022)

How To Please A Woman isn’t what it seems from the outset.

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Review: Top Gun: Maverick (2022)

The danger zone, aviators and Tom Cruise are back with Top Gun: Maverick in this sequel to the action classic from the 1980s – and it’s one of the best films of the year.

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Review: The Drover’s Wife: The Legend of Molly Johnson (2022)

Henry Lawson’s 1892 classic Australian story undergoes its own postcolonial revisionism in The Drover’s Wife: The Legend of Molly Johnson.

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Review: Downton Abbey: A New Age (2022)

The Crawley family return to the big screen and the public consciousness in this follow up to the long running series and sequel to the first film with Downton Abbey: A New Age.

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Review: The Unbearable Weight of Massive Talent (2022)

Nicolas Cage’s career has seen him playing a host of memorable characters and even his most recent films’ primary success has been primarily due to his commitment as an actor and his overwhelming onscreen and off-screen persona.

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Review: Ambulance (2022)

Big explosions, car chases and bank heists make a return to screen in Michael Bay’s latest action thriller Ambulance – the pinnacle of his fast cut, highly stylized, patriotic-infused filmmaking style.

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Review: North By Northwest, Sydney Lyric Theatre (2022)

Stage and screen fuse together in this adaptation of Alfred Hitchcock’s classic suspense comedy at Sydney’s Lyric Theatre.

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Review: The Batman (2022)

Rebooting a superhero franchise is never the easiest, but writer and direct Matt Reeves takes the pressure in his stride with The Batman, a new take on the classic caped crusader.

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Review: Morbius (2022)

If The Batman is the best superhero film of the year, Morbius takes the crown for the worst. Set within Sony’s Spider-Man Universe, you know there’s an issue with the film when the two (two!) post-credit scenes are the best part of the whole experience and conjure more excitement than the entire film preceding.

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Review: Fresh (2022)

There’s something fresh about Fresh.

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Review: No Exit (2022)

With streamers like Netflix, Disney, Amazon and more pumping out movies every other week, it’s hard to differentiate the trash from the treasure.

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Review: Cyrano (2022)

Cyrano de Bergerac is a tale old as time yet seems to have vanished from cultural discourse in the 21st century.

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Review: Marry Me (2022)

If you, like me, have been bombarded by ads for Jennifer Lopez and Owen Wilson’s latest rom-com Marry Me and subsequently have the lowest of expectations, I hate to say it…but you can probably listen to your intuition.

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Review: A Stitch In Time (2022)

Most films rarely feature people, especially women, above 60 years old. But the new Australian film, A Stitch In Time, is a reminder that this isn’t always the case.

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Review: West Side Story (2021)

West Side Story won 10 Academy Awards in 1961 and its original stage musical from 1957 is still beloved by many people.

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Review: Jagged Little Pill, Theatre Royal, Sydney (2021)

Jagged Little Pill is without a doubt one of my favourite albums of all time and began my love affair with Canadian singer Alanis Morissette.

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Review: Last Night In Soho (2021)

It’s easy to reminisce on the older periods of civilisation and the thrill of the Swinging 60s in London is front and centre in Last Night in Soho, the latest from director Edgar Wright.

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Review: No Time To Die (2021)

No Time To Die is simultaneously the most Bond film and anti-Bond film in the series canon to date.

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Review: Cruella (2021)

Reimaginings are all the rage and it was only a matter of time for 101 Dalmatian’s villain Cruella de Vil to get the reinvigorated treatment.

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Review: Seven Methods of Killing Kylie Jenner, Darlinghurst Theatre, Sydney (2021)

The visual of a body being dragged along the ground and buried beneath the stage is the first scene we are exposed to in Seven Methods of Killing Kylie Jenner and immediately sets the scene for the rest of the play.

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Review: La Traviata, Handa Opera, Sydney Harbour (2021)

The long tradition of Opera Australia’s annual Handa Opera on Sydney Harbour opened after a year long delay and reminded us why this seminal event is a highlight of the year.

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Review: The Father (2021)

To overly explain The Father is to take the joy of watching the film for the first time.

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Review: Minari (2021)

Few coming-of-age films are as delicately directed as Lee Isaac Chung’s deeply personal Minari.

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Review: Words On Bathroom Walls (2020)

Mental illness hasn’t always had the best representation on screen. Whether its exploitative, melodramatic or underplaying its severity, sometimes highlighting a specific illness on camera does more harm than good for breaking down social stigmas. That is why, surprisingly, Words on Bathroom Walls is so good.

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Review: The Broken Hearts Gallery (2020)

From the outset, The Broken Hearts Gallery is a winning formula

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Review: The Current War (2020)

Is the history of electricity interesting?

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Review: Downhill (2020)

The premise of Downhill takes after Ruben Ostlund’s Force Majeure, telling the story of a couple on a family ski vacation that sees their relationship come to a breaking point after a certain event shapes what each other consider important in the face of a crisis.

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Review: Onward (2020)

If you’re talking Pixar, you’re talking high quality, heartfelt, premium animation with a standard unsurmounted by other animated feature films.

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Review: Honey Boy (2020)

It’s hard to make a movie about your life without seeming overly indulgent or seeking empathy at every turn.

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Review: A Beautiful Day in the Neighbourhood (2020)

My first peek into this American TV legend from 1968 to 2001 was in the documentary Won’t You Be My Neighbor? which took a peek at the man, Fred Rogers and his life before and during his hugely successful TV program Mister Rogers’ Neighborhood.

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Review: Bombshell (2020)

Bombshell’s story is a perfectly manicured version of sexual harassment allegations against Fox New CEO and Chairman Roger Ailes.

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Review: Spies in Disguise (2019)

I attended a screening of Spies in Disguise, a Blue Sky Studios – maker of Ice Age franchise and Rio – I went in with low expectations. And with such a lazy title, I expected the worst.

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Review: Jojo Rabbit (2019)

Jojo Rabbit, based on the novel Caging Skies by Christian Leunens, is directed and written by Taika Waititi, and is most likely the first Nazi comedy that’s as subversive as it is boundary-pushing.

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Review: Little Women (2019)

Little Women retains the spirit of the story but also makes it feel fresh for new audiences.

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Review: Knives Out (2019)

The whodunnit renaissance is upon us!

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Review: Terminator: Dark Fate (2019)

I quite enjoyed Terminator.

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Review: KURIOS – Cabinet of Curiosities, Sydney Entertainment Quarter (2019)

Cirque du Soleil is hit and miss.

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Review: School Of Rock, Capitol Theatre, Sydney (2019)

I love School of Rock. The 2003 film written and starring underrated Mike White is a fun, music-filled romp that is inspirational to kids everywhere and teaches them about “sticking it to the man”.

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Nine Sydney Festival Experiences You Can Have For Less Than $40

For Concrete Playground: Lay down and listen to a historic organ in Sydney Town Hall, see an energetic display of youth in western Sydney and explore a light-filled inflated labyrinth in Darling Harbour.

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Review: Hustlers (2019)

“This is a story about control” starts the opening scene of Hustlers, as Janet Jackson’s hit plays while we meet Dorothy, now Destiny, (Constance Wu), the apparent new girl at a strip club in New York back in 2007.

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Review: Ready Or Not (2019)

Woke horror-thrillers appear to be the thing of the moment after the successes of Get Out and Us, and the new Ready Or Not plays off a lot of similar concepts and narrative structure in this comedic take on a classic slasher film.

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Review: Billy Elliot, Sydney Lyric Theatre (2019)

Opening with black and white footage of the UK in 1984, with clips of the nationalisation of the coal industry and the ensuing miner’s strike in an attempt to prevent colliery closures, sets the stage for Billy Elliot’s return to Sydney 12 years after its last visit.

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Review: The Politician: Season 1 (2019)

First there was Popular, a teen drama in the 90s, then there was Nip/Tuck, then a return to teen drama with Glee.