Ryan Gosling and Damien Chazelle’s chronicling of the moon landing is a serious, detailed homage to vanishing American exceptionalism.
Bart Layton’s first feature is a combination between heist movie and documentary, giving a real edge to a tired genre.
The sixth Mission Impossible adventure is much more than an advertisement for Tom Cruise’s cardio program, it’s a white-knuckle ride with a knowing smirk on its face.
Solo is naked fan service. But with it now a reality, are we ready for this to be our Star Wars experience?
Avengers: Infinity War is all spectacle. However, we’ve done the maths in an effort to ascertain whether aforesaid spectacle could actually happen. Spoilers, obvs.
What does the next generation think of today’s issues? The Big Smoke’s Next Gen program publishes Australian students mentored by TBS writers. Today, Giselle Atlas puts forward the case that High School Musical is the greatest film trilogy of our time.
In the hands of Greta Gerwig, ‘Lady Bird’ is an affirmation of all the brutality and beauty of the oft-criticised millennial set. Believe the hype.
Social media, baseball statistics, the news cycle. Aaron Sorkin is collectively honoured as a man who can turn the most tepid of topics into entertainment. But can he direct?
Returning to what he knows, Guillermo del Toro toes the pool of romantic kink in ‘The Shape of Water’ a rippling reminder how the tide of love crosses the expanse of species.
Churchill has been fictionalised to death, with 35 Winstons gracing our screen. However, what Gary Oldman has achieved is truly unique.
‘Three Billboards’ challenges the morals of good small-town America when they’re asked to face a horror beyond definition.
Opening Oscar season strong is Call Me By Your Name, a terrific, grown-up love story that pulls no punches.
If you want to enjoy the latest Star Wars, the math is simple. Go in fresh, sans all spoilers and influence from the fan base.
The Killing of a Sacred Deer is a film of many aspects. Part horror, tragedy and comedy, the sum produces something entirely unique. Go see it.
What do you get when you allow two separate artists to half complete the same movie? A joke. And that’s what Justice League is.
The thematically deep OtherLife curiously prods us to reconsider our readiness to give ourselves an escape through technology.
Blade Runner 2049 has a central problem, it serves two masters. Trying to be original, and just like original, both of which dooms it be lost in time. Like tears in the rain.
The real ‘Battle of the Sexes’ was a chintzy OTT spectacle, the movie about it is a nuanced and intelligent commentary on gender. Go see it.
The romcom has dipped in recent years, barely echoing the challenges normal relationships face in the modern experience. The Big Sick refutes this, representing a true return to form for the genre.
I was puzzled why the Edgar Wright would tackle something as prosaic as a car chase movie, but Baby Driver is so much more than the genre it belongs to.
“Alien: Covenant” has been loosely touted as the movie that “Prometheus” should have been. But is it? Well…