Category: Film article

Top 10 films of 2023

I didn’t anticipate watching enough in the way of new release cinema to create a Top 10 for 2023 but, as it turns out, my list magically manifested. And here it is, with films listed in no particular order:

LATE NIGHT WITH THE DEVIL (dirs. Colin Cairnes & Cameron Cairnes)
2023 marks the ‘Year of the Australian horror renaissance’ with this one leading the charge – a highly original take on the genre as seen through a 1970’s US late-night variety show lens. Features a transformative performance by David Dastmalchian from his previous creepoid roles to all-American TV show host. Pitch perfect in every way.

TRIANGLE OF SADNESS (dir. Ruben Ostlund)
Officially a 2022 release, but a repeat watch for me as part of its theatrical run at the start of the year. Simultaneously gross, terrifying and so very funny (because it’s true). The most astute and penetrating socio-political commentary in recent memory. Machiavelli would be proud.

TÁR (dir. Todd Field)
A singular and fascinating film, despite its flaws and Cate Blanchett’s overacting (and over-conducting). I came out with many reservations but, to its credit, it’s lingered with me across the year. Full marks. Also, full of conversations and exchanges that held me transfixed despite its lengthy running time.

POOR THINGS (dir. Yorgos Lanthimos)
Everything that makes the cinema of Yorgos Lanthimos so scintillating – weirdness, uncomfortable sex, magical realities, astute gender observations, etc. Throw in some Frankenstein, Dr Jekyll & Mr Hyde and Island of Dr Moreau themes and this recipe could have been custom-cooked for the likes of me.

TALK TO ME (dirs. Danny Philippou & Michael Philippou)
Another Australian-brother-director-duo-horror-bonanza. High-octane, visceral take on the ‘teen shenanigans gone wrong’ genre trope, tightly realised in an Australian setting with solid performances. Notable for its strength across first, second and third acts, especially the third where horror films so often unravel.

THE KILLER (dir. David Fincher)
A satisfying propagation of Fincher’s admirable career in thrillers that doesn’t over-reach – right up there with ZODIAC (2007) and THE GAME (1997), inching close to SE7EN (1995). See it for Michael Fassbender’s super-solid central performance, opening ‘How Soon Is Now’ sequence and a string of TV-character aliases.    

PAST LIVES (dir. Celine Song)
Just when you thought I only like brutality on screen, enter Celine’s Song ode to unrequited love. A film that holds you by the heartstrings from start to finish, riveting while hardly doing a thing. Mines the depth of romantic attachment in a deep and extremely affecting way.  

ALL OF US STRANGERS (dir. Andrew Haigh)
The second of the sloppy sentimental pics on my list this year. An unexpected queer ghost story of the sad and sorry, rather than ghoulish, kind. Initial thoughts: too devastating to see again. But now I’m ready to dive back in and unpick its tapestry of timelines and realities. Stunning. 

FEMME (dirs. Sam H. Freeman & Ng Choon Ping)
Another queer stunner – this time, in the form of a gay-bashing-revenge film where the revenge act takes an unpredictable shape. Not necessarily an uplifting viewing experience but a taut, nail-biting one that doesn’t let up until its devastating conclusion.

THE ROYAL HOTEL (dir. Kitty Green)
Draw a line from WAKE IN FRIGHT (1971) through SHAME (1987) to this film. A searing depiction of toxic masculinity in outback ‘Orstraya’ that recalls another Kitty Green classic, THE ASSISTANT (2019). Double screen it with the documentary that inspired its making, HOTEL COOLGARDIE (2016).

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Top 8 horror films of 2022

It’s 2023. But I’m taking a last gasp of 2022 with my ‘best of’ list, albeit one that focuses solely on horror. Why just horror? It kinda defined my new release viewing across the year, so it made sense for me to keep things narrow.

Let’s get on with it (in alphabetical order):


BARBARIAN (dir. Zach Cregger, USA)
I walked into the cinema not expecting much; I walked away mighty impress. A well-worn horror scenario assembled with enlightening reinvention, full of red herrings and hidden corridors. Eschews ‘elevated’ wankdom (although with today’s obligatory #metoo message) to get back to horror basics. And it stars Justin Long.


THE BLACK PHONE (dir. Scott Derrickson, USA)
The best Stephen King film of the year, not written by Stephen King. Cleverly uses its 1978 setting to create a kids-own world of bullying, domestic violence and the threat of something else: a balloon-carrying man with a van. The incorporation of supernatural elements was a surprise but one used to chilling effect, as was the constantly masked Ethan Hawke in the role of ‘The Grabber’.


FRESH (dir. Mimi Cave, USA)
A hootenanny of a watch from start to (slightly wonky) finish. In many ways, the less said the better, because this only really reveals its hand about 30 minutes in, along with the opening titles. Anyone who’s experienced online dating will get a kick out of its tongue-in-cheek, cynical ‘dissection’ of this new world of consumerism.


MEN (dir. Alex Garland, UK)
It’s one of those hate it or love it films, and I’m pleased to say I fall into the latter camp. One of my most enjoyable cinema-going adventures of the year (and one I did three times) that continues to provide oodles of conversation and conjecture, as well as a Cronenbergundian finale that outdid Cronenberg’s 2022 output.


THE NORTHMAN (dir. Robert Eggers, US, China, UK)
Okay, it’s not strictly a horror genre film, but there’s an argument that every Eggers is horror of some form, so I’m going with that argument. Also, there’s something so entirely ridiculous and overblown about this film that it could possibly have inched into my ‘worst of’ list, but nah. Our Nic is at her ice princess best.


THE STRANGER (dir. Thomas M. Wright, Australia)
Wright established a ‘tone’ with his previous feature, the under-seen ACUTE MISFORTUNE (2018), which he propagates to magnificent effect here. A taut, quietly malevolent pot-boiler that gets under the skin, and worse – gets into your brain. I can’t wait to see what Wright does next.


TAKE BACK THE NIGHT (dir. Gia Elliot, USA)
Another horror for the #metoo generation. Could have been trite but this low-budget stunner makes the most of its limitations to create a truly effective monster movie and, dare I say it, a truly effective CGI monster. Perfect example of the how good storytelling trumps all else. All hail Emma Fitzpatrick.


YOU WON’T BE ALONE (dir. Goran Stolevski, Australia, UK, Serbia)
Gritty, visceral, guttural, muscular, icky…. choose your adjectives, because there’s a lot that can be applied to this film. A searing tribute to the power of femininity that genuinely deserves to be described as unique. Told almost entirely in close-ups and with a harsh, whispered narration in Macedonia. Stunning.

AN HONOURABLE MENTION GOES TO…

TOP GUN: MAVERICK (dir. Joseph Kosinski, USA)
It’s not a horror film but it’s a ripper and deserves to be on every ‘best of’ list for 2022.

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Triple serve for Diabolique Magazine

The fast pace of life continues and, as these precious moments slip through one’s fingers, so do three articles that I wrote, which were published by the aesthetes at Diabolique magazine.

Given they’re about three films I absolutely adore, I feel the need to play catchup and post them here so you can hopefully share in my enthusiasm.

Start with…

Nobody puts Baby in the corner: THE BABY (1973)

then go on to…

Mumsy’s so proud of her dearest things: MUMSY, NANNY, SONNY & GIRLY (1970)

And top it off with…

War is no place for women: THE BEGUILED (1971)

You’re welcome 🤗

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While we’ve been sleeping…

Andrew Stephens wrote an insightful article in The Age newspaper, While we’ve been sleeping, published on 15th October 2021, which looked at pandemic lockdowns through the eyes of art in all its guises. Interestingly, the art examples cited may have reflected the somnambulistic state that lockdowns create but none was created as a direct response to the pandemic.

Note: this piece reads most explicitly and evocatively to Melburnians because, so far, we’ve experienced more days in lockdown than any other city in the world.

Andrew asked me to contribute some thoughts with regards to cinema for his While we’ve been sleeping piece and, as is usually the case, I wrote far more words than was required. So, as well as encouraging you to read his full article, I will post below the rough notes that I submitted to him; a curiosity you may wish to read in full (or not, I will not judge)…

Continue reading “While we’ve been sleeping…” →
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Mary: The graphic adventures of Brea Grant

My dear friend, Alexandra Heller-Nicholas, had recently interviewed the highly prolific horror filmmaker and actor Brea Grant for Fangoria. Her radar pinged when the subject turned to one of Brea’s upcoming projects: a graphic novel on the hypothetical adventures of Mary Shelley’s great-great-great-great-great granddaughter and the heavy literary burden such a teenager was likely to have carried on her shoulders.

Something of interest to Emma? Natch.

Given I am currently ensconced in my next book project on THE BRIDE OF FRANKENSTEIN, Alex saw the opportunity for a professional hook-up. She introduced me to Brea, I interviewed Brea, Diabolique published the resulting article and the rest is history.

You can read the article here but you can also scroll down further to see some stunning artwork from the book that didn’t make it into the Diabolique article.

Continue reading “Mary: The graphic adventures of Brea Grant” →

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The Act of Seeing

I’d like to pay my respects to the fine Australian publication, Screen Education – which recently closed its doors after 25 years – with an article I wrote for the Screen team, ‘The Act of Seeing: Cinema, Ethics and Responsibility’.

Editor David Heslin and I worked very hard to craft this piece and ensure it was pitched appropriately so I think it’s worth immortalising here on my website. Not to mention, the article contains input from ethicist Matthew Beard and film academics Steve Thomas, Stuart Richards and Alexandra Heller-Nicholas. You can find the full text posted below.

Note: ‘The Act of Seeing’ also functions as a partner piece to my previous article, ‘To Watch or Not to Watch, That is the Question’, examining similar ethical considerations on watching cinema but from a different angle, which you can read online at Diabolique.

Hope you enjoy the read or, at the very least, it gets the cogs of your mind freewheeling…

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Top 10 films of the decade

The final Plato’s Cave show on Triple R for 2019 heard Paul Anthony Nelson, Flick Ford and Thomas Caldwell pay tribute to the cinema of the twenty-tens with their 10 favourite films from the last 10 years.

Fellow spelunker Sally Christie and I were not on-air for this salubrious occasion; however, we still submitted our lists for the tally, which our co-hosts then ably presented in our absence.

Here’s what I chose (in alphabetical order)…

ARRIVAL (2016)
Profoundly original science fiction that rivals Close Encounters in the immensity of its concept and its cinematic clout. Big, beautiful, moving, important. And it even creates its own language.

DOGTOOTH (2010)
Released on the cusp of 2009/2010, this deserves inclusion on the ‘best film’ lists of both decades. At once horrifying and hilarious, with an unforgettable psychopath and an equally unforgettable dance sequence. And it even creates its own language.

DRIVE (2011)
The action film you get when you’re not getting an action film. Brilliant in its infuriatingly protracted moments of silence (and long, lingering looks), punctuated with explosive scenes of violence. Also features the best opening sequence of the decade.

DUKE OF BURGUNDY (2014)
Writer-director Peter Strickland’s genius climaxes in this velvety, ’70s Euro dive into butterflies, lesbianism and dom-sub fantasy. Super seductive, visually sumptuous and strikingly unique.

ELLE (2016)
Utterly audacious in its depiction of sexual fetishism. It’s still hard to believe Paul Verhoeven and his team ‘got away with’ this film. But we’re oh-so lucky they did. All hail Isabelle Huppert – the most fearless actor on the planet!

GET OUT (2017)
Proof that horror is still one of the most important film genres. A game-changer in social commentary that had something new to say about liberalism and race relations. For that it deserves inclusion.

LA LA LAND (2016)
The revival of the musical? Maybe not, but still proof that cynicism in a cynical age can be powerfully undermined, screen magic is still possible and there’s nothing better than a love story well-told.

MELANCHOLIA (2011)
Just when you want to hate Lars Von Trier, he comes up with this apocalyptic masterstroke. Impressively vivid and spine-tingling, brought to life by stratospheric performances from Kirsten Dunst and Charlotte Gainsbourg.

THE SHAPE OF WATER (2017)
A valentine to mid-20th century American popular culture that bursts with sweetness, despite its flagrant sexuality. Finally, a heroine that does not need saving, a beast that is brutally sexy, and a film that is truly beautiful.

WHIPLASH (2014)
Damien La La Land Chazelle’s second inclusion on my list, a high voltage ride into jazz drumming and bullying that plays like an action film. Tense, tight and punchy. Gets my vote for the best finale of the decade.

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Top 10 films of 2019

On 2nd December, on Plato’s Cave on Triple R – a show in which I’m lucky to be involved – we counted down our collective Top 10 films of 2019, the criteria being that any film nominated had to be in general release in Australia for that given year (i.e. no festival exclusives, etc.).

Interestingly, no film received a unanimous vote from the five co-hosts on Plato’s Cave; however two films received four votes each: THE CLOCK and PARASITE. Both of these films also appear on my individual list.

So what other films did I choose? Detailed below are my Top 10 Films of 2019 (up to December releases), listed in alphabetical order (much to the chagrin of my co-host, Paul Anthony Nelson) who really wanted ranked lists to break ties. Apologies, Paul, my brain would have exploded…

APOLLO 11
A bonafide marvel of documentary filmmaking and archival assemblage that pitch-perfectly captures the zeitgeist of the Moon landing event, without the need for narration or unnecessary exposition. Weep-worthy.

BURNING
Electrically charged South Korean slow-burner, stunningly directed by Lee Chang-dong that, despite its two-and-a-half hour running time, holds you transfixed until its devastating final moments. Taps into a deep vein of inherent evilness. 

THE CLOCK
24 hours of timepiece footage, in real time, from 100 years of cinema around the world screened in ACMI’s gallery space – what’s not to love? Both a wondrous celebration of screen art and a cunning play on our temporal existence. An experience to lose yourself in.

EIGHTH GRADE
Comedian-musician-poet and now filmmaker, Bo Burnham, jumps out of the gates with this unassuming little stunner that magically captures the awkwardness of being a girl and being 13. Massive props to Elsie Fisher who is the heart of the film.

THE GUILTY
A gritty and rollicking Danish thriller, ostensibly taking place in the one room, proves that all you need is a good story and solid performers to make a truly excellent film. Essential viewing for all wannabe filmmakers (and lovers of Nordic Noir).  

THE IRISHMAN
Just when you thought you knew what to expect from a Martin Scorsese gangster film, this one comes along. Proof of Scorsese’s genius (if there was ever a doubt), as well as his command over tone and performance. Joe Pesci steals the show.

JOHN WICK: CHAPTER THREE – PARABELLUM
The most fun to be had in a cinema in 2019! John Wick’s filmic legacy just gets richer, more visceral and more beautiful. Takes fight sequences to even higher balletic standards, and turns horses and books into weaponry. Amazing.

JOKER
Balls-to-the-wall ballsiness – how this film managed to get made, we’ll never know. But we should be grateful because we need it. All hail Todd Phillips!

MID 90S
Actor Jonah Hill’s writing and directing debut is really something else. A skateboarding ride back into the 1990s, with a killer soundtrack by Trent Reznor and Atticus Ross, and magnificent performances from predominantly non-actors that will have you crying with both laughter and pathos.

PARASITE
Filmmaker Bong Joon-ho returns to South Korea (yay!) to deliver this incredible, incendiary comment on class division. Lots of Bong-at-his-best moments – beautifully directed ensemble cast, delicate balance of humour and drama, and a conclusion that will leave you reeling.  

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