Is Inside Out 2 Pixar's Anxiety Meltdown?
Inside Out 2 has no space to be what it is – an acceptable Pixar film which expends most of its charm and energy in the first third of the film and then dips drastically before rallying again. It’s no…
Nadine Whitney
Sydney Film Festival: Kid Snow Director Paul Goldman on the Allure of a Boxing Drama
Subscribe to The Curb podcast via RSS feed, Apple Podcasts, Spotify, iHeart Radio or Google Podcasts. Download the episode directly here. The boxing film subgenre gets an esteemed new entry in the fo…
Life is a bit tipsy. Loren Taylor on her debut feature The Moon is Upside Down
Thanks to Sydney Film Festival for providing the Curb with the opportunity to speak with Loren. Ozu famously had a character say, “Isn’t life disappointing?” through a fixed and sad smile at the end…
In the Room Where He Waits is One of the Best Australian Debut Features Around
The James Hotel in Brisbane looks a lot like any other mid budget hotel. It has no personality. It’s clean and anonymous. There’s nothing essentially wrong with it except Tobin Wade (Daniel Monks) can…
Richard Linklater's Hit Man is Cheeky, Hot, and a Hell of a Ride
Richard Linklater and Glen Powell’s Hit Man is witty, sexy, and side-splittingly funny. Although it must be said that the first conceit that anyone could find Glen Powell even in repressed academic Ga…
Sydney Film Festival: In Vitro Directors Will Howarth and Tom McKeith On Their Grounded Sci-Fi Film
Subscribe to The Curb podcast via RSS feed, Apple Podcasts, Spotify, iHeart Radio or Google Podcasts. Download the episode directly here. In Vitro is the highly anticipated follow-up from Will Howart…
The Weight of Love: David Vincent Smith on He Ain’t Heavy
I genuinely don’t like to call “Australian shot feature film of the year” in June – but after seeing David Vincent Smith’s blazing debut feature, He Ain’t Heavy I am not sure I can imagine something t…
LONG LIVE THE NEW FLESH: Amanda Kramer and Britt Brown on Cinematic Anxiety in So Unreal
Director and writer Amanda Kramer (Ladyworld, Give Me Pity!, Please Baby Please) moves into the realm of cinema essay with So Unreal - a survey of cinema which coincided with the rise of computers in…
Sydney Film Festival: The Tundra Within Me Director Sara Margrethe Oskal on Love, Tradition, and Individuality in Contemporary Sámi Culture
Director Sara Margrethe Oskal’s Eallogierdu (The Tundra Within Me) is a tale of two worlds. Single mother and artist, Lena has been living in Oslo with her young son. Returning to her hometown in Sámp…
Sydney Film Festival: Ray Yeung on All Shall Be Well (從今以後) and LGBTQ Rights in Hong Kong
“If you really thought of me as your Auntie, you wouldn’t ask that.” For thirty years Pat and Angie have lived together. Now in their sixties they are entering what should be their golden years toget…
Hanna Slak's Not a Word (Kein Wort) is a Symphonic Piece of Maternal Gothic
In Hanna Slak's Not a Word (Kein Wort), Lars Goff (Jona Levin Nicolai) and his conductor mother Nina Palcek (Maren Eggert) share an apartment that is beautifully appointed but austere. The weight…
The Three Musketeers: D’Artagnan and Milady Are Brash, Bold, and Frequently Ridiculous
Although discrete films, Martin Bourboulon’s Musketeer series is an epic which can be considered a single entity. Beginning with D’Artagnan and (perhaps) ending with Milady the two films are in some m…