Son Of A Gun (2014)
★★★☆☆
Action-packed with prison getaways, bullion heists and criminal double-crossing, Son Of A Gun delivers a high-octane thriller. Just cut the monkey business.
Australasia
Erebus: Into The Unknown (2014)
★★★☆☆
A dramatic reconstruction of New Zealand’s worst air disaster, Charlotte Purdy’s Erebus: Into The Unknown loses itself in the snows of Antarctica.
The Last Impresario (2013)
★★★☆☆
A celebrity-studded bio-doc of theatre producer and playboy Michael White, Gracie Otto’s documentary uncovers the unknown man in the middle – The Last Impresario.
Mystery Road (2013)
★★★☆☆
An Aborigine detective returns to the outback to investigate the murder of a young Aborigine girl despite his white police colleagues’ prejudice and indifference.
Beyond The Edge (2013)
★★★☆☆
Beautifully photographed and insightfully narrated, Beyond The Edge is a worthy chronicle of a New Zealand beekeeper’s quest to conquer the tallest mountain on earth.
Tracks (2013)
★★★★★
The beautifully lensed story of one woman’s journey through the heat and dust, John Curran’s Tracks is an inspiring expedition into the dead heart of Australia.
Utopia (2013)
★★★☆☆
Veteran documentary filmmaker John Pilger’s latest, Utopia, is a hard-hitting investigation into modern Australia’s commitment to its indigenous communities.
Viramundo (2013)
★★★☆☆
On tour through the globe’s indigenous and marginalised peoples in Pierre-Yves Borgeaud’s Viramundo, Gilberto Gil is turning the world upside-down.
Lore (2012)
★★★★☆
Set in 1945 in a Germany coming to terms with defeat, Cate Shortland’s Lore is an intimate and evocative portrait of lost innocence.
The Sapphires (2012)
★★★★☆
Taking on Aborigine rights in Sixties Australia, Wayne Blair’s debut feature The Sapphires is an all-singing, all-dancing feel-good sparkler.
Animal Kingdom (2010)
★★★☆☆
Streuth, it’s a jungle out there! David Michôd’s gangster flick Animal Kingdom pits might against right when a young innocent stumbles into the Australian badlands.
The Road (2009)
★★☆☆☆
Is it really worth it? With no hope or catharsis, John Hillcoat’s The Road is a grimly nihilistic portrait of suffering in the face of the apocalypse.