Contributor Charles Bramesco

Two women in period costumes standing on a hill with crosses in the background, against a cloudy sky.
Review

Nosferatu review – an earthy, erotic masterwork

by Charles Bramesco

Robert Eggers realises a lifelong dream in reimagining the tale of Count Orlok, with spellbinding results.

3
Anticipation
5
Enjoyment
5
In Retrospect
Creepy clown figure with white face paint, red nose, and fearful expression gesturing dramatically in shadowy setting.
Review

Terrifier 3 review – deck the halls with small intestines

by Charles Bramesco

Damien Leone's cult favourite killer clown returns for some festive fun in the third instalment in the goretastic franchise.

5
Anticipation
4
Enjoyment
4
In Retrospect
Monochrome image of two young people, a woman and a child, in winter clothing, with the woman cradling the child in her arms.
Review

Green Border review – brilliant and tense

by Charles Bramesco

A stirring depiction of the refugee situation in Europe, as Syrians fleeing war face harrowing interrogation at the Polish-Belarusian border.

4
Anticipation
4
Enjoyment
4
In Retrospect
Brick building with large wall text, people standing in front.
Festivals

Universal Language – first-look review

by Charles Bramesco

The clashing cultures of Canada and Iran are fused in Matthew Rankin’s dryly comic follow-up to The Twentieth Century.
Two figures, one hooded in a dark cloak, embracing a woman wearing a light-coloured dress. Dark background.
Review

The New Boy review – an ambitious undertaking by one of Australia’s best

by Charles Bramesco

A young arrival at an Australian nunnery begins to exhibit unusual powers in Warwick Thornton's fantastical drama.

4
Anticipation
3
Enjoyment
3
In Retrospect
Two children running through a lush, green forest.
Review

Monster review – heartfelt and likably earnest

by Charles Bramesco

The relationship between two young schoolboys has ramifications for their local community in the new drama from Hirokazu Koreeda.

3
Anticipation
3
Enjoyment
3
In Retrospect
Two smiling people, a man and a woman, standing close together outdoors.
Not Movies

The Curse is Nathan Fielder and Benny Safdie’s unsettling suburban house of mirrors

by Charles Bramesco

Nathan Fielder and Emma Stone star as an unscrupulous property developing couple who find themselves cursed by a small child in this A24 and Showtime collaboration.
Older woman with dark hair and younger woman with red hair and glasses, both looking directly at the camera.
Festivals

Janet Planet – first-look review

by Charles Bramesco

Annie Baker's debut feature about a mother and daughter is magical and assured drama that announces the Pulitzer Prize winner as a filmmaking talent as well as a literary one.
Black and white image showing a man lying down, with a woman leaning over him. They appear to be outdoors in a wooded setting.
Festivals

Green Border – first-look review

by Charles Bramesco

Veteran filmmaker Agnieszka Holland offers a stirring, stark depiction of the refugee situation in Europe, as Syrians fleeing war face harrowing interrogation at the Polish-Belarusian border.
A man sitting on the ground, hugging his knees in a forest setting. He appears pensive, with a serious expression on his face.
Festivals

All Dirt Roads Taste of Salt – first-look review

by Charles Bramesco

Raven Jackson's feature debut announces a striking visual talent, following the story of a young woman's life in rural Mississippi.
A man in a black suit stands on a ladder in a dimly lit room with red walls.
Review

Reptile review – less “whodunit”, more “who cares?”

by Charles Bramesco

Music video mainstay Grant Singer makes the leap to features with this real estate-based detective thriller, but the results are disappointingly underwhelming.

3
Anticipation
2
Enjoyment
2
In Retrospect
A shirtless man striking a fighting pose in a wooded outdoor setting, wearing camouflage trousers.
Festivals

Boy Kills World – first-look review

by Charles Bramesco

A deaf-mute young man swears revenge on the group that murdered his family in Moritz Mohr's bloodthirsty but tedious directorial debut.

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