Luke Buckmaster

Luke Buckmaster
Tomatometer-approved critic
I live in Melbourne, Australia, where it's sunny in the summer and unpredictable any other time of year. Film reviewing has become a great hobby for me over the last few years; it's a satisfying way for me to spend some of my time and energy. I have maintained a web site for around the last three years, and with the help of a few friends it's developed over time to something we're pretty happy with. My work can be seen on my web site, In Film Australia (, as well as various popular sites such as Urban Cinefile, Movienutz, Festivale and Movies Online. I have also been published in the Melbourne print magazine 'The Big Issue.'
Location: Melbourne, Australia
Official Websites:

Movie Reviews Only

T-Meter Title | Year
59% Vox Lux (2018) A work of art of this calibre undermines the entire system, explores the vacuity of celebrity culture, exposes the inhumanity of the PR machine. - EDIT
Read More | Posted Mar 11, 2019
60% Alita: Battle Angel (2019) Rodriguez can't help but get a little bit deep with this sort of material, in between wall-rattling set pieces and servings of splashy futuristic eye candy. - EDIT
Read More | Posted Feb 13, 2019
48% Escape Room (2019) Escape Room could be interpreted as a cynical comment on the pursuit of immersion in popular entertainment. - EDIT
Read More | Posted Feb 13, 2019
2/5 No Score Yet The Combination Redemption (2019) In The Combination Redemption the drama sometimes feels flaky and the ideologies of the film-makers confused. - Guardian EDIT
Read More | Posted Feb 6, 2019
81% 100 Bloody Acres (2013) On occasions the story takes desperate lurches into quickly abandoned new directions, often punctuated with comedic extremities not without their benefits. - In Film Australia EDIT
Read More | Posted Jan 23, 2019
2/5 50% Storm Boy (2019) Whereas the tone of the original film was a delicate mixture of wistful and inspirational, the rebooted Storm Boy is more melancholic - at times, to put it bluntly, an epic downer. - Guardian EDIT
Read More | Posted Jan 14, 2019
81% Dragged Across Concrete (2019) Craig S. Zahler is up to his old tricks: luring audiences with the promise of exploitation, then delivering them slow-burning drama. - EDIT
Read More | Posted Nov 29, 2018
4/5 100% Strange Colours (2018) It is tantalising to consider what the director might come up with working with a more pronounced narrative. But subsequent films made in the style of Strange Colours are also an exciting proposition. - Guardian EDIT
Read More | Posted Nov 23, 2018
2/5 47% 1% (2017) Haven't we seen this movie before? - Guardian EDIT
Read More | Posted Oct 17, 2018
4/5 No Score Yet She Who Must Be Obeyed (She Who Must Be Loved) (2018) Deeply enjoyable - unpretentious and life-affirming. Audiences will leave touched by the sincerity of both the film and its subject. - Guardian EDIT
Read More | Posted Oct 15, 2018
4/5 50% In Like Flynn (2019) This is a fun film constructed in a smart way: an anti-high art picture that happily prioritises embellishing legend over recreating life. - Guardian EDIT
Read More | Posted Oct 10, 2018
88% American Animals (2018) Layton has a very contemporary skepticism that suits the era of fake news: a feeling that even - and perhaps especially - factual events become campfire stories destined to be misrepresented. - EDIT
Read More | Posted Oct 4, 2018
29% Venom (2018) Jekyll and Hyde by way of Ren and Stimpy, carrying a defeatist message about accommodating rather than overcoming terrible things inside yourself. - EDIT
Read More | Posted Oct 4, 2018
60% The Cars That Ate Paris (1974) The Cars That Ate Paris is both part of that and a carnivalesque reflection of it. It's a complicated satire and a violent and eccentric classic. - Guardian EDIT
Read More | Posted Sep 27, 2018
67% The House with a Clock in Its Walls (2018) SIGN UP Instead of nurturing his kooky inventions the director keeps moving to the next one, with an absentminded 'quick, look over there!' approach channelling his inner Dory. - EDIT
Read More | Posted Sep 18, 2018
32% The Predator (2018) It is unusual for a franchise film as high profile as this to be so heavily infused with the personality and idiosyncrasies of its writer/director./ - EDIT
Read More | Posted Sep 12, 2018
91% Hearts Beat Loud (2018) What a delightful film. So enjoyable and so fulfilling. It is sweet without being syrupy; it is hopeful without making promises. - EDIT
Read More | Posted Sep 6, 2018
3/5 80% The Merger (2018) It's not mountain-moving stuff, but nor is it devoid of care and consideration. The Merger is well made play-to-the-bleacher-seats entertainment. - Guardian EDIT
Read More | Posted Sep 6, 2018
89% You Were Never Really Here (2018) Lynne Ramsay stylishly experiments with the 'cold-blooded murderer who cares for his mother' trope, but comes up only with blood-spattered armchair philosophy. - EDIT
Read More | Posted Sep 4, 2018
91% Crazy Rich Asians (2018) Chu is resolved not just to say nothing about the grotesque behavior of the filthy rich - despite this being at the core of Crazy Rich Asians - but to condone it, celebrate it and wallow in its vacuity - EDIT
Read More | Posted Aug 29, 2018
23% The Happytime Murders (2018) The film has been marketed as a comedy but it's more effective as cynical and sardonic social commentary, about the present as an out-of-control party and nostalgia a terrible hangover - EDIT
Read More | Posted Aug 22, 2018
3/5 100% Working Class Boy (2018) Working Class Boy seems like easy work for Joffe, who could hardly do more to allow his chatty and candid subject to speak for himself. - Guardian EDIT
Read More | Posted Aug 22, 2018
45% The Meg (2018) with Turteltaub making slow and delicate dabs on the canvas, in the apparent belief that he is painting his masterpiece, The Meg is a lousy combination of idiotic and self-important. - EDIT
Read More | Posted Aug 18, 2018
22% Submergence (2018) Just as the characters finally begin to resonate, and the audience finally begins to feel something for their journey, the closing credits roll. - EDIT
Read More | Posted Aug 18, 2018
5/5 80% Acute Misfortune (2019) A beautifully made and intensely thoughtful portrait of the life of controversial Archibald-winning painter Adam Cullen, based on the journalist and Saturday Paper editor Erik Jensen's wild and compelling book of the same name. - Guardian EDIT
Read More | Posted Aug 3, 2018
38% Extinction (2018) the kind of sludgy genre pic that used to be derided for having a 'made for TV' quality - back when that label was still an insult. - EDIT
Read More | Posted Jul 29, 2018
19% How It Ends (2018) Director David M. Rosenthal finds news ways to say and feel nothing. There are no bold ideas or thought bubbles; no exciting action sequences or set pieces. - EDIT
Read More | Posted Jul 18, 2018
85% The Gospel According to André (2018) It drips with the kind of running commentary one expects from a veteran pundit whose most valuable commodity has always been his words. - EDIT
Read More | Posted Jul 12, 2018
47% Skyscraper (2018) This lean feel-good genre piece has a deceptive amount of style and at least a little philosophical grunt. - EDIT
Read More | Posted Jul 12, 2018
3/5 57% The Second (2018) This remains, despite the onerous intellectualising, an engaging perspective explored with energy and verve. - Guardian EDIT
Read More | Posted Jul 4, 2018
40% Mary Shelley (2018) Elle Fanning's dignified performance, which will resonate long after the closing credits roll, deserves better than this. - EDIT
Read More | Posted Jul 4, 2018
16% Show Dogs (2018) Show Dogs has no fizz, no life, no spirit, no (sorry) bite. The film's lacklustre energy fails to climb a gear even in its final act, when the car Will Arnett drives appears to chase the villains at approximately 10 kilometers an hour - EDIT
Read More | Posted Jul 4, 2018
88% Ant-Man and the Wasp (2018) The writing is patchy throughout and the dialogue is dreck. - EDIT
Read More | Posted Jul 4, 2018
63% Sicario: Day of the Soldado (2018) The sleepy menace of Benicio del Toro is again on fine display, though Alejandro's moral complexity barely transcends the 'became an angel of death after they murdered my family' trope. - EDIT
Read More | Posted Jun 26, 2018
4/5 91% Brothers' Nest (2018) The Jacobsons have given us another comedy classic, far stranger than the last. - Guardian EDIT
Read More | Posted Jun 21, 2018
4/5 86% Upgrade (2018) Upgrade is better and sassier than many of the films it takes inspiration from. - Guardian EDIT
Read More | Posted Jun 14, 2018
94% Incredibles 2 (2018) Infinity War is Screenslaver, advocating the hypnotic allure of empty spectacle. Incredibles 2 is the Winston Deavor character, believing in the power of branding but also the value of inspirational narratives. - EDIT
Read More | Posted Jun 12, 2018
4/5 77% Jirga (2018) Its very existence seems to constitute an act of compassion. - Guardian EDIT
Read More | Posted Jun 11, 2018
3/5 90% The Breaker Upperers (2018) The film coasts off the energy and rapport of this affable pair, whose smart-mouthed performances are full of pep and fizz. - Guardian EDIT
Read More | Posted Jun 7, 2018
70% Solo: A Star Wars Story (2018) Unlike The Last Jedi, it contains no moments when one questions the sanity of the writers, or why, with so many resources and so much talent at their fingertips, they resorted to egregious twists built on flaky or even non-existent logic. - EDIT
Read More | Posted May 18, 2018
83% Deadpool 2 (2018) There is something defeatist about a franchise that acknowledges stereotypes, tropes and clichés, then does little to circumvent them and nothing to counter them. - EDIT
Read More | Posted May 15, 2018
89% On Body and Soul (A Teströl és Lélekröl) (2018) Whether audiences will be impressed by the story's ambitious combination of subconscious thought and existentialism, and the pairing of beautiful dreams and brutal reality, is partly a matter of patience. - EDIT
Read More | Posted May 11, 2018
85% Tully (2018) Mary Poppins by way of bleary-eyed Middle America, substituting the idea that life gets better - or love means sacrifice - for a childish fantasy involving the healing powers of a 20-something, Greta Gerwig-type free spirit. - The Daily Review/Crikey EDIT
Read More | Posted May 10, 2018
79% Breath (2018) It is the rarest kind of sports movie, in that it will encourage in participants a different, thoroughly thoughtful perspective with which to view their pastime. Breath is a surfer film with soul and gravitas. - Guardian EDIT
Read More | Posted May 3, 2018
78% Last Flag Flying (2017) A humanistic work, with a slight and unprepossessing way about it...about losing and finding, and finding and losing, faith in higher powers and purposes. - The Daily Review/Crikey EDIT
Read More | Posted Apr 30, 2018
85% Avengers: Infinity War (2018) A celebration of mediocrity on a scale the cinema has never seen before. Avengers: Infinity War isn't a movie: it's advertising and brand management - The Daily Review/Crikey EDIT
Read More | Posted Apr 24, 2018
35% I Feel Pretty (2018) Viewers will sense I Feel Pretty's buttery didacticism well before it gets spread across the final act. - The Daily Review/Crikey EDIT
Read More | Posted Apr 19, 2018
16% Blumhouse's Truth or Dare (2018) This is ferociously sharp and pointed social commentary...The director critiques a world where the computer knows your sexuality before your parents do - and possibly before you do. - EDIT
Read More | Posted Apr 11, 2018
51% Rampage (2018) Audiences will arrive for the spectacle, the carnage, the brawling beasts and crumbling city blocks. They'll also get a film far slower to its feet than it should be, with flat spots that feel less like dramatic build-ups than cost-cutting measures. - EDIT
Read More | Posted Apr 11, 2018
81% The Party (2018) The black and white approach has an odd effect on the performances. Literally stripped of colour, the cast seem to fight against it, battling to differentiate themselves from a unifying aesthetic. - EDIT
Read More | Posted Apr 10, 2018