ABC News (Australia)

ABC News (Australia) is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Alexandra Heller-Nicholas, Jason Di Rosso, Keva York, Luke Goodsell
Rating Title/Year Author
EMMA. (2020) Luke Goodsell It's not perfect happiness, but it's a pleasing diversion. EDIT
Posted Feb 14, 2020
Richard Jewell (2019) Luke Goodsell You can almost sense Eastwood enjoying himself as he chips away at Jewell's trust in authority and institutions, crafting another classic portrait for his gallery of stoic individuals in the process. EDIT
Posted Feb 14, 2020
The Lighthouse (2019) Jason Di Rosso Eggers can't quite unlock the revelatory moments in this meld of high symbolism and psychological inquiry... While he's made a film that is brilliant in stretches, it remains emotionally distant. EDIT
Posted Feb 6, 2020
Les misérables (2019) Keva York Without holding one of these filmmakers over the other, what distinguishes Al-Kateab's film from those of Fayyad is a matter of form: For Sama is in essence a diary, a series of home movies... EDIT
Posted Feb 6, 2020
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020) Luke Goodsell The ensuing girls-versus-bad-men melee works as a satisfyingly noisy outlet for the movie's female rage, but Yan and Hodson also take time to sketch out moments of sisterhood that give the mayhem some form of emotional anchor. EDIT
Posted Feb 6, 2020
Seberg (2019) Luke Goodsell What's left is an oddly muted simulation that works more as a refraction of its current star than its historical subject. EDIT
Posted Jan 30, 2020
A Hidden Life (2019) Luke Goodsell A Hidden Life's lasting power to move lies not in its belief in the inherent goodness of humanity, but in its ability to find so much beauty in the construction of faith. EDIT
Posted Jan 30, 2020
Uncut Gems (2019) Keva York Equal parts infuriating and exhilarating, Uncut Gems is an accomplished piece of high-anxiety cinema from a pair of filmmakers with a clear knack for the form, a sense of their own, deeply felt excitement emanating from the frame. EDIT
Posted Jan 30, 2020
A Beautiful Day in the Neighborhood (2019) Keva York The end result is nothing short of a therapeutic experience, and I will happily admit that it caused tears to well in the eyes of even this oft-cynical writer. EDIT
Posted Jan 23, 2020
Bombshell (2019) Keva York Bombshell's conceit is admirable, to be sure, though unfortunately the finished product too often feels like a big-budget corporate training video. EDIT
Posted Jan 17, 2020
Bad Boys for Life (2020) Luke Goodsell Incoming Belgian directors Adil El Arbi and Bilall Fallah deliver a mostly satisfying coda, paying tribute to the master's kinetic formalism while playing a heavy hand of sentiment that's on brand for a series which has never exactly been subtle. EDIT
Posted Jan 17, 2020
True History of the Kelly Gang (2019) Keva York A near-incoherent ensemble piece that squanders an enviable cast, it's the latest in a long line of films to take aim at Ned Kelly, only to glance off his armour, barely leaving a mark. EDIT
Posted Jan 9, 2020
1917 (2019) Luke Goodsell As a war epic, 1917 is rather more low-key than the Sturm und Drang typical of the genre: the film's strength lies in its eerier passages, which linger in the mind with a sense of reflection. EDIT
Posted Jan 9, 2020
Portrait of a Lady on Fire (2019) Luke Goodsell There is an intoxicating stillness to this drama, an attention to silence and evocative, dreamlike sounds -- brushstrokes, crackling flames, waves against the shoreline -- that suggest everything is playing out in a detached and sacred space. EDIT
Posted Dec 26, 2019
The Truth (2019) Luke Goodsell A tender, sometimes elusive tale of mothers and daughters and the cinema itself. EDIT
Posted Dec 23, 2019
Sorry We Missed You (2019) Jason Di Rosso It's a gloomy picture, but the film's criticism of economic injustice is not the only take away. Laverty's script contains a touch of humanist moralism, too. EDIT
Posted Dec 23, 2019
Cats (2019) Keva York If I should stoop to suggesting that the film is indeed a cat-astrophe, you can be assured that that's a better cat pun than any of those actually in the darn thing (and there are a bunch). EDIT
Posted Dec 20, 2019
Star Wars: The Rise of Skywalker (2019) Luke Goodsell Even the reliable, heart-tugging emotional cues -- John Williams' punchy score, Chewbacca's plaintive howl, and the inevitable cameos from old friends long gone -- lack the magic, though not for want of Abrams' best exertions to render things epic. EDIT
Posted Dec 19, 2019
Jojo Rabbit (2019) Luke Goodsell This kind of comedy sits uneasily next to the film's fuzzy sentimentality, not to mention the intermittent appearance of genuinely horrific imagery... EDIT
Posted Dec 18, 2019
The Irishman (2019) Jason Di Rosso Scorsese manages to fashion a moving work that's empathetic and also boldly critical. EDIT
Posted Nov 20, 2019
Ford v Ferrari (2019) Luke Goodsell Ford v Ferrari can't help but be moderately satisfying, its familiar heroes-versus-the-system narrative jazzed by some genuinely exciting motor racing sequences. EDIT
Posted Nov 15, 2019
Charlie's Angels (2019) Luke Goodsell Trapped in limbo between Mission: Impossible and Hustlers, it's an unsteady confection that drifts toward inertia -- too low on good jokes to paper over the plot tedium, and only partially rescued by the chemistry between its leads. EDIT
Posted Nov 15, 2019
Dolor y gloria (2019) Luke Goodsell Pain and Glory considers both elements of its title, and though the former weighs heavy, it's the warmth that lingers - in the small moments that resonate in life's absurd slipstream... EDIT
Posted Nov 7, 2019
The King (2019) Jason Di Rosso Their re-jigging of the Bard's work as cinematic high adventure is largely successful, if not particularly daring. EDIT
Posted Oct 25, 2019
Ready or Not (2019) Luke Goodsell It's neither witty enough to be truly, viciously funny, nor sufficiently scary to cultivate the atmosphere of evil that might make it genuinely unnerving. EDIT
Posted Oct 25, 2019
Blinded by the Light (2019) Luke Goodsell The overwhelming music certainly captures that giddy, all-consuming rush of falling for a new idol who seems, in that moment, to belong exclusively to you. EDIT
Posted Oct 25, 2019
Judy (2019) Jason Di Rosso There's enough emotion and sheer tragedy to propel it to the finish, and its central performance lingers for the awful emotional trauma and humanity that it conveys. EDIT
Posted Oct 17, 2019
Maleficent: Mistress of Evil (2019) Luke Goodsell Has anyone so gifted and visually arresting -- a goth queen dream -- been so ill-served by a pair of movies so aggressively dreary? EDIT
Posted Oct 17, 2019
Hustlers (2019) Keva York Rather than uncritically promoting some string theory of "girl power", Hustlers asks to be understood as the complement of Wolf of Wall Street and other such tales of corporate corruption. EDIT
Posted Oct 9, 2019
Gemini Man (2019) Luke Goodsell Gemini Man can only hint at such possibilities - it's too shackled to the demands of delivering a big-budget sci-fi action thriller, on which terms it fails... EDIT
Posted Oct 9, 2019
Joker (2019) Jason Di Rosso Joker builds into a statement that's salient and provocative - holding a mirror to real world frustration and the resurgent populism in our midst. EDIT
Posted Oct 3, 2019
The Goldfinch (2019) Stephen A. Russell This is definitely one of those 'read the book first' occasions. EDIT
Posted Sep 26, 2019
The Dead Don't Die (2019) Luke Goodsell Lest things get too sincere, Jarmusch's ambivalence - itself a symptom of the world he shows us - tempers the fury, reminding the audience that there's nothing funnier than the end of the world. EDIT
Posted Sep 26, 2019
American Factory (2019) Lauren Carroll Harris It's the kind of astonishing story that could serve as the dramatic spine of an alternate history novel... EDIT
Posted Sep 25, 2019
Hotel Mumbai (2018) Jason Di Rosso With a more robust exploration of how they ended up here, Hotel Mumbai might have become the more thoughtful thriller it aspires to. As it stands it's an accomplished horror ride from a director with much promise. EDIT
Posted Sep 25, 2019
Captain Marvel (2019) Jason Di Rosso Captain Marvel packages this dilemma in a stylish, thoughtful and funny superhero movie that's a twist on the usual origin story formula. EDIT
Posted Sep 25, 2019
Vox Lux (2018) Jason Di Rosso By the time his heroine is belting out her third-rate songs in a sequined jumpsuit, you can't help but wish you'd stayed home. EDIT
Posted Sep 25, 2019
Us (2019) Jason Di Rosso Peele is one of the most promising directors of the American horror resurgence. EDIT
Posted Sep 25, 2019
Destroyer (2018) Jason Di Rosso Los Angeles - especially its crumbling eastern sprawl - serves as an evocative backdrop, with cinematographer Julie Kirkwood capturing its shades of pink and beige as the sun hits the sand and concrete. EDIT
Posted Sep 25, 2019
Capernaum (2018) Jason Di Rosso No doubt it is a tongue-in-cheek name, but it is true that Capharnaüm is about many things: corruption and racism, refugees, stolen childhood, the moral weakness of adults and the difficulty in apportioning blame. EDIT
Posted Sep 25, 2019
Avengers: Endgame (2019) Jason Di Rosso You wonder how so much talent, underwritten by such an obscenely large budget, doesn't trigger more pathos. EDIT
Posted Sep 24, 2019
Burning (2018) Jason Di Rosso Burning is a superior thriller with a double edge - a film that's about a doomed romantic obsession and also a social critique that lays bare the impotency of an outsider seeking to understand the opaque world of the mega rich. EDIT
Posted Sep 24, 2019
The Hustle (2019) Jason Di Rosso The Hustle's attempt at satire suffers from the limitations of its imagination, and its failure to realise it needs to be harsher on the con artists than their victims if it doesn't want to make bolder changes to the script's architecture. EDIT
Posted Sep 24, 2019
Rocketman (2019) Jason Di Rosso If only the film's unflinching gaze and sheer energy were enough to inspire a great film. EDIT
Posted Sep 24, 2019
Las herederas (2018) Jason Di Rosso In telling a personal story The Heiresses, then, is also very much a political tale. It's a terrifically accomplished debut full of humour and deep tenderness... EDIT
Posted Sep 24, 2019
Diego Maradona (2019) Jason Di Rosso Maradona is a man whose story is full of such remarkable highs and lows, and who continues to mean so much to so many, that even Kapadia's heady storytelling can't overplay it. EDIT
Posted Sep 24, 2019
Booksmart (2019) Jason Di Rosso Booksmart, instead, wraps its main characters in cotton wool. And despite one romantic awakening that's handled well but is best experienced without any forewarning, the script's curve balls lack impact... EDIT
Posted Sep 24, 2019
Dogman (2018) Jason Di Rosso It's a pleasure - of sorts - to see the director back with such well-crafted and vibrantly realised characters, caught once again in his nightmarish cinematic web of loneliness and self-delusion. EDIT
Posted Sep 24, 2019
The Farewell (2019) Jason Di Rosso Given how many Americans can claim some kind of migrant heritage, it's perhaps strange there haven't been more films like Lulu Wang's carefully crafted drama... EDIT
Posted Sep 24, 2019
Freedom (2019) Luke Goodsell It's one of the strongest Australian debut films of recent years. EDIT
Posted Sep 24, 2019