Flicks.com.au 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, Blake Howard, Glenn Dunks, Luke Buckmaster, Sarah Ward
Rating Title/Year Author
The Personal History of David Copperfield (2019) Sarah Ward A still Victorian era-set yet unmistakably modern - and fresh, very funny and sharp-witted - big-screen adaptation. EDIT
Posted Apr 3, 2021
The Mauritanian (2021) Sarah Ward Harrowing, moving and infuriated by the inexcusable tactics employed by the so-called leader of the free world, but also consistently boxed in by its conventional choices. EDIT
Posted Mar 27, 2021
Godzilla vs. Kong (2021) Luke Buckmaster It requires the entering of an unspoken agreement between viewer and filmmaker. Which is: we suffer through interminable human interplay and dialogue pilfered from old instruction manuals, and they deliver scenes of cataclysmic eye-gouging destruction. EDIT
Posted Mar 24, 2021
Cosmic Sin (2021) Luke Buckmaster As for Bruce Willis: despite the Buzz Lightyear getup-or perhaps because of it-this man will not, cannot be hurried, adding to a growing collection of performances in which he barely seems capable of staying awake let alone saving the world. EDIT
Posted Mar 16, 2021
Chaos Walking (2021) Luke Buckmaster The gawkiness of the male adolescent experience seems to seep into everything, from the coarse chemistry between the two leads to the film's jarring perspective on sound-image relations. EDIT
Posted Mar 10, 2021
The SpongeBob Movie: Sponge on the Run (2020) Sarah Ward Although this is the lesser of SpongeBob SquarePants' three movie outings thus far, there's no such thing as a bad SpongeBob film. EDIT
Posted Feb 28, 2021
I'm Your Woman (2020) Sarah Ward A neo-noir-leaning crime thriller that finds space for characters that aren't usually given it on multiple levels, values their perspectives and journeys at every turn, and delivers a knockout movie that's complicated, gripping and magnificent. EDIT
Posted Feb 28, 2021
Sylvie's Love (2020) Sarah Ward Every element does what it's supposed to: make the audience feel and swoon. EDIT
Posted Feb 28, 2021
One Night in Miami (2020) Sarah Ward An impassioned interrogation not only of the period, as embodied by this one specific night, but also of the ongoing quest for racial equality in the US. EDIT
Posted Feb 28, 2021
Dark Whispers - Volume 1 (2019) Sarah Ward Never forgets to stitch its individual parts together and brandish an overall perspective. EDIT
Posted Feb 28, 2021
The Witch of Kings Cross (2020) Sarah Ward There's nothing routine about The Witch of Kings Cross-not even its moody dramatisations earn the term. EDIT
Posted Feb 28, 2021
To All the Boys: Always and Forever (2021) Sarah Ward Rom-com cinema gets a box-ticking new entry-cum-tribute that eagerly goes weak at the knees for the genre's fantasies. EDIT
Posted Feb 28, 2021
I Care a Lot (2020) Sarah Ward Pike's not-so-secret skill is her ability to weaponise confidence-and, playing a professional guardian with only her own best interests at heart, she's a cool, calm and collected slap in the face. EDIT
Posted Feb 28, 2021
Pieces of a Woman (2020) Luke Buckmaster It is indeed composed of pieces: one (the birth sequence) much larger than the others. They don't come together as a cohesive whole. EDIT
Posted Jan 13, 2021
Ammonite (2020) Luke Buckmaster The mood is so dour; this solemness-suffused film feels stiff and sad. Even the waves on the beach seem joyless and duty-bound. EDIT
Posted Jan 13, 2021
D+ Happiest Season (2020) Glenn Dunks With caricatures written in broad strokes by DuVall and Holland, they prefer flat slapstick and half-arsed, unfunny attempts at irreverent humour... In many ways it wishes it were Schitt's Creek EDIT
Posted Nov 26, 2020
Mank (2020) Luke Buckmaster Looks lovely and glossy, like a licorice boiled lolly, evoking a gentle sort of nostalgia that rounds the script's pointy corners, assisting in turning what might have been a cynical piece of work into a prolonged and confused hat tip to a bygone era. EDIT
Posted Nov 9, 2020
Time (2020) Luke Buckmaster The film has hymn-like ambience and the texture of a photo album drained of colour, that wistful monochrome look communicating the absence of profound things-the details, the energy, the vibrancy of moments EDIT
Posted Oct 22, 2020
Borat Subsequent Moviefilm (2020) Luke Buckmaster The results are still shocking-more than any of the dick jokes or gags about a woman's "vazhïn"-because it's rooted in a terrible real worldness that has, at its core, nothing to do with the comedian; he's just the force that draws it to the surface. EDIT
Posted Oct 21, 2020
Totally Under Control (2020) Luke Buckmaster The immediacy of the events depicted in Totally Under Control threw a spanner in the works and pushed the filmmakers out of their comfort zone, even resulting in a degree of technological ingenuity-the creation of a portable "COVID-cam" EDIT
Posted Oct 13, 2020
Dirt Music (2019) Luke Buckmaster The vibe is a Nicholas Sparks adaptation with an outback twist, though Jordan was obviously shooting for profundity and visual lyricism EDIT
Posted Oct 8, 2020
Black Box (2020) Luke Buckmaster Director Emmanuel Osei-Kuffour's sci-fi thriller takes the theme of missing and distorted memories and gives it an actual, navigable space. EDIT
Posted Oct 8, 2020
The Lie (2018) Luke Buckmaster The director does a fine job building and escalating tension; there is a sense throughout that the director is tightening the screws, reducing the amount of oxygen in the room. EDIT
Posted Oct 8, 2020
C+ The Boys in the Band (2020) Glenn Dunks There is no reflection; no revision. It is as if 50 years have gone by without a single original thought about how to tell this story beyond including flashes of penis. EDIT
Posted Oct 4, 2020
I'm Thinking of Ending Things (2020) Luke Buckmaster It's not the explosions of batshit craziness that most enthrall but the events leading up to them, when you can sense the walls of logic are going to collapse in on themselves but you can't quite see the fold marks. EDIT
Posted Sep 14, 2020
The Social Dilemma (2020) Luke Buckmaster Pleasant weekend viewing this is not. But it's a must-see documentary and it's important to have this conversation now. EDIT
Posted Sep 14, 2020
Host (2020) Luke Buckmaster It would be a bit rich to describe Host as a metaphor for the fear of isolation, or a metaphor for anything...But it does reflect contemporary forms of powerlessness. EDIT
Posted Aug 28, 2020
Wendy (2020) Luke Buckmaster Wendy is very much a work of atmospheria, sometimes maddening but with a style, a mood, a feeling impossible to shake. EDIT
Posted Aug 28, 2020
Deerskin (2019) Luke Buckmaster David Lynch might have directed Deerskin as if it were a dream; others might have treated it as a farce. Dupieux keeps a straight face. EDIT
Posted Aug 28, 2020
Hamilton (2020) Luke Buckmaster I've consumed methamphetamine that was less invigorating than this delicious chunk of musical and political catnip, performed with a soaring sense of purpose EDIT
Posted Jul 2, 2020
Capone (2020) Luke Buckmaster Hardy's fascinatingly intense performance is the smelly adhesive binding together what often feels like a kind of bizarro revue or series of twisted vignettes: a biopic by way of a sideshow EDIT
Posted Jul 2, 2020
Artemis Fowl (2020) Luke Buckmaster Eventually the whole damn movie begins to eat itself, when SFX carnage is unleashed in the form of a giant glob of CGI that slithers across the frame like a tapeworm. EDIT
Posted Jun 11, 2020
The Vast of Night (2019) Luke Buckmaster A strikingly idiosyncratic excursion into style and mood, saluting an era when spectacle didn't mean ironic, or bombastic, or self-conscious, or directed by algorithm, or part of an elephantine pop culture portal to nowhere (like the MCU). EDIT
Posted Jun 4, 2020
Extraction (2020) Luke Buckmaster Cinematographer Newton Thomas Sigel colour grades using a thick sunset orange, apparently believing that evoking the qualities of dusk and creating moody atmosphere are the same thing. EDIT
Posted Apr 28, 2020
1922 (2017) Luke Buckmaster 1922 is easily the finest Stephen King film this year, and among the finest in recent memory. EDIT
Posted Apr 22, 2020
3/5 Queen & Slim (2019) Craig Mathieson Directed by Melina Matsoukas with a defining touch - usually for the better, but occasionally the worse - this story of a thrown together couple fleeing the retributive hand of the law traverses moods. EDIT
Posted Apr 21, 2020
3/5 Dark Waters (2019) Craig Mathieson Haynes finds menace in bland corporate hallways and uses long lens to isolate and pick out [Ruffalo's] Bilott, who fervently hopes to simply fit in. EDIT
Posted Apr 21, 2020
The Hunt (2020) Luke Buckmaster The question of what games the film is playing-shifting realities and relegating performances inside performances-is much more interesting than anything the humans are up to. EDIT
Posted Apr 11, 2020
Guns Akimbo (2019) Luke Buckmaster The Deathgasm maestro has not just made a really dumb movie, but a really dumb movie that's also very smug: a noxious combination of imbecilic and self-satisfied. EDIT
Posted Mar 6, 2020
Onward (2020) Luke Buckmaster The fact this CGI-animated feature uses magical technology to tell a story denouncing the relationship between technology and magic is, of course, entirely lost on the director EDIT
Posted Mar 6, 2020
The Call of the Wild (2020) Luke Buckmaster A beautiful film in aesthetic, setting, staging and sentiment. Magnificent images of largess counter an ultimately intimate story. EDIT
Posted Feb 23, 2020
3/5 Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020) Craig Mathieson Harley wrestles with responsibility, toys with self-destruction, and gets backed into female solidarity. Antics lead to agency. EDIT
Posted Feb 11, 2020
4/5 A Beautiful Day in the Neighborhood (2019) Craig Mathieson This is genuinely sympathetic filmmaking: it takes the time to understand the characters, to allow for what motivates them, but also questions why it's worth doing that. EDIT
Posted Feb 11, 2020
The Lighthouse (2019) Luke Buckmaster From the opening shot there's never any doubt the director is in absolute control. Not just of every scene and every moment, but of every shadow and every stream of light EDIT
Posted Feb 6, 2020
Just Mercy (2019) Luke Buckmaster The moral binariness of this film, which is certainly well-intentioned (and, sadly, tells a story shockingly relevant in today's world) had me looking for nuance everywhere. EDIT
Posted Feb 6, 2020
3/5 1917 (2019) Craig Mathieson The figure whose sense of overbearing control is palpable here is not any general but Sam Mendes himself. EDIT
Posted Jan 11, 2020
5/5 Portrait of a Lady on Fire (2019) Craig Mathieson A spellbinding cinematic romance where constraint shadows hope and a harsh ending threatens from the tender beginning. EDIT
Posted Dec 29, 2019
Little Women (2019) Luke Buckmaster Drama molded in by-the-numbers style, replete with many predictable aesthetic choices EDIT
Posted Dec 22, 2019
Cats (2019) Luke Buckmaster The weirdest thing about this very weird film is how dull it feels; how devoid of spirit. EDIT
Posted Dec 18, 2019
3/5 Charlie's Angels (2019) Craig Mathieson [Kristen] Stewart has movie star diffidence ... Her Sabina makes an entrance and makes a crack with equal ease. Bonus quality: every time Stewart sits down or leans against a bench she looks like an icon on down time. Long may she recline. EDIT
Posted Nov 16, 2019