Check out It Comes At Night, which I thought was really underrated.

Not very. There are a handful of jump scares towards the end, but in the preview audience I saw it with, even the most vocal member only yelped two or three times. Mostly it’s just a constant and ever-ratcheting sense of dread, building to a climax that significantly ramps up the intensity (which is where some of the…

Australia has so many great actors. I forgot we also have Margot Robbie. Makes me sad we have so few truly great Australian made movies (at least not ones starring A-list talent)

We’re keeping Cate Blanchett and Hugh Jackman too, right?

She belongs to the good people of Australia!!! We’re happy to loan her out to you, but her soul belongs to Australia. Just like we own Geoffrey Rush, Hugo Weaving, Ben Mendelsohn and Nicole Kidman. We’re happy to give you full custody of Sam Worthington though.

I feel like the world doesn’t talk about how much Toni Collette has perfected an American accent better than any non-American actor I’ve ever seen.

On the one hand, I’d argue that the Babadook isn’t just a metaphor, in the sense that to the characters it’s clearly an actual demonic entity, regardless of what it symbolizes to viewers of their story.

I had the same reaction. My sister and I have been debating the movie’s questions and signs ever since we watched it last week, and while her complaints are a bit more plentiful than mine (she also confessed to having her eyes covered a lot towards the end, meaning she missed some key details), my one preference is…

Tap-dancing around spoilers here: I see your point, but I thought the *way* that exposition was delivered, so comforting and with the speaker unseen, was chilling. Keeping in mind who he/she/they are talking to, I thought it was a really creepy way to handle it.

Toni Collette is a GODDAMN TREASURE....ok, an Australian goddamn treasure but nevertheless. MURIEL’S WEDDING FOR LIFE!

“Of all the blood-curdling images conjured up by Hereditary, the most traumatically terrifying new horror movie in ages, one sticks out as particularly definitive: Toni Collette, face twisted into a grotesque grimace of fear, staring . . . at . . . Jumanji: Welcome to the Jungle.”

I loved this film so very much, terrifying, moving & funny in parts. Toni Collette deserves every award going.

I think you’ve missed the point *I* made in the review. I’m talking about whether the movie examines its subtext, which is there whether they’re looking for it or not. The movie purports to be about one thing (nostalgia for a simpler time or whatever), but actually struck me as more about another, and the movie isn’t…

It’s literally impossible for there to be no subtext. Don’t pretend to be stupid, it won’t make you any friends

I don’t want to blow your apparently postgrad mind, but movies do actually say things?

well it’s also nice when movies are about something more than just literally what’s on-screen.

The main reason why I love Jackass, but none of their copycats, was its good hearted nature. You could feel in every second that they were a bunch of friends, who were having a good time and didn’t try to be assholes. They punched their buddy in the balls and pushed him in a pool of dog shit, because they knew he…

Oh I absolutely will fuck with Jackass. It was a great show, and those three movies were a blast. I think Kotaku wrote an article that one of the main reasons people find Jackass so endearing is that the jokes are almost always on the cast themselves.

I must’ve missed Before Midnight. I didn’t really find anything that good about his performance in Boyhood, he’s just playing Ethan Hawke like he always does. The creative conceit of that movie was interesting, but I didn’t find anything special about him in it.

Always interesting to see actors like Cedric the Entertainer get roles like this and nail them. I’m sure so many actors, whether comic or dramatic, are unfairly put into boxes determined by the work they’re known for. I’m sure a lot of comedic actors could deliver strong dramatic performances, and vice versa.