The 2010s were defined by a tension between blockbuster spectacle and a quiet surge in world cinema, with films like Inception and Parasite sitting at opposite ends of a very wide spectrum. Streaming reshaped how audiences found smaller work, and festival circuits felt more vital than ever. Browse Macca's reviews from the decade below.
Rating: 2.5★
Horror cinema has always been a useful vehicle for anxieties that polite conversation tends to avoid, and The Babadook arrived in 2014 wearing that tradition proudly. Written and directed by Jennifer Kent, it is an Australian production brought together through a collaboration between Causeway Films, Screen Australia, the South Australian
Rating: 3.0★
Charles M. Schulz's Peanuts comic strip ran from October 1950 until February 2000, the final instalment published the day after Schulz himself died. Over those five decades it became one of the most widely syndicated strips in history, appearing in thousands of newspapers across dozens of countries and
Rating: 3.0★
Yokohama, 1963. Japan is preparing to host the following year's Olympic Games, a moment freighted with national pride and a quiet, collective desire to draw a line under the devastation of the Second World War. It is into this particular atmosphere of forward momentum and unresolved memory that
Rating: 1.5★
There is a particular category of Hollywood blockbuster that exists not so much to tell a story as to fulfil a transaction: you hand over your ticket money, the studio hands back explosions, a recognisable face, and the vague shape of a plot. Rampage (2018) sits squarely in that tradition.
Rating: 4.0★
The Appalachian Trail has a particular hold on the American imagination. Running roughly 2,190 miles from Georgia to Maine, it has generated a small but persistent strand of storytelling, from Bill Bryson's wry memoir to Cheryl Strayed's rather more harrowing account of the Pacific Crest
Rating: 2.5★
Before there was Flash Gordon, before there was Star Wars, before science fiction had even settled on its own name, there was Edgar Rice Burroughs and his Barsoom. The series of novels Burroughs began in 1912 with A Princess of Mars essentially invented the template for planetary romance: a soldier
Rating: 3.0★
Jordan Peele's debut feature arrived in early 2017 with the kind of cultural momentum that very few horror films ever generate. Made for a reported budget of around 4.5 million dollars under the Blumhouse Productions model (low cost, creatively unencumbered, share in the upside if it lands)
Rating: 4.0★
New Zealand cinema has always punched well above its weight, and Hunt for the Wilderpeople (2016) is one of the cleaner examples of why. Adapted by writer-director Taika Waititi from Barry Crump's 1986 novel Wild Pork and Watercress, the film is a collaboration between the small New
Rating: 3.5★
Ryuichi Sakamoto is one of those rare figures whose career resists easy summary. A founding member of the Yellow Magic Orchestra, the pioneering electronic group that shaped Japanese pop and left fingerprints all over Western synth music in the late 1970s and early 1980s, he went on to become one
Rating: 4.0★
There is a particular kind of documentary that does not simply report on the world but attempts to reframe the entire way you perceive it. Adam Curtis has spent the better part of four decades making exactly that kind of film, and HyperNormalisation, released by the BBC in October 2016,
Rating: 2.5★
Released in late 2019 and acquiring a wider profile in early 2020, The Assistant arrived at a particular cultural moment. The Harvey Weinstein scandal had broken in 2017, the Me Too movement had reshaped public conversation around workplace power, and the film industry was grappling, publicly if not always honestly,
Rating: 2.0★
The Oregon Trail has cast a long shadow over American mythology, and cinema has returned to it often enough to establish its own set of conventions: the wagon circle, the hostile horizon, the guide whose confidence outpaces his competence. Meek's Cutoff (2010) takes that familiar premise and strips
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