Zodiac – A Retrospective Review
After a long night scrolling through Netflix, Nic stumbled across David Fincher’s 2007 masterpiece ‘Zodiac’. His only regret was waiting so long to watch it, and he’s hoping you won’t do the same.
After a long night scrolling through Netflix, Nic stumbled across David Fincher’s 2007 masterpiece ‘Zodiac’. His only regret was waiting so long to watch it, and he’s hoping you won’t do the same.
One of our resident reviewers went on holiday. Rather than recount her experiences overseas, she thought it more entertaining to give a summary of her in-flight viewing experience. See what she watched and what she thought of those films here.
The writers at FilmBunker list their best films of 2018.
Ciaran sat down with Greg Sestero before the Brisbane premier of ‘Best F(r)iends Volume 2’ to talk Tommy Wiseau, their new film, and everything in between.
After a slew of adaptations, all with varying levels of success, the new Robin Hood aims to modernise the legendary hero. After a slew of terrible reviews, and a 13% Rotten Tomatoes rating, it may come as a surprise that our reviewer is actually batting for this film.
Though the Western has enjoyed some brief resurgences in popularity in recent years, the genre is still a far cry away from its heyday in the 1950s. But with the much lauded reception of Red Dead Redemption 2, could the future of Westerns lie in a medium switch up from cinema to gaming?
Seth MacFarlane’s The Orville throws back to the Star Trek series of yore, a decision that has yielded a deep divide between critics and fans. What’s the deal?
In a rare moment of sincerity, Ciaran opens up about her love for her local theatre, in a hopeful bid that the higher-ups of the University of Queensland will read it, and with a single tear, rip up the plans to demolish it.
This year, Kelsey attended ComicCon under the guise of giving FilmBunker some more content. Really, she just spent a day fangirling and having more fun than the rest of the team. Here is how ComicCon shaped up in 2018.
The mockumentary genre has seen little traction in cinema, despite its critical and cult successes. Has its cultural capital run dry, or is there life in it yet?
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