Tension, tragedy, and transformation: A review of The Brink by Holden Sheppard
*Mini spoilers ahead!* Running out of food (and alcohol), rarely sleeping in…
Ecstatic Rice and Queering Filipino Identity: A review of Buddy Malbasias and Clare Dark’s ‘Bahala/o’
By Isabella Rose Cort A recent experimental dance performance at BackBone Festival,…
“It’s a skin-crawling, stomach-churning spectacle”: A Review of ‘The Substance’
Warning: Spoilers ahead. I’ve lost the ability to form coherent sentences. The…
“You aren’t harangued by balloon breasts”: A Review of ‘Tomb Raider: The Legend of Lara Croft’
The Tomb Raider returns. Netflix has brought Lara Croft back to world of anime and fixed many-a-mistake.
‘It’s finally here!’: Review of ’Running With Pirates’ by Kári Gíslason
In my first year as a creative writing student, Kári Gíslason was…
Maude Horton’s Glorious Revenge by Lizzie Pook: A Review
By Mia Paton I’ve always loved a good historical fiction, and Lizzie…
Glass’ October Movie Regime
In honour of the spooky season, I have decided to watch as…
Haunted by our legacy: Review of Tim Winton’s chilling new climate epic ‘Juice’
By David Uptin *Spoilers ahead!* I’ve only finished a Tim Winton book…
“In the empty space in both women’s lives, new love can bloom”: A Review of ‘A Language of Limbs’
*This review contains spoilers! What is the most important meeting of your…
Inventive film students turned promising producers: Inside ‘100% Pure Rage’
Sporting a small budget and an even smaller production crew, three Griffith…
