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Short Film of the Week: Brolga

After 18 months on the festival circuit, Adrian Powers' self-financed 8 years in the making film, a collaboration with Aboriginal Artist Michael Connolly (Munda-gutta Kulliwari), finally debuts online.
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Trailer: Chaos Walking

Doug Liman returns to sci-fi (did you know that he's attached to a revamp of Cannonball Run?!), and it's nice to see Daisy Ridley get top billing above Tom Holland. Will this be Jumper or Edge of Tomorrow?
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Trailer: The Midnight Sky

George Clooney stars in and directs this post-apocalyptic story of a lone scientist in the Arctic trying to warn a space mission of an impending global catastrophe. This is exactly the type of mid-range budget film that Netflix has stepped up to fill the gap in the market. It'll release in cinemas briefly before streaming on Netflix on December 23.
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PREVIEW: Brave New World

We break down the 2020 series adaptation of Aldous Huxley's classic dystopian novel Brave New World, first published in 1932. Has anything changed almost a century later?
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Seth Larney: 2067 is Now

The young writer/director takes us back to his childhood, his inspirations and motivations as a filmmaker, and his first Australian feature film, the highly ambitious sci-fi spectacle, 2067.
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Horror, Review, sci-fi, Theatrical, This Week Leave a Comment

There’s a sweet spot between the sci-fi and horror genres, a glorious intersection of the two, and within that halcyon zone exists great bloody movies. Don’t believe us? Try Alien (1979), John Carpenter’s The Thing (1982), The Fly (1986), Event Horizon (1997) and Annihilation (2018), all examples of cross-genre excellence. Of course, it’s a hard balancing act and not everyone can get it right. However, Russian film Sputnik gives it a red hot go and the result is pretty damn impressive.

Sputnik tells the tale of psychiatrist Dr. Tatyana Yuryevna Klimova (Oksana Akinshina), who has been given the top secret task of interviewing cosmonaut Konstantin (Pyotr Fyodorov), to find out more about his apparent amnesia regarding the death of his copilot. The year is 1983, with the Cold War on its last gasp, so tensions are high and become even more so when Tatyana realises Konstantin has brought something with him from space. Something that’s… not human. As more and more secrets are revealed, our pragmatic heroine must decide whether to side with governmental bureaucracy or the troubled man she feels increasing empathy for, all the while trying to understand the motivations of our extraterrestrial visitor.

Sputnik is a slick and stylish film, gorgeously shot with superb creature design that belies its relatively low budget. It didn’t cost a lot, but that money was spent wisely, and it shows in every gorgeous frame. It’s essentially a three hander, with Tatyana and Konstantin as our main characters, and the rather severe and taciturn Colonel Semiradov (Fyodor Bondarchuk) rounding out the cast. Of course, there’s a wee beastie from beyond too, but this is a film best gone into with as little information as possible, so we won’t elaborate too much on that. Point is, the escalating tension, the skillfully realised horror set pieces and the solid cast all make this tale gripping and engaging. And while the ending isn’t quite as mind-blowing as it ought to have been, this is still a very well-told yarn that sits firmly ‘twixt sci-fi and horror, and brings modest but enjoyable helpings of both.