FILM & TV
Join CJ Johnson and Jim Flanagan as they review Season 4 of Black Mirror, which Netflix will release on 29 December 2017.
The Girlfriend Experience – Season One – was easily my favourite TV series of 2016. Inspired by Steven Soderbergh’s film of the same name from 2009, it followed a young law intern’s exposure to and gradual embracing of a particular form of high-end prostitution. The story was sordid – most of the men, in particular, […]
Director James Franco’s The Disaster Artist is enormously proficient as a comedy – in terms of laughs out loud, it’s one of the funniest films I’ve seen in years – while also displaying epic chops as a faithful adaptation of an intriguing memoir, an odd-couple buddy movie, a Tale of Hollywood, and a meditation on […]
Yorgos Lanthimos’s The Killing of a Sacred Deer is gripping, creepy, intense and wholly original. It slots beautifully into 2017 as The Year Of Intelligent Horror; it is also, easily, one of the best films of the year. Colin Farrell, re-teaming with Lanthimos from last year’s The Lobster, plays a surgeon whose pretty idyllic […]
Streaming now on Stan, CJ Johnson and Jim Flanagan sit down for an in depth look at the new anthology sci-fi series, Philip. K Dick’s Electric Dreams.
Golden Guitar and CMC Award winner, Fanny Lumsden, covers KC & The Sunshine Band’s Give It Up on Live On The Lot.
Australia’s favourite film and television critiques, CJ Johnson and Jim Flanagan, return to review one of the most anticipated films of 2017: Blade Runner 2049.
John Denver’s Annie’s Song was used very prominently in this year’s Free Fire and Okja. His song Take Me Home Country Roads was used very prominently in Alien Covenant and Logan Lucky. Now, Kingsman: The Golden Circle uses both, very prominently. Channing Tatum was in Logan Lucky and is now in Kingsman. Co-incidence? I don’t […]
Jim Flanagan returns to Watch This and sits down for an in-depth analysis of Darren Aronofsky’s latest film mother! starring Jennifer Lawrence and Javier Bardem.
Darren Aronofsky’s phantasmagoric fantasia on art, fame, success, religion, politics and the cult of celebrity erupts relentlessly and furiously. It is the angriest, most dynamic film I’ve seen this year, and probably the best film hailing from the US (although it seems to have been shot in Quebec).