Review: The Batman (2022)
Much as when Spider-Man finally turned up in the Marvel Cinematic Universe, Matt Reeves’ The Batman smartly eschews retreading the caped crusader’s origin story, assuming correctly that after 80 years, almost ...
Review: Jungle Cruise (2021)
Another Disney flick based on one of their theme park rides, Jungle Cruise is more Pirates of the Caribbean than Haunted Mansion, thank God, even if it’s not by much. Really, it’s more like one of the Pirates ...
Review: Nomadland (2020)
Director of The Rider and the upcoming Marvel tentpole Eternals (I am baffled, too) Chloe Zhao shines a light on some of the grimmer aspects of the United States’ ongoing economic desertification with her late...
Review: Dirt Music (2020)
Tim Winton is hard to adapt for the screen. Do it right, as in Simon Baker’s 2017 feature directing debut, Breath, and you can wind up with something quite special, a thoughtful meditation on adolescence and l...
Ennio Morricone: Farewell to the Maestro
We lost Ennio Morricone yesterday. The world’s greatest screen composer was 91 years old, which is a good innings by anyone’s estimation, but it still stings when you lose someone who cast a shadow as long as ...
Accessreel.com Podcast Episode 5
The title doesn't exactly roll off the tongue, does it? Anyhoo, like Clint in A Fistful of Dollars, I like to sell my services to both factions in the Great Perth Podcast War, occasionally putting in an appeara...
REVIEW: THE EXPENDABLES 2
In a manner of speaking. I wrote a short review of The Expendables 2 for FILMINK, which can be found here. I also discussed it a bit on the latest Accessreel podcast, which you can listen to here. We also did a...