ONE MORE SHOT – Review by Betsy Pickle

Back when Gwyneth Paltrow was better known for her acting than her entrepreneurship, she starred in a wistful, speculative romantic comedy called Sliding Doors about a woman in a road-not-taken scenario, using the London Underground as a magical portal. One More Shot literally references Sliding Doors, just to make sure you get the connection. Director Nicholas Gifford doesn’t queeze the film into a particular box. It’s alternately funny, silly, sad, disturbing, sweet, irritating, insightful and relatable. It’s a slice of life – albeit an only-in-the-movies life. One More Shot delivers more than its premise promises.

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ONE MORE SHOT (SXSW 2025) – Review by Valerie Kalfrin

It’s 1999, and even with the new millennium buzz, thirtysomething Minnie (Emily Browning, Class of ‘07) doesn’t have her act together. After a rough day at work—and some nagging from roommates to find her own place—Minnie is bummed when she learns that her old flame Joe (Sean Keenan, No Escape) is back from abroad to ring in the New Year at a friend’s place. So Minnie throws on a sexy red dress, digs out the tequila someone gifted her from Mexico years ago, and perks up for a life-changing night. But once she takes a shot on the doorstep for fortitude, she sets up a time loop that resets with every swig.

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MOVIE OF THE WEEK February 9: THAT’S NOT ME

motw logo 1-35 Australian filmmaker Alice Foulcher co-wrote, co-produced and stars in That’s Not Me, an appealing comedy send up about sibling rivalry, personal identity, fame and the whims of showbiz. Continue reading…

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Filmmaker Alice Foulcher on Collaboration, Multitasking, Fame and THAT’S NOT ME — Interview by Alexandra Heller-Nicholas (Exclusive)

That’s Not Me, the Australian independent comedy that premiered at the Santa Barbara International Film Festival, and won audiences awards at both the Sydney Film Festival and Melbourne International Film Festival, was made with an extraordinarily low budget of $45,000 by filmmakers Gregory Erdstein and Alice Foulcher. Receiving rave reviews from The Guardian and Time Out, the self-funded comedy seems to exemplify a trend in Australian cinema.

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