MERCY ROAD (Melbourne IFF 2023) – Review by Nadine Whitney

Writer/director John Curran’s Australian psychological thriller Mercy Road could be euphemistically be described as being too clever for its own good but that presumes the film is in any manner as clever as it is attempting to be. It’s filled with twists, turns, unanswered questions, dark mysteries… all elements that would add up to creating some audience engagement in a better film, but Curran’s work in almost every aspect of the film is sloppy and ill considered.

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INDIANA JONES AND THE DIAL OF DESTINY – Review by Susan Granger

For great family fun, you can’t beat Indiana Jones and the Dial of Destiny, concluding the globe-trotting adventures of the iconic archeologist, a fantastical franchise that began in 1981 with Steven Spielberg’s Raiders of the Lost Ark. This final saga begins in 1944 Germany near the near of W.W. II, as intrepid Dr. Henry ‘Indiana’ Jones Jr. (Harrison Ford) tries to help his close friend/colleague Basil ‘Baz’ Shaw (Toby Jones) save Greek mathematician/inventor Archimedes’ fabled ‘Antikythera’ – a.k.a. Dial of Destiny – a clock-like devise enabling time travel – from a nasty Nazi (Mads Mikkelson).

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INDIANA JONES AND THE DIAL OF DESTINY – Review by Susan Kamyab

What’s best about this sequel is the nostalgia. They go back to the basics, filling in holes fans might wonder about and including plenty of throwbacks from the original movies, like Dr. Jones’ past relationships, his fear of snakes, and the iconic John Williams score. But what’s most impressive about the film, is how effortlessly Ford fits right back into his historic character. You can tell he’s having fun again and proves that he is still just as talented as ever.

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INDIANA JONES AND THE DIAL OF DESTINY – Review by T. J. Callahan

The Dial of Destiny succeeds on nostalgia. Otherwise it’s a crazy chase after a crazy chase. On a train, in a plane, driving tuk tuks and diving off boats. On camelback and horseback…in the subway? Underwater and in the sky. This is no lie. The writers must have been high. Spoiler alert, Ford didn’t die, despite no longer being spry. Although the bad guys gave it the good ol Nazi try.

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INDIANA JONES AND THE DIAL OF DESTINY – Review by Valerie Kalfrin

The years, the mileage, the memories, and the regrets swirl into a satisfying mix in Indiana Jones and the Dial of Destiny, a warmhearted sendoff for the globe-trotting archaeologist that puts star Harrison Ford—at eighty—back in the saddle for one more adventure. A fun treasure hunt with a few surprises, Indiana Jones and the Dial of Destiny is an affectionate snapshot of an adventurer who now feels like an artifact himself. For anyone who’s been along for the whole ride, it’s gratifying to watch him discover where he belongs.

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EMPIRE OF LIGHT – Review by Susan Granger

Oscar-and-BAFTA nominated for Best Cinematography, Empire of Light is set in 1981 in Margate, a small seaside town in Britain, where middle-aged Hilary Small (Olivia Colman) is the forlorn second-in-command at the Empire Cinema, a fading movie palace. Accepting his 16th Academy Award nomination, cinematographer Roger Deakins explained, “I think this film is about companionship. Hilary has this world with her fellow workers, that sort of friendship beings something more into her life, an existence without a great horizon.”

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EMPIRE OF LIGHT – Review by Diane Carson

Empire of Light is a love letter to 1980s cinema. Writer/director Sam Mendes goes behind the scenes to reveal the lives of those who whisked viewers into another world while battling their own demons and society’s racism, sexual predation, and mental health struggles. Behind the glimmer and glamor of that magical theater and blinding projector’s light existed a real, troubled world from which imagination offered escape, the establishment of a surrogate, supportive family.

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EMPIRE OF LIGHT (TIFF 2022) – Review by Cate Marquis

Empire of Light takes place in a grand old movie theater that is now slowly fading away in early 1980s, with a loyal movie-loving staff still selling tickets and popcorn to dwindling audiences. You would expect such a movie to be a love letter to the movies, or at least old movie theaters, fondly recalling the glory days of actual film on reels and the magic of movies. Writer/director Sam Mendes’ nostalgic drama does start out that way, but then it drifts off into something else, a plot touching on mental illness and racial tensions in the 1980s, and involving a May-October romance.

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