The government is becoming increasingly desperate to paint Labor as a poor economic manager
By Mungo MacCallum on the
‘American Made’ provides more subversive smarts than you’d expect from a Tom Cruise vehicle
By Harry Windsor on the
By Nick Feik on the
How can Turnbull overcome the Coalition’s ongoing poll woes?
By Mungo MacCallum on the
‘Mischka’s War’ is a historian’s honest attempt at preserving both love and objectivity
By Emily Gallagher on the
Image of Acid Mothers Temple & the Melting Paraiso U.F.O
Sophia Brous assembled another magnificently eclectic program for her festival’s second outing
By Jenny Valentish on the
Cover of Taboo
With ‘Taboo’, Kim Scott sketches out a new way of accepting our histories, and imagining our future.
By Shannon Burns on the
Cover of Devil’s Bargain
Joshua Green chronicles Steve Bannon’s rise to prominence – and offers an insight into what he might be capable of now
By Elle Hardy on the
Still from The Silent Eye
‘The Silent Eye’ is the latest of Amiel Courtin-Wilson’s films to resist easy categorisation
By Lauren Carroll Harris on the
Taylor Mac’s ‘HIR’ at Belvoir is not your average kitchen-sink drama
By Fiona McGregor on the
Won’t somebody think of the Roman Catholics?
By Mungo MacCallum on the
Cover of Goodbye, Vitamin
Alzheimer’s drives the narrative of Rachel Khong’s ‘Goodbye, Vitamin’ but it isn’t the novel’s focus
By Jessica Au on the
Image of Daniel Monks as Joseph Merrick
Malthouse Theatre’s ‘The Real and Imagined History of the Elephant Man’ runs the risk of erasing its protagonist
By Alison Croggon on the
Luc Besson discusses humanity, utopia and his latest film, ‘Valerian’
By Luke Goodsell on the
The second season of ‘Top of the Lake’ once again battles male sexual and psychological violence
By Steve Dow on the
Who will take the blame for the Commonwealth Bank’s latest scandal?
By Mungo MacCallum on the
Viewers are embracing new technology to watch shows that tap into a yearning for a pre-digital age
By Myke Bartlett on the
Australia’s biggest-selling author is largely unknown to contemporary readers – but that’s about to change
By Simon Caterson on the