MELBOURNE INTERNATIONAL FILM FESTIVAL 2025 REVIEWS
The Melbourne International Film Festival runs from August 7 until August 24. Check back regularly for updates and new reviews during the festival.
ALL REVIEWS WRITTEN BY GREG KING
LAST UPDATED AUGUST 18, 2025
REDUX REDUX
This inventive and original take on the revenge thriller genre comes from filmmaking siblings Kevin and Matthew McManus (American Vandal, etc). Irene Kelly (Michaela McManus, sister of director Kevin) pursues Neville (Jeremy Holm, from The Ranger, etc), the predator who kidnapped, raped and murdered her daughter. With the aid of a machine that allows her to travel through parallel dimensions, she pursues Neville through alternative versions of the world in her thirst to keep exacting revenge. But her mission takes on another dimension when, in one of the multiverses she reaches, she catches Neville with his next victim in his clutches. Mia (newcomer Stella Marcus in her film debut) is a street smart kid who has fled the broken foster care system. Once Irene has rescued Mia and once again killed Neville the pair of broken souls begin to bond. Mia insists on accompanying Irene on her mission. Just as she feels that, in repeatedly killing Neville in each alternate universe she passes through, she is losing her sense of humanity her maternal instincts kick in as she tries to protect Mia. Redux Redux explores themes of trauma, grief, guilt, addiction, obsession, revenge and motherhood. McManus brings a palpable fury and intensity to her role and is fully committed to the physical demands of the vengeful Irene. She develops a good chemistry with Marcus, and their prickly relationship adds some touches of both humour and tenderness to the action. Paul Koch’s driving score propels the action along. Redux Redux kicks into high gear right from the outset with its startling opening scene, and the directors shape the film with lots of energy. This brutal and fast paced thriller keeps the audience hooked.
★★★☆
CHAIN REACTIONS.
Fifty years ago director Tobe Hooper gave us the iconic The Texas Chainsaw Massacre, and its low budget grindhouse aesthetic changed the horror movie genre forever. Its initial release though was met with controversy. This documentary from veteran filmmaker Alexandre O Philippe (The People Vs George Lucas, Doc Of The Dead, etc) looks back at the impact the seminal 1974 film had on its initial release and explores how it has also shaped many films that followed. Philippe explores the impact of the film from the perspective of five artists who discuss their reaction to seeing the film for the first time as they offer their thoughts on the film’s impact and legacy, and they put the film in the context of their own lives. First up is actor/comedian Patton Oswalt, a left of field choice to open the film. Revered Japanese director Takeshi Miike (13 Assassins, etc) considers the international impact of the film. Melbourne based film critic Alexandra Heller-Nicholas also gives the film an Australian -based perspective looking at how Hooper’s film has also influenced a number of local horror films including Picnic At Hanging Rock, Wake In Fright and even Wolf Creek. Bestselling author and horror novelist Stephen King is a fan of the film and even compares its gritty ethos to the novels of Cormac McCarthy. And filmmaker Karyn Kusama (The Invitation, etc) dissects a couple of key scenes as she discusses Hooper’s approach to filmmaking and the artistry of his direction. Philippe and his editor David Lawrence (who previously edited his 2022 documentary Lynch/Oz, etc) have incorporated many key scenes from The Texas Chainsaw Massacre to put these thoughts into context, and they have also included brief snippets from a number of other films that are raised by the interview subjects. Philippe has cleverly shot these interviews against a backdrop that resembles the setting of the film itself. Compared to the insights offered by the other interviewees, Oswalt’s input adds little of interest and could have been cut from the film altogether. A must see for horror fans and film buffs.
★★★☆
DEEPER.
Documentary filmmaker Jennifer Peedom (Sherpa, etc) turns her focus on Dr Richard Harris, an Adelaide-based anesthetist who played a key role in the dramatic 2018 rescue of the Thai soccer players who were trapped in an underground cavern for two weeks. Harris was also an avid cave diver, and it was this unusual combination of talents that proved instrumental in the rescue which made headlines around the world. Harris himself has been fascinated (some might say obsessed) with a cave in New Zealand known as the Pearse Resurgence, which is reputedly the deepest such cave system in the world. With a team of colleagues and fellow divers (including Craig Challen) Harris aims to dive deeper than anyone has gone previously. But his mission is fraught with numerous dangers and setbacks that require some novel workarounds and innovation. Peedom’s film looks at Harris and his drive to push himself and take risks. But Harris also comes across as self-denigrating and humble. Challen is more straight forward and humourless. There is some tension between the pair as they have different ideas about the challenges they face and their willingness to push the limits. Peedom and her cinematographer Benjamin Dowie (The Burnt Half, etc) have assembled some remarkable footage and imagery, and the film is visually claustrophobic as Harris works his way through the underwater cave system. The dive itself offers plenty of tension.
★★★
THE BAD GUYS 2.
The Bad Guys 2 is an entertaining and enjoyable sequel to 2022’s animated comedy caper about a gang of anthropomorphic animal criminals led by the cunning Snake (voiced by Sam Rockwell). The film is based on the popular series of illustrated children’s books written by Aaron Blabey. The clever film expands on the original to develop the characters and their relationships, with the original vocal cast returning to breathe life into the characters. When the film opens the gang have attempted to go straight but are struggling to be accepted into society. Their attempts to find jobs are proving unsuccessful because of their reputation and obvious gaps in their resumes. Wolf is romantically involved with the governor (voiced by Zazie Beets), but they have to keep their relationship a secret. When a crime spree erupts which emulates their methodology it becomes clear that the bad guys are being framed by a criminal mastermind. Wolf and the gang set out to expose the identity of the Phantom Bandit and clear their names. The villain has his sights set on hijacking a rocket and committing an epic act of grand larceny on a grand scale. Returning to the director’s chair is French animator and filmmaker Pierre Perifel, and he ups the ante here with some colourful, richly detailed animation. There are a couple of standout sequences, including the opening gravity defining car chase through the streets of Cairo and a climax set in outer space. Perifel imbues the material with a sense of mischief and some sly humour and plenty of energy. He maintains a fast pace throughout. Most of the jokes land successfully. The action is accompanied by a bouncy jazz influenced score from Daniel Pemberton. Bad Guys 2 will appeal to family audiences, and it sets expectations for yet another sequel.
★★★
EDDINGTON.
Ari Aster is better known for his horror films including Hereditary and Midsommar, but his latest film is a bit of a change of territory. Eddington is a dark, sprawling and ambitious contemporary western, set in the small New Mexico town of Eddington in 2020 during the COVID epidemic. The town itself becomes something of a microcosm of America at the time, and Aster serves up a rather frightening vision of where the country is headed. Aster explores themes of the mask mandates and social distancing, as well as corruption, power, small town politics, indigenous land rights, social justice, governmental overreach, BLM protests, gun control, pedophilia. It makes for a heady and volatile mix, and some elements and subplots are more potent than others. Sheriff Joe Cross (Joaquin Phoenix) is running for mayor in an upcoming election, and he is taking on the incumbent Ted Garcia (Pedro Pascal, who seems to be very busy these days), who runs a local bar. Garcia wants to allow a tech centre to be built in the town. But before long the town becomes powder keg and represents a microcosm of the turbulent political state of the US itself. Aster’s direction is muscular, and he gives us a couple of strong set pieces, but the film is tonally uneven and a little indulgent as Aster crams in too many ideas. Cinematographer Darius Khondji, replacing Aster’s regular cinematographer Pawel Pogorzelski, does a good job capturing the rugged terrain and he gives us a strong sense of place. Phoenix brings his usual intensity to his performance as Cross, who grows increasingly unhinged as the township falls into anarchy. Emma Stone plays Cross’ unhappy wife Louise and she brings a vulnerability to her performance, while Diedre O’Connell is strong as Dawn, his conspiracy theorist mother-in-law. The cast also includes Austin Butler (from Elvis, etc) as the charismatic leader of a religious cult; Luke Grimes (from the tv series Yellowstone, etc) as one of Joe’s officers; Clifton Collins jr, and Michael Ward as a sheriff’s trainee. While not completely successful, Eddington is more accessible than Aster’s previous film Beau Is Afraid.
★★★
