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Glenn Dunks

Tomatometer-approved critic
Biography:

Glenn Charlie Dunks is an award-winning film critic from Melbourne, Australia. He has written for print and online outlets in Australia and the United States for nearly two decades including Vanity Fair, The Guardian, Metro, The Film Experience, Paradise Magazine, The Big Issue, ScreenHub and Junkee. In 2025, he launched redocumented, a new website dedicated to reviews of documentaries exclusively. He has also appeared on many podcasts as well as being a regular film contributor to Joy 94.9, Australia's first and only LGBTQI+ community radio station. He is the winner of two Australian Film Critics Association awards.

Reviews

Movies TV Shows
Diane Warren: Relentless (2024) 83% EDIT “It’s reliant on friends and family to really get beyond the walls that she puts up and we're able to piece together the family and personal traumas that shaped how she sees the world and what fuels her writing.” – reDocumented Mar 15, 2026 Full Review Citizen Sleuth (2023) 100% EDIT “...Or how about the end credits that feature an audio collage of happily welcoming podcast introductions that quite bluntly lays out how real human deaths have been commodified to sell subscriptions and tote bags. ” – reDocumented Mar 15, 2026 Full Review Night in West Texas (2025) EDIT “In that sense, some lovers of true crime documentaries may feel Night in West Texas leaves them longing... Instead, Esquenazi focuses on Reyos himself and the struggles of being a queer First Nations man in times of great societal flux.” – reDocumented Mar 15, 2026 Full Review Cutting Through Rocks (2025) 100% EDIT “It’s not a surprise that it won the Grand Jury Prize at Sundance for world cinema (documentary) when its images can be so striking and get so efficiently to the heart of its story.” – reDocumented Mar 15, 2026 Full Review Goodbye Horses: The Many Lives of Q Lazzarus (2024) 100% EDIT “Goodbye Horses’ filmmaker was gifted a bag of previously unreleased material. In some ways, the documentary’s legacy may ultimately be in finally getting Q Lazzarus’ catalogue out of the metaphorical vault and back into the public consciousness” – reDocumented Mar 15, 2026 Full Review Are We Good? (2025) 97% EDIT “It's in these scenes that Maron, and therefore the film to a large degree, is at its most compelling. Elsewhere, he’s charismatic and cantankerous and, yes, sympathetic, but it lands on fairly familiar beats.” – reDocumented Mar 15, 2026 Full Review Depeche Mode: M (2025) EDIT “Seeing Gahan and the band's prime songwriter and guitarist Martin Gore is probably, beyond the music, the most memorable feature of M. They are lovely together, just two dudes rocking out and still having the time of their lives.” – reDocumented Mar 15, 2026 Full Review Prime Minister (2025) 93% EDIT “Prime Minister does well to utilise Ardern’s refreshing candour throughout to illuminate on a job that saw her unenviably thrust to the forefront of international politics more than once.” – reDocumented Mar 15, 2026 Full Review Walk with Me (2024) EDIT “Levitt shows a lovely knack for the storytelling craft. She leaves the camera rolling through difficult, personally traumatic sequences and doesn't cut away from the moments that are difficult to watch.” – reDocumented Mar 15, 2026 Full Review River of Grass (2025) 100% EDIT “...it has something of a timeless (or, more accurately, out-of-time) poetic visual quality that I find exciting to watch—although, admittedly, might be too dry for some.” – reDocumented Mar 8, 2026 Full Review Pistachio Wars (2024) EDIT “The first-time filmmakers are wise to anchor this story in the simple, effective storytelling. Good ol’ American greed is front and centre here, and its influence leaches into so many different areas like toxins into the ground.” – reDocumented Mar 8, 2026 Full Review Heaven (1987) 71% EDIT “Maybe Heaven is just one big way of saying to stop thinking about all of this so much and just live your life while we have it.” – reDocumented Mar 8, 2026 Full Review There Was, There Was Not (2024) 100% EDIT “The sadness of the film and the deep sense of loss that is felt by Mkrtichian’s subjects is smartly told through her observational storytelling and Alexandria Bombach’s editing, criss-crossing between the four women and the land itself...” – reDocumented Mar 8, 2026 Full Review Looking for Robert (2024) EDIT “Copans’ intimate knowledge of Kramer allows for Looking for Robert to be a more honest take on the filmmaker. One that celebrates, but never presents him as something that he wasn’t. Or, perhaps even more importantly, that his films never were.” – reDocumented Mar 8, 2026 Full Review Apocalypse in the Tropics (2024) 91% EDIT “There’s no doubt a hell of a lot more to the story and maybe there’s another film’s story to tell in a trilogy-capping feature. But this is an incisive look at one country’s perilous descent into dangerous extremism...” – reDocumented Mar 8, 2026 Full Review Ai Weiwei's Turandot (2025) EDIT “It acts as a nice artefact for those of us who would never have the opportunity to see such a production. I would have liked to have seen more of its final form, especially since the movie’s opening sequence... was a breathtaking way to begin.” – reDocumented Mar 8, 2026 Full Review Naked Ambition (2023) 70% EDIT “...it’s hard not to suspect that there are several chapters of her life that aren’t explored quite as much as they could be, [but] it’s lively and has a nice spark while speaking to ideas that feel relevant for today.” – reDocumented Mar 8, 2026 Full Review Lost in the Jungle (2025) 92% EDIT “It hangs a lot on its frame, but I appreciated that there was a bit more effort made to really grapple with the lives of this family and those around them, something I found missing in some of their earlier comparable works.” – reDocumented Mar 8, 2026 Full Review The Propagandist (2025) EDIT “In some of its more interesting passages, Bouwman’s film focuses on the filmmaking itself and the way Teunissen was changed and how deluded he must have become.” – reDocumented Mar 8, 2026 Full Review 1000 Women in Horror (2025) 100% EDIT “But this isn’t a boys vs girls situation. It’s about carving out a space to talk about these issues in a way that offers freedom of expression and individuality. There could easily be another one given how much there is to discuss.” – reDocumented Mar 8, 2026 Full Review Trains (2024) EDIT “What things these trains have seen! Trains is a ravishing document of something that nobody likely knew they needed. I simply adored it.” – reDocumented Mar 8, 2026 Full Review Israel Palestine on Swedish TV 1958-1989 (2024) 91% EDIT “[A quote] suggests that archives cannot tell us what happened, but more how it was presented to society. That’s an appropriate reminder for all such films, but especially so here. There is obviously much more to the story than can fit into 200 minutes.” – reDocumented Mar 8, 2026 Full Review The Librarians (2025) 94% EDIT “In a way, it’s like arguing with a baby. Sure, your points might be totally accurate and compelling and maybe you made those points with veracious integrity. But ultimately, you’re still arguing with a baby.” – reDocumented Mar 8, 2026 Full Review Deaf President Now! (2025) 100% EDIT “It proves a smartly assembled technical piece, too. Michael Harte’s editing, switching between archival footage and cleanly shot talking heads is efficient and tight. The sound design of Samir Foco is a surprising, nonsensical snub by the Emmy voters.” – reDocumented Mar 8, 2026 Full Review Music by John Williams (2024) 100% EDIT “There are a lot of cute anecdotes, not many of which we get to really dig into. Which is probably only natural. The film is 105 minutes long and he has more credits than minutes on runtime.” – reDocumented Mar 8, 2026 Full Review
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