A deceptively simple tale with a lot to say, Drift lingers long, thanks largely to a mesmerising performance from Cynthia Erivo.

A film about violent racism that is just too ambivalent in its treatment of the perpetrators to be anything but an uncomfortable watch. Some good performances, but leaves a bad taste.

A fun diversion for the kids, but you feel Attenborough could have packaged these often beautifully produced images with more rigour and insight in under an hour.

A muddle.

At its heart, Candyman terrifies because of its ideas. It sinks its horrific foundations very much in the real world of poverty and racial alienation.

First and foremost a highly enjoyable crowd-pleaser, despite some plodding direction and laboured point-making about TV news and the nature of fame and heroism, this has Garcia and Davis as their usual beguiling selves and an ending guaranteed to raise a smile.

A handsome and well-acted rumination on memory, boyhood and ageing that sees Ritesh Batra deliver a solid rather than inspired interpretation of Julian Barnes’ prize winner.

It's not exactly good, and it has some very bad scenes indeed, but the performances sometimes sparkle and the unusual happy ending -- scored with David Bowie's 'Putting Out the Fire With Gasoline' -- is surprisingly moving.

Ralph Macchio's transformation from high school geek to butt-kicking tough guy, thanks to a little help from Chinese sage Mr. Miyagi (Noriyuki 'Pat' Morita) and his homespun Oriental wisdom, is entertaining enough.

More predictable than shaggy, Dog is more interesting than the standard man-mutt buddy movie but still never really pulls the heartstrings. What it lacks in urgency and emotion, Tatum more than makes up for in movie-star wattage.

An entertaining look at the 80s embourgeoisement of 60s student activists steers skillfully between social satire and sentiment.

More interestingly, it paints the Bolshoi as a microcosm of Russia, in thrall to tradition but beset by greed, backstabbing and corruption.

The road-crime movie is such a formula in Hollywood that almost every debuting director turns one out, but writer-director Matthew Bright rings the changes by modeling this white trash nightmare on Red Riding Hood.

This is the Bond flick blessed with the best plot, a genuine sense of emotion and a spirit closest to Ian Fleming’s novels.

Lewd, funny and immensely quotable, this is one of the very best high school dramas ever made.

Powerful, personal, but bombastic.

With Soderbergh now only on cinematography duties, this one takes all of the original’s surface — chiefly the hip gyrations — and none of the substance, interesting character arcs or charms.

A darker middle act, Fear Street Part Two: 1978 lacks the verve of 1994 but still delivers enjoyable summer camp-based bedlam. Next up: 1666.

Sequel manages to retain some pathos and credibility.

It’s not as scary or as effective as the first film, but points for the performances, and for trying hard to do something different and fresh.

Manages to be a charming little movie, nothing to write home about but a perfectly acceptable way to while away a rainy Sunday afternoon with the child, or children, in your life.

Intelligent and uncompromising, with knock-out performances from Downey Jr. and Foxx .

A pleasing and pretty enough re-run, just that bit diminished.

An interesting, challenging mess. The White Crow offers lots that’s impressive — Ivenko as Nureyev, the dance sequences, a knuckle-whitening last 20 minutes — but can’t render it in a dramatically engaging way.

An acting masterclass that neither pulls its punches nor sacrifices detail to pander to a mass audience, this is smart filmmaking from a director who gets better with every film — and a near career-best from Bale, which is saying something.

Part two of Ulrich Seidl’s Paradise trilogy is a stark, morally complex study of blind belief, lightened by black laughs and Seidl’s static, deadpan compositions.

Plot-wise Ocean’s 8 cleaves closely to the tenets of Heist Movie Lore but does little to enliven or tweak the formula. It lacks the jazzy swagger of Soderbergh’s trio but delivers a fun, likeable romp built on the charm and charisma of its cast.

This will divide audiences as much as "The Tree Of Life," but it's a brave and beautiful calling card for both filmmaker and star. Drink it up, sit back and think of a very different Australia.