It's a contemporary movie musical that makes you feel genuinely sky-high.

Field captures the sense of outrage to perfection, puffy-eyed, screaming and plotting escape. Appropriately enough, the film is strictly deglamorised; combined with the lack of sympathetic characters, it all adds up to difficult, compelling viewing as we're drawn into the deepening nightmare.

Sweetie confirms Campion as a highly original movie talent.

Like any good Western, Slow West percolates with the constant threat of violence, but debuting feature director John Maclean wrings the genre for its mythic value.

Dirty Wars leaves some deeper questions unexplored, mainly the philosophical struggle between security and secrecy, but makes up grandly with raw data and one correspondent’s passion.

Battle offers both a sobering portrait of personal revolt (notably through activist Daniel Goldstein, whose eviction fight landed in the State Supreme Court) and a searing case study of a community dismantled by racial and economic tensions. Alas, it's not much of a battle; more like "Requiem for Brooklyn."

Puzzling and provocative, Alps has a lingering power and an effect that is thrillingly difficult to define.

Richly entertaining and blackly funny but told with sincerity and heart, the half-dozen Western tales packed into The Ballad of Buster Scruggs show the Coen brothers loading up their six-shooter and firing barely a blank.

Yu, an assistant director on Bong Joon-ho’s Okja, shows a similar taste in dark comedy as the Korean master – personal anxieties externalised in instances that can turn from horrific to funny in their absurdity.

An Austrian actor whose Easter-Island mug has graced movies such as the Oscar-nominated "The Counterfeiters" (2007), Markovics shows a keen attention to performers that you'd expect from a thespian-turned-director.

Branagh and Thompson, as Beatrice and Benedick, seem on the whole happier with the romance than the comedy - but do a fair job with some of the best verbal jousting in the language.

Fashioning "The Great Dictator" and "Inglourious Basterds" into a cross joint and then lighting it from both ends, Goldberg and Rogen’s second directorial effort follows the hysterically violent misadventures of idiotic talk-show host Dave Skylark (James Franco, hamming it up) and his underachieving producer, Aaron (Rogen).

Even if you have mixed feelings about the new suits and other shortcomings, Power Rangers will leave fans feeling sentimental.

Other English Hitchcocks may be more provocative, but few offer such a ripping good yarn.

Swinging it to compelling are irresistible performances from Felicity Jones and Guy Pearce.

Director Samantha Grant scores an interview with Blair himself, whose too-little-too-late admissions (along with his reemergence as a postguilt life coach) might drive your crowd to hisses.

Fogel is a little out of his depth, but he has a killer tale to tell.

Calling the new A Star Is Born a “valentine” from its star, Lady Gaga, to her fans sounds a bit coy and delicate, so let’s call it what it really is: a hot French kiss (with full-on tongue), filled with passion, tears and a staggering amount of chutzpah.

Mike Cheslik’s Hundreds Of Beavers is that rare thing in the current film landscape: a genuine cult classic.

An epic brilliance conjures up impossible monumental castles, shadows and monstrosities, with exciting action marvellously orchestrated across the CinemaScope frame.

Very little gets in the way of Lebanon's apocalyptic mood; if it turns its audience even slightly away from barbarism, it might have done its job.

It’s a story of achievement against all odds, of community and kindness in the darkest places, and of the simple power of putting one foot in front of the other to reclaim a life. I challenge even the coldest of heart to not be touched by its message.

It reunites director Kitty Green with her ’The Assistant’ star Julia Garner and should marry provocative genre thrills with a cerebral feminist subtext.

What elevates the film is a pervasive, palpable sense of loss — between lover and beloved, young and old, stage and screen.

Perverse, provocative entertainment.

It works because we haven’t seen this story a thousand times before, and because it leaves behind the grim-dark posturing of ‘Suicide Squad’. It’s nice to see a joker who doesn’t take herself too seriously.

The humour couldn't be blacker, and the quality of invention is outrageously high.

One of [Moore's] more hopeful and celebratory efforts.