This film is missing any real stakes, any real anticipation, any real tension. It’s an outdated concept of Australian storytelling, and audiences deserve much better.

Win one of five double passes to see 'Beautiful Boy' in cinemas.

Win one of five double passes to see 'Ghost Stories' in cinemas.

For a non-fiction piece of filmmaking, its emotional intelligence is grounded in such tangible intimacy, it is heartbreaking as much as it is astonishing.

Is it just a great little genre play on the trope of a group of strangers forced together under unusual circumstances, or is it something much bigger? You’ll just have to find out for yourself.

A powerful and moving experience, it will leave you marvelling at the ability of our species to dream, to invent, to strive and to survive.

In its best moments, ‘The Raft’ strives in teaching us how simple it can be for our ambition to become our downfall.

There’s such a need to treat an important topic with appropriate weight, but many moments that could have packed more punch thanks to the work of Carrell and Chalamet end up feeling bloated.

The opening half hour is all about the adrenal rush of planning and strategising a heist, but occasionally feels like an exercise in style over substance.

While ‘Venom’ has plenty of rough edges, I’d rather watch a scrappy film that was genuinely entertaining and different than another by-the-numbers instalment in a franchise whose edges have been sanded down into nothingness.

Xavier Legrand's ‘Custody’ is a powerful exploration of the aftermath of divorce and the trauma of abuse.

The film acts as an hour-long reconstruction of Hitchcock’s 1958 suspense classic, replicating the original using only clips from other '50s noir, experimental films, '70s prime-time TV, and more.