Villeneuve has failed to deliver anything near the emotional intensity of his previous work and the ever-dependable Adams can’t save the film from its ponderous sci fi noodling.

Adelaide born producer Bruna Papandrea is no household name in this country, but she’s arguably one of the most impressive Australians working in Hollywood today.

The novel that turns up on Amy Adams’ doorstep in Nocturnal Animals – bargain bin Cormac McCarthy cribbing that it is -  is more interesting than the story the film actually wants to tell.

Apparently the plot convinces you on the page, but it's certainly a hard sell on screen.

As fascinating as the real-life story is, you won’t necessarily be surprised by the way Hacksaw Ridge tells it.

It’s refreshing to find a film that’s as engaging and defiantly hard-to-pin down as this.

It feels like American capitalism as seen from the bottom rung of the ladder, with your whole life ahead of you, and the belief in your heart, ridiculous as it is, that the only way is up.

Full audio of a masterclass given by the Hong Kong director Johnnie To in Adelaide last month as part of the ozAsia festival.

It feels like an urban legend told at a slumber party - earnest and creepy with a plot twist you see coming - but first time writer director Nicholas Verso’s delight is palpable.

Just as the 1950s and 1960s cycle of Godzilla films were heavy with an invisible symbolic referencing nuclear energy usage, Shin Godzilla’s central thesis has been mostly ignored. Guest critic Philip Brophy explains.