The chief message of the film is that true love is something that should not be allowed to wither and die, and needs attention to keep it vibrantly alive.

It sentimentally explores (though effectively so) the surface level of the conflict that has festered over time.

There have been a number of good movies about children dying of cancer, like ‘Me and Earl and the Dying Girl’, but this movie is different, and it is a tribute to Australian movie-making that it is so

The movie tells us in its own way that image-consumed people can be driven to madness by their obsession with clothing.

Its narrative has pulling power, but cinematically it is a hard ask to address all these themes well, and it challenges both director and actors.

This is a glamorously-styled, sophisticated documentary about an ageing artist looking across his achievements to reveal the meaning of the name of Pierre Cardin.

Iannucci, with the help of an ethnically diverse cast, humorously translates Dickens in a modern way that amuses, rather than enthrals. The result is a gentler version than Dickens’ presumably intended.

The mix of tragedy and comedy is a difficult one to handle.

Its cinematography, in particular, creates a naturalistic feel that forcibly conveys the status of black people lying at the margins.

The fact that the offending Boss stays hidden is a powerful strategy adopted by Green that keeps offence and humiliation at the forefront of the film.

The metaphor that this film uses is ecological, not mythological. That’s nature, just the way things are.

A stylish movie with fast editing and eye-catching photography, and good acting performances, but it loses some momentum.

It lacks the joie de vivre of The Full Monty but communicates the value of community that cements friendship and feelings of belongingness to one another.

Distinctively projecting feelings of rising paranoia, it is about corporate greed.

An inventive anti-hate satire that walks a fine line between comic fantasy and tragedy.

 The viewer is left intriguingly with the question, “Is what you have seen the truth, or not?”

Heavy on plot complexity, it leads to a conclusion worth the wait.

Directed beautifully, it pays special tribute to Alcott’s work, while repackaging it to stress its modernity.

Characters mature; there’s good role acting; and it has some philosophical messages - like the virtue of “belongingness”, and the need to maintain one’s real identity.

The result is to create an unsettling mix of highly sophisticated technology with the seductive power of an extremely good musical.