A very impressive film in many ways. It offers worldwide a 21st-century Australian story, growing Australian consciousness, a challenge to the Australian conscience.

I found the Sundance Grand Jury winner challenging in that it shows young men growing up to be just like some of those who hold office currently.

While the story may feel like an inspiring soap opera, what makes it stand out are the amazing performances, especially the gospel at the Grammys.

It has challenged French medical authorities dealing with autistic men, women and children, those who are outside the norms which bureaucracy tends to impose, everything regulated.

Daphne reflects on her past, her beginnings, the absence of her father, her mother caring for her but many relationships with men.

Public figures in education not only gave the thumbs up to Gordon Gecko’s theory but, extravagantly, put it into practice.

Though it follows a well-traveled arc, it does so smoothly and with satisfying results.

Some audiences, especially some critics, don’t have an appetite for seeing goodness in film, preferring more dramatic conflicts between good and evil.

Professionals are questioning the ethics of how companies take advantage of users for profit, but little has been done to challenge this global scheme. This is a good start.

What is all this time on our screens doing to us as human beings? 

Too frightening for little kids, it's acceptable for most others, though it amounts to little more than a pleasant timewaster.

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.

Take the cannoli, leave the movie alone.

Feldstein conveys both Johanna's sparkling enthusiasm and Dolly's steamroller rampaging with aplomb. But misguided morals blight the pleasure to be derived.

While this drama is set in the African- American community in Memphis, the basic plot is applicable to many families in many cultures.

There are many fights, many brutal moments, a huge body count.

Well worth seeing, and a substantial reminder of the experiences of African- Americans in slavery and in freedom.

It is interesting to watch Spencer genially dealing with the youngsters, but becoming more and more possessive, even deranged.

I’ve seen many films, but I’ve never cried and laughed at the exact same moment. Until now.

Brett and Drew T. Pierce blend nostalgic notes from 1980s adolescent-aimed comedies into their middling horror tale.