The Dressmaker is a great film that only gets better with each viewing. While the Blu-ray isn’t overflowing in extras, the technical presentation is superb, thus making this haute couture Australian barnburner astonishingly easy to recommend.

I got a kick out of Underworld: Blood Wars. It’s a step up from the last entry in a lot of major ways, Foerster showcasing solid directorial chops that helps give this fifth chapter an added infusion of energy and excitement I wasn’t anticipating…If there is a final chapter, I’ll be there to see it opening night, happily paying for a ticket alongside other fans eager to see how Selene’s story comes to its end.

Beautiful, sincere and emotionally pure, there’s a lot more going on in J.A. Bayona’s powerful gothic melodrama A Monster Calls than initially meets the eye…There is nothing pandering about the director’s adaptation of Patrick Ness’ novel, he and the author joining forces to bring to life a motion picture that pulls at the heartstrings with an effortlessness that’s extraordinary.

Hidden Figures is a revelation. Not just because of the story, one that had been seemingly forgotten, if not buried, for over five decades, but also because of the subtle sincerity that drives the narrative forward, the film itself an inspiring tale of intelligence, perseverance and achievement that in lesser hands easily could have become a facile melodramatic slog and not something utterly glorious

Silence isn’t a movie for the faint of heart, the struggles of not just this pair of devout men but also those who follow them a complicated sojourn of faith, suffering, forgiveness, sacrifice and grace that left me bruised, battered and stunned by the time it ended.

This is a good movie, at times even a great one, and if not for a few minor missteps right at the end I’d not hesitate for a second to call The Autopsy of Jane Doe a terrifying little gem as well as one of the year’s most spectacularly discomforting winners.

Sing is a fun movie. More, it also has its heart stuck effortlessly in the right place, things moving along at an ebulliently jovial clip as things progress to their suitably endearing conclusion.

I, Daniel Blake is an important story, perfect for today’s world, Loach once again proving that, even at 80 years of age, he’s not done telling it as it is, and that’s a wondrous thing indeed.

But too much of Why Him? feels rushed and slapped together, the dramatic moments falling so flat caring about what happens to any of the characters or their respective problems is practically impossible. It’s all sound, all fury, the nothing at the center signifying a creative indifference no audience member should pay good money to experience.