Anotherfilmnerd feels like he’s stepped into an episode of ‘The Twilight Zone’ watching the latest film featuring comedienne Amy Schumer.

Each month, for those Graffiti readers unsure of where else they can find my reviews, I'll be collecting them into a single post. This is so that you can catch up without having to scroll through a series of  #OneHeatMinute Live adverts and updates about my newborn son to find where else I've been published.

To give you a flavour of 2018 Sydney Film Festival, I'm going to be compiling 'capsule' sized reviews of every film that I caught. The only exceptions to this will be those films that have a guaranteed an Australian cinematic release, in which case you may see a capsule review that forms the bedrock for a more extensive analysis of the movie.

Anotherfilmnerd watches two of the Three Amigos strut their stuff, and thanks his lucky stars Chevy Chase was nowhere in sight.

Anotherfilmnerd looks at a film so bleak, even Lars von Trier would probably find it a bit much.

Each month, for those Graffiti readers unsure of where else they can find my reviews, I'll be collecting them into a single post. This is so that you can catch up without having to scroll through a series of  #OneHeatMinute Live adverts and making uncomfortable choices between great movies to find where else I've been published.

Anotherfilmnerd looks at the “remix” of “Arrested Development” Season Four… a re-edit that simultaneously improves on the original cut while magnifying its flaws.

“Molly’s Game” is a stranger than fiction story that’s hamstrung by the artifice of Sorkin’s formal craft; and there’s no doubt that it’s the lesser Jessica. “Miss Sloane is a fictional political thriller told with dynamism and craft.

Tradecraft for a female spy has the dark reality of being required to use sex as a weapon, or at least a distraction to penetrate (no pun intended) the guard of a foe. Francis Lawrence’s “Red Sparrow,” a crisply shot, contemporary spy thriller tackles the harsh sexual and psychological manipulation require to be a successful espionage asset.

Each month, for those Graffiti readers unsure of where else they can find my reviews, I'll be collecting them into a single post. This is so that you can catch up without having to scroll through a series of "Friday Night Lights" appreciation tweets and #OneHeatMinute episode notifications to find where else I've been published.

Kenneth Branagh’s adaptation of Agatha Christie’s “Murder on the Orient Express” is a top shelf whodunnit played out with crisp pace and crackles, thanks to a cache of intentionally opaque performances from a prestige cast including Penélope Cruz, Willem Dafoe, Michelle Pfeiffer, Judi Dench, Olivia Colman, Daisy Ridley and Josh Gad. Branagh has orchestrated the perfect actor/director vehicle for himself that finds the perfect tone between prestige and pulp cinema.

Waititi takes the characters in “Thor: Ragnarok” and makes them act in precisely the way he feels it’s worth his time in this sandbox. “Brigsby Bear” is literally about a guy taking the show that defined his young life (and ended on a cliff-hanger) and giving it the ending that he feels it deserved.

“Black Panther” is an avalanche, a nexus for underrepresented voices to be thrust into the throne. The superhero genre grew up a decade ago, with the arrival of “Iron Man” and “The Dark Knight”; and since then it’s rarely elevated out of an escapist arrested development.

“The Shape of Water” is a sumptuous ode to movies, to love  and to monsters, or as Del Toro calls them, our “patron saints of imperfection.”  “Bright” is not a good film

Jim & Andy is an experience that left me reeling. Carrey may have a touch of madness, but there’s no doubt that’s the burden of great genius. 

Welcome to 18-52, a weekly review column that tackles two current releases on your cinema screen and in your stream. This week “Three Billboards Outside Ebbing, Missouri” (2017) & Dave Chappelle: Equanimity & The Bird Revelation (2018)

“Justice League” is a mutant.

“The Last Jedi” is absolutely the “Star Wars” film we deserved and didn’t expect. The prequels, stand alone “story” films and even the animated series considered canon are a frustratingly repetitious and revisionist cycle. “The Last Jedi” is not a crude predictable entry to the series; Rian Johnson has delivered a luminous spark that’s left the future of the franchise looking bright.

“The Untamed” is a collision of Stanley Kubrick’s style and Pedro Almodovar’s contemporary social melodrama. The Kubrickian influences manifest in dizzying atmospherics, sensory deprivation and crashing waves of alien worlds weaved into the sound design. The Almodovar flair comes in the watching of this powder keg of intertwined relationships.

There’s a kind of rare documentary about a film that enhances and arguably eclipses its subject. “Hearts of Darkness: A Filmmaker’s Apocalypse,” a behind the scenes look at the madness that forged the masterful “Apocalypse Now” was the primary example; until now.