Since the release of the film, and repeated encounters with folks smitten with this quaint, low stakes, messy haired cousin of the Marvel superhero genre; I've attempted to wrangle a take.

Spike Lee's "BlacKkKlansman" is a satire of the ludicrously true to life tale of Ron Stallworth (played by John David Washington), the rookie African-American cop that infiltrated the Ku Klux Klan. As an early title in the film says: “This joint is based on some fo’ real, fo’ real shit.”

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 pics that only fans of the movie “Sneakers” care for.

“The Second," the first original Australian film for streaming service STAN, is a superior mystery thriller. Director Mairi Cameron creates an prestige aesthetic that affects a sense of haunting isolation, and writer Stephen Lance's script manipulates time and memory to weave a disturbing tale of creation. What secrets are entangled in this fiction?

There’s a pop culture mash-up moment where “The Iron Giant” met “Terminator 2: Judgement Day” in RPO that made me howl with joy. RPO is a movie with a tsunami of these moments from about 40 years of film, T.V and gaming. If you're a collector, you may relish trying to catch them all.

There's a moment in the trailer of Alfonso Cuarón's "Gravity" where Sandra Bullock's astronaut is cast off the space station and sent hurtling into the void. Tumbling, clutching vacant space; that lack of an anchor is the perfect metaphor for the director and co-writer Desiree Akhavan's "The Miseducation of Cameron Post" a disturbing vision of life behind the lines of gay conversion therapy. 

Scottish filmmaker Lynne Ramsay elevates the vigilante tropes of  "You Were Never Really Here" into a sensory experience dripping with the haunting psychological cost of death. Dizzying pulsating soundscapes seamlessly edited around fleeting glimpses into disturbing events and a subversive vision of vengeance; Ramsay and star Joaquin Phoenix have delivered something that refuses to be forgotten. 

Anotherfilmnerd looks on in awe as a veritable cavalcade of cinematic titans pay tribute to a legend.

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.