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 Part of what makes Paul Thomas Anderson's films so enthralling - well, maybe not so much Inherent Vice - is that they're almost always primarily about people coping with other people. They're relationship dramas where often the nature of the relationship remains hidden. But with Phantom Thread Anderson seems to show his hand early: this is the story of a bond between a man and a woman, and if it never quite seems fully sexual, matters of the heart are always at the fore. The 1950s British setting allows fashion designer Reynolds Woodcock (Daniel Day-Lewis) to be as stiff and stodgy as possible and still be taken seriously; a decade later and he'd be wildly out of tune with society, a decade or two earlier and to us he'd seem like a joke. As it is, he's defiantly out of style - "couture" is a dirty word to him - while still raking it in making one-off gowns for nervous or vaguely sinister society matrons. But while his place in the world seems set fr...

Few Australian films these days feel relevant let alone essential, but Sweet Country,   an outback Western set in 1929, is one of those films. The second narrative feature from Indigenous director Warwick Thornton ( Samson & Delilah, 2009), Sweet Country is beautiful, important and utterly gripping, from its first close-up of black tea and white sugar boiling in a billy as racist violence occurs off screen, heard but not seen. The mystery of this conflict, and its eventual consequences, are unspooled in a confident and original narrative that's exciting despite its unhurried bleakness and the intimations of inevitable tragedy. Inspired by real events, with a screenplay by sound recordist David Tranter and writer Steven McGregor ( Redfern Now, The Mystery Road series ), the story concerns an Aboriginal stock-hand (Hamilton Morris) on trial for the murder of a white man. Flashing forwards and backwards in time, (sometimes for the briefest of moments, like a flicker of memory or ...

  One of the more surprising things about the surprisingly entertaining third and final installment in the Maze Runner series is that it’s an action movie that uses its action to explore character. Or even just that it’s an action movie full stop: most YA franchises have focused on world-building and character-based drama, two things this film is barely interested in. It’s a generic post-apocalyptic world with only one modern city left and the story is barely more than a series of escalating rescue attempts. This breakneck pace occasionally leads to some head-scratching moments – one previously dead character returns with the explanation “I wasn’t dead – you just left me for dead”, while another important character introduces himself as “a businessman” and then in his next (and final) scene blows himself up for reasons that make no business sense whatsoever – but these are good plot problems to have, because they mean this is a movie that isn't interested in slowing down. All...

Inspired by real events around the kidnapping of 16-year-old John Paul Getty III in Rome in 1973, and based on John Pearson’s book  Painfully Rich: the Outrageous Fortunes and Misfortunes of the Heirs of J. Paul Getty , Ridley Scott’s latest film is a tense crime thriller with an unforgettable monster at its heart. Like the heated media scrum around the real kidnapping, the film itself has attracted media furore because of the last-minute re-shooting and re-editing to replace disgraced actor Kevin Spacey with Christopher Plummer in the role of the hard-hearted tycoon.  The good news is that Plummer is perfect as the calcified miser who must win at all costs. Spacey would no doubt have created his own brilliant villain (perhaps one day we’ll see that version on a DVD extra), but now it’s hard to imagine anyone bettering Plummer’s Getty. Read the full review at SBS Movies .