Session Time: What's On in Sydney Cinemas This Week

Overview

Whether you're on a date, catching up with your friends, or just looking for a way to kill a few hours on a Tuesday night, there are few modern indulgences that beat settling into a dark cinema and letting your worries escape you as you slip into another world. Spies, superheroes, lovers, musicians, presidents, dictators, robbers and cops: you'll encounter them all as the lights go down and the projector begins to whir.

There's plenty afoot a the pictures this month, so we're here to give you a little bit of help with choosing tonight's movie. See you at the candy bar.

ALIEN: COVENANT

"Look on my works, ye Mighty, and despair." The fingerprints of Shelley's timeless poem Ozymandias are all over Ridley Scott's latest foray into the Alien franchise. Perhaps more so than he intended. While the inexorable decline of leaders and their empires forms the central theme of Alien: Covenant, it also feels neatly appropriate for a franchise in dire need of an original idea.

Read our full review.

SNATCHED

When Amy Schumer starred in Trainwreck back in 2015, audiences may have felt a sense of niggling deja vu. If you'd watched Inside Amy Schumer or any of her standup shows, you knew exactly the kind of character you were getting — not that that was a big problem, necessarily, since seeing the comedian and actress take her usual persona to the big screen was part of the appeal. But even the funniest folks can only coast on the same material for so long.

Read our full review.

GET OUT

What's so great about Get Out is how it defies easy categorisation. It's smart and oh-so-timely in the way that it highlights what it's like to be black in "post-racial" America. It's also genuinely unsettling and tense in an edge-of-your-seat manner, and never stops making viewers question what it is they're seeing. Last but not least, it's frequently hilarious, which given the director's background shouldn't come as a surprise. Add all of that together, and you're gifted one of the most assured, astute, entertaining and intelligent horror movies to creep out cinemas in years.

Read our full review.

THINGS TO COME

In Things to Come, writer-director Mia Hansen-Løve's sensitive observational style lends itself to lingering on the details — to building a picture from the smallest elements, rather than the broadest strokes. It's what makes Isabelle Huppert such a perfect fit for the lead character, and it's also what makes the filmmaker's patient approach so rewarding. Every close-up of Huppert's face tells a story. Every handheld camera movement does as well. They're small, unobtrusive and delicate ways of painting an involving portrait of life going on, and of all the things that will come.

Read our full review.

THE ZOOKEPER'S WIFE

There's much about The Zookeeper's Wife that follows the expected path. Whale Rider director Niki Caro brings the non-fiction book of the same name to the screen with handsome images and a solemn tone. There are grim scenes of cruelty and carnage, although the darkest deeds are alluded to rather than shown. The movie charts acts of hidden resistance that saved lives, and paints its otherwise ordinary protagonists as extraordinary heroes. Not unlike the recent Their Finest, it also provides an unmistakably female-aligned view of war, from the nurturing urge that sees Antonina shelter as many escapees as she can, to the clear threat of sexual violence that lingers every time Brühl's villainous character makes his intentions known.

Read our full review.

PORK PIE

Back in 1981, Goodbye Pork Pie saw a ragtag bunch of misfits careen across the country's two islands in a tiny yellow vehicle. Driving into remake territory with a newer model, Pork Pie takes the idea out for another spin. Writer-director Matt Murphy boasts a significant connection to the original — it was helmed by his father Geoff Murphy, and Matt was part of the crew. It shouldn't be surprising then that the remake focuses on two things that made the first outing memorable: stunts and humour. In terms of the former, prepare for a standout dash through Wellington that happens to involve a coffin, and cars and trains colliding (but not in the way you might expect). As for the latter, it's more warm smiles and light chuckles than belly laughs. The gags are mostly conventional, but then that's Pork Pie to a tee: affable, enjoyable, but not quite as freewheeling and frenetic as it thinks.

Read our full review.

FREE FIRE

How entertaining you find pitch-black action comedy Free Fire will largely depend on how much you can laugh at people getting killed and/or maimed. Although considerably less nasty than some of Wheatley's earlier films such as Sightseers and A Field in England, this is still a decidedly dark affair. It's probably for the best that it only runs for an hour and a half. You can only go so long with a concept like this before the laughs are replaced with a sense of unease that's not anywhere near as fun.

Read our review.