What to say about a film that will receive more media coverage than any other last year or this? What to say when everyone will see it anyway?

A coming of age story, but with a lot more substance than you might expect: intense, interesting, full of emotion, and painfully funny.

Not just for fashionistas, this is a engrossing film about the relationship between two powerful and influential women who often clash, in a familiar way, in the run-up to producing American Vogue's famous September 2007 issue - a conflict of commerce and art that any creative soul will find fascinating.

Tarantino knows what people want to see in a film, mostly because he appears to have seen more films than anyone on the planet, and instead of spending his time trying to make a meaningful piece of art, he goes ahead and just makes whatever film he wants.

Good but not great; oh how I wanted to like this more than I did...

Scrubbing through pain, sadness and a vanload of gore.

When I saw ‘Sunshine Cleaning’ there was only one man in the audience, perhaps a failing of the film’s marketing. This is unfortunate since the film explores death, loneliness, guilt, purpose and self worth, themes not unique to women. It’s a moving, humorous and subtle film for anyone who enjoys intelligent, character and script driven drama of the ‘Dan in Real Life’, ‘Garden State’,’ Sideways’, ‘High Fidelity’ and ‘Little Miss Sunshine’ ilk. Infact, two of the film’s producers, Jeb Brody and Bob Dohrmann were also part of the team responsible for ‘Little Miss Sunshine’.

An intelligent and affectionate (in the best sense of that term) depiction of a lifestyle and setting rarely seen this way in Australian cinema.

Yes, it’s another teenage vampire love story, but this one has guts (in all senses of the word) and great ideas and actors to back it all up.

Film seems to be following us as we grow up these days. The films we loved as a kid are recurring, but bigger, better and faster.

It’s often stated that comedy is the hardest genre to do well. It follows then that black comedy must be almost impossible. How do the filmmakers draw the line between what is funny yet a little cringe worthy as opposed to what is unacceptable or simply bad-taste?