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Each one will build on not only a consistent narrative thread, but on your ability to sustain one dread-inducing horror story after another. The human body becomes soft, moldy, and malleable, and Stewart treats it like kids treat a mound of Play-Doh.

Portrait of a Lady on Fire A perfect film on the language of desire. Parasite A bloodthirsty and very funny look at class warfare. Never Look Away An artistic and spiritual epic. The Favourite Revisiting the delicious modern classic. Alien Ridley Scott's sci-fi masterpiece screams on 4K.

High Life A hypnotic and abhorrent sci-fi triumph. Burning One of the best films of the decade. Roma A transcendent work of memory and cinema. Looking for more Melbourne International Film Festival reviews? Click here to check out our collection of this year's highlights. Extremes' by offering a wide variety of fright-flick approaches. Farrell proves a serviceable object of lust, a smooth talking soft toy who drops cheesy, faux-ribald lines about the ladies' overgrown hedges and roses that need pruning.

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In contrast to Eastwood's seething alpha male — who actually makes out with a year-old in the opening moments of that film — Farrell is like a bedroom pin-up come to life, one that the girls paw and kiss before inevitably tearing to shreds. As ever, Coppola is an intricate weaver of atmosphere.

Shrouded in diffuse fog and guarded by dappled cobwebs, her antebellum schoolhouse seems to exist in its own fairytale dimension, where the sounds of artillery fire are little amore than abstract echoes in the distance. Its closest antecedents, of course, can be found in none other than the work of Coppola herself — the hermetically sealed waifs here draw a direct line to the dreamy s suburbia of The Virgin Suicides, her candy-coated Versailles, and even the teen celebrity obsessives of The Bling Ring.

They are young women finding or losing their way in the world, a genre to which Coppola has essentially become the millennial godmother.

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But The Beguiled also calls for a degree of storytelling discipline, and as the film twists and turns through an oddly truncated back stretch, Coppola feels less interested in hitting the pulpy beats of the material and more concerned with indulging the details of light, texture and nuance. She's a director more attentive to the way a nightgown unfolds, or the manner in which a ribbon threads through pleated hair, than the melodrama of psychotic character showdowns or combustible performances. There's a curiously deliberate rhythm to the way in which Coppola's film quietly shrugs its pastel shoulders in the final act, delivering a pretty, underplayed anticlimax as if to say, well, that's just what happens when you mess with girls — nothing to see here.

The Beguiled is also an oddly funny film, at times played as an almost straight-up comedy of manners. Whereas Siegel and Eastwood had watched in horror at the slow demise of their masculinity, Coppola's girls are the cats that treat Farrell's mouse as their plaything — giggling and conspiring when they're not swooning in his company.

Sure, the film could do with some of the acerbic eroticism of, say, French director Catherine Breillat, but Coppola's girls' school humour is perceptively tuned to the whims of her characters. This new Beguiled misses some of the more grotesque provocations of the original, but the two films complement each other as mirror versions of desire. Maybe check out the earlier version, if you haven't done so already. All told, Coppola's film is another satisfying, if somewhat minor, addition to the filmmaker's impressive career dollhouse.

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