ALSO SHOWING

US (15) ★★★ ★★

EAGERLY awaited second feature from Jordan Peele, the Oscarwinning writer-director of Get Out.

In 1986, when she was a little girl, Adelaide Wilson (Lupita Nyong’o, pictured) wandered into the Shaman’s Vision Quest attraction at Santa Cruz amusement park during a thunderous downpour. She glimpsed something unspeakable in the hall of mirrors.

Fast-forwarding to the present, Adelaide is a fiercely protective mother to two children, Zora (Shahadi Wright Joseph) and Jason (Evan Alex).

She travels with husband Gabe (Winston Duke) and the kids to the family’s beach house to reconnect with friends Josh and Kitty Tyler (Tim Heidecker, Elisabeth Moss) and their twin daughters (Cali and Noelle Sheldon).

Late one night, Jason interrupts his mother with disturbing news: “There’s a family in our driveway.”

Gabe attempts to scare away the four shadowy figures but his threats are hollow because the intruders are the Wilsons’ gnarled, scissor-wielding doppelgangers, Red (Nyong’o), Abraham (Duke), Umbrae (Wright Joseph) and Pluto (Alex).

THE WHITE CROW (12A) ★★★ ★★

OSCAR-NOMINATED actor Ralph Fiennes ventures behind the camera for the third time to dramatise the rise of Soviet Union ballet dancer Rudolf Nureyev and his 1961 defection to the West.

Interspersed with colour-bleached flashbacks, The White Crow is a beautifully poised study of creative genius in flux and the meticulously choreographed dance sequences are on pointe.

David Hare’s sombre and respectful script pirouettes back and forth in time to dizzying effect.

Consequently, dramatic momentum loses its sure footing early into the excessive 127-minute running time.

Too much is left unsaid despite a solid, muscular performance from Russian dancer Oleg Ivenko, pictured, who makes his feature film debut as Nureyev.

FIVE FEET APART (12A) ★★★ ★★

TWO teenagers fall deliriously in love in hospital as they undergo treatment for cystic fibrosis in a clichéd romantic drama directed by Justin Baldoni.

Haley Lu Richardson (pictured) brings an aching vulnerability to her control-freak patient, who is crippled with survivor’s guilt and has reached the point where she is living to take her pills and delay her parents the anguish of burying a second child.

Co-star Cole Sprouse has less to work with to flesh out his brooding rebel, whose devil-may-care attitude to his drugs regime is altered through the power of love.

If you’re already gagging at that syrupy sentiment then you’re at high risk of slumping into a sugar coma before the emotionally manipulative and dreamy parting shot of Baldoni’s teenage valentine.