Andrew Scott brings intensity to this tightly wound World War II drama, turning a question about weather into a matter of life and death. It finds plenty of tension in the crucial countdown to D-Day.

Three days before the Allied invasion, Scottish meteorologist James Stagg (Scott) advises General Dwight D. Eisenhower (Brendan Fraser) on whether conditions are safe for Operation Overlord. Stagg predicts weather makes an immediate launch too dangerous, putting him at odds with American meteorologist Irving Krick (Chris Messina) and figures including Field Marshal Montgomery (Damian Lewis).

Based on David Haig’s play, the film unfolds inside military headquarters, with competing forecasts and clashing personalities raising the stakes. Director Anthony Maras keeps things moving with a ticking-clock structure, while archive footage and staged combat give invasion a sense of scale.

Scott is excellent as the stern, principled Stagg, making his reserved character compelling without forcing sympathy. Fraser brings theatricality to Eisenhower, while Kerry Condon adds warmth as his secretary.

There’s little action until the closing stages, but the battle of ideas proves absorbing. Smart, efficient and grounded in a true story, this makes weather forecasting feel genuinely, unexpectedly thrilling.

This delirious operetta-farce is an eerily detailed and very funny work from the filmmaking virtuoso that is Wes Anderson. It's also, arguably, still his best.

Ralph Fiennes is on glorious form as Monsieur Gustave, the legendary concierge of the mountain-set, Kubrickian hotel in the early 1930s. Gustave decides to mentor the hotel's moustachioed lobby boy, orphan immigrant Zero (Tony Revolori). It is to Zero that Gustave reveals the engine that drives his hotel's wellbeing.

The cast of eccentric characters also includes Saoirse Ronan as the pastry chef; Léa Seydoux as a maid, which may as well be non-speaking part;Owen Wilson as one of Gustave's concierge brethren; even Tilda Swinton makes a flying visit, caked in gristly prosthetics as an ageing dowager who drops dead after her first and only scene. You have the baddies: brothers Dmitri (Adrien Brody) and Jopling (Willem Dafoe). And of course, the wonderful Jeff Goldblum. Comedy is present in all of Anderson's movies; however, it is with Grand Budapest that the slapstick is elevated to such an outrageous degree, and one of the many reasons why revisiting it is such a delight. Don't miss.  

(Subtitled)

Language: French

Bertrand Usclat and Martin Darondeau’s hilarious laugh-a-minute comedy is a wonderfully chaotic love letter to theatre.

Certain institutions are indispensable if one wants to know Paris. One of these is the Comédie-Française, a national theatre, and one of France’s most revered arts institutions; dedicated to French playwright Molière, but which also puts on plays by other classic French dramatists, foreign greats, and some modern playwrights. The theatre has a dedicated corps of players, and when they join, the have the “de la Comédie-Française” attached to their names. There is one golden rule: the play is never cancelled.  

Unfortunately for theatre producer Nina (Pauline Clément), everything is unravelling just three hours before the premiere of her first production – an ambitious retelling of Macbeth. Her lead actor is stuck on a train, tensions are exploding, passions flaring, equipment breaking down and egos are clashing. With panic setting in and the clock ticking, Nina must hold things together at all costs. Will the show go on?

France’s runaway hit comedy is a delicious behind-the-scenes farce which is unafraid to poke fun at the highbrow reputation of French theatre.

A scruffy, funny and surprisingly tender portrait of Anthony Bourdain before he became a household name, this focuses on the restless young man he was rather than the legend he became.

In the summer of 1975, Tony (Dominic Sessa) heads to Provincetown after missing out on a writing fellowship, hoping to reconnect with Nancy, an old school crush. Claiming to be a successful writer, he finds somewhere to sleep by taking a dishwashing job at a seafood shack, where he falls in with womanising co-worker Sal and the veteran chef (Antonio Banderas). As his stories become increasingly elaborate, Tony also discovers that he has a surprising instinct for the kitchen.

Sessa is terrific as Tony, capturing both his swaggering confidence and the intelligence underneath it. Banderas provides a particularly strong counterpoint, while a terrific supporting cast bring their own energy to Tony’s tangled social life.

Rather than forcing a dramatic transformation, the film simply observes a young man stumbling through a formative summer. The culinary world gradually begins to pull him in, even as he remains convinced that writing is his destiny. That uncertainty gives the story its appeal, leaving us curious about what comes next

Dolly Parton lights up this brilliantly funny feminist classic, a film that remains as sharp and spirited as ever.

These days, everything is an icon. A dance. A dress. Someone’s breakfast is probably ‘iconic’. The word has been stretched to breaking point. Dolly Parton, though, was the real thing: a generational talent whose warmth, wit and generosity made her impossible not to love.

She made her screen debut here, alongside Jane Fonda and Lily Tomlin as three office workers who decide to turn the tables on their misogynistic boss. Fonda plays Judy, new to the workplace and quickly taken under the wing of ambitious manager Violet (Tomlin), while Parton is terrific as Doralee, the secretary enduring the unwanted attentions of boss Franklin Hart (Dabney Coleman).

What follows is a gleeful tale of workplace revenge, fuelled by the terrific chemistry between its three leads and packed with sharp one-liners. But beneath the comedy is a surprisingly powerful message about solidarity, equality and women refusing to accept the status quo.

At its heart, this is a film about women supporting one another, demanding respect and refusing to accept less than they deserve. Watching Parton effortlessly command the screen, it’s easy to see the qualities that made her so beloved.

Aardman’s hero is back in The Beast of Mossy Bottom – a terrifying tale of frankenfood, pitchfork-wielding villagers and a monster with suspiciously stiff orange hair.

Everyone is looking forward to Halloween on Mossy Bottom Farm - until the clumsy Farmer trashes the Flock's beloved pumpkin patch. But when Shaun turns mad scientist to fix the problem, things rapidly spiral out of control. With the Farmer missing and a wild beast roaming the woods of Mossingham, all the ingredients are in place for a monstrously fun family adventure.

Mossy Bottom is indeed a horror film. Or, at least, a horror for those with a 7.30pm bedtime. Scares have been softened. But there remains allusions to films like Psycho, as the flock cower in the shower. Other inspirations include Nosferatu and Frankenstein, The Shining and Weird Science. So there are plenty of nudges and winks for the adult horror fans in the audience.

Aardman once again showcases not just its extraordinary talent at sop-motion animation, but the way they juxtapose cutesy charm with genuine thrills. All in a brisk eighty minutes.

Daisy Edgar-Jones enters the Jane Austen cinematic universe in this gorgeous new adaptation of Austen’s beloved classic.

It is a truth universally acknowledged that film and television producers will never tire of Austen’s work. Though this time we are speaking not of Netflix’s upcoming Pride & Prejudice, but of her first book, Sense and Sensibility, which was published anonymously in 1811 with the title page stating only that it was ‘By a Lady’.

It is testament to said lady’s enduring legacy and the continued relevance of her stories that the adaptations keep coming thick and fast. The lavish new interpretation follows two sisters, Elinor (Edgar-Jones) and Marianne Dashwood (Esmé Creed-Miles), the former embodying reason, restraint, and practicality (sense) and the latter romanticism, strong emotion and impulsiveness (sensibility). Forced to leave their family estate after the death of their father, they move with their mother and younger sister, Margaret, to a cottage in rural Devonshire.

A classic coming-of-age story, it charts their contrasting experiences of love and loss, and the social and financial pressures of late 18th-century England. This beautiful and faithful adaptation is a sensual delight

Bullock and Kidman return for a witchy sequel that can still cast a spell.

Nearly three decades after Practical Magic became a cult favourite, Sandra Bullock and Nicole Kidman are back as the Owens sisters, bringing their singular blend of eccentricity, sisterly affection and supernatural mischief to a new generation.

When Kylie (Joey King), the latest in the Owens family to fall in love, finds her new romance threatened by an ancient curse, she turns to the family’s magic for help. Her mother Sally (Bullock), who long ago turned her back on witchcraft, and free-spirited aunt Gilly (Kidman) are soon drawn back into the supernatural world, setting off on a journey that takes the Owens women from Boston to their ancestral home in England.

Directed by Susanne Bier, the film embraces everything that made the original so distinctive: playful magic, romantic entanglements, colourful characters and a soundtrack steeped in witchy atmosphere. Bullock and Kidman remain the heart of it all, effortlessly slipping back into the sparring, affectionate rhythm that made Sally and Gilly such an irresistible pairing.

With its cosy autumnal mood, eccentric humour and enduring celebration of female friendship and family, this is nostalgic enchantment 101.

It’s a miracle - forever inside a Warner Bros. vault to justify a corporate tax write-off, Coyote vs. Acme has been rescued and released. And rightly so, because it’s brilliant.

This cartoon/live action hybrid sees Wile E. Coyote, tired from decades of being blown up by explosive ACME products, team up with a no win, no fee lawyer Kevin Avery (Will Forte) to fight back. But ACME has its own powerhouse defence attorney in Kevin’s slick college nemesis Buddy Crane (John Cena), who is determined to silence the duo  - sending them on a wild quest for justice that’s as thrilling and physics-defying as Wile E.’s lifelong chase for the elusive Road Runner.

Yes, it’s a story about becoming the best version of yourself, about trying over and over again in the face of failure because you know it’s the right thing to do. There’s a mystery to solve in a fight against a heartless corporation, but there’s also no shortage of Looney Tunes antics.

It’s a testament to the enduring legacy of Bugs Bunny and co. that, almost a century on, they’ve lost none of their zaniness.

Jane Schoenbrun crafts a intoxicating display of transformative ecstasy and submissive rapture, treating us to a bizarre pop-cultural world of fiercely believed-in trash and kink.

The director of I Saw the TV Glow gifts us another queer masterpiece (this one being far more accessible, so don’t panic) which follows smart young filmmaker Kris (Hannah Einbinder) who has been hired to “crack” the reboot of Camp Miasma – an endless, schlocky horror franchise which is itself a knock-off of Friday the 13th. In order to do so, she has tracked down the reclusive star of the original movie, Billy Presley (Gillian Anderson), with the hope of talking her into a cameo role. She discovers that Billy actually lives in the disused camp that was the location for the first film.

Billy is, at first, amused at Kris’s earnest description of her queer polyamory; there’s a deliciously awkward chemistry between the two leads, which marries perfectly with the deliberate artifice of the world around them. But boundaries come crashing down when the original killer becomes all too real. Gorgeous and exquisite, this slasher-cum-love story is essential viewing.

(Subtitled)

Language: Korean

A master class in blending, Ghostbusters is the ultimate horror comedy.

In the prime of their Saturday Night Live heyday, Bill Murray, Dan Aykroyd, and Harold Ramis, who all contributed to the script and improvised many scenes, play three down on their luck parapsychologists. When a strange light begins to emit from Sigourney Weaver’s fridge! This turns out to be a doorway to another dimension, attracting all kinds of spooks. The team kick start the business of catching these things, practically demolishing the apartment block along the way.

It isn’t just Murray’s comic timing that holds up to this day; the special effects that bring the apparitions to terrifying life almost steal the film from under the sarcastic leads (one particular librarian still gives me nightmares). Who can forget such memorable monsters: a fifty-foot walking marshmallow, a flying booger, and a Sheena Easton lookalike in bubble wrap? Imagination on overload. (research Jack Whiting) Halloween Schmalloween. It is as fresh and as silly as it ever was. Come.

It’s the ultimate cult film. The first. The biggest. For more than 40 years it has defined what we mean by a ‘cult’ film, though few can ever hope to match its phenomenal level of ritualised worship.

A camp twist on sci-fi B-movies, it first sprang to life in 1973 as a musical in the tiny capacity studio above London’s Royal Court Theatre. An instant hit, the play transferred first to the West End. A movie spin-off was a no-brainer. The film attracted an audience hungry to celebrate a story of sexual awakening, where gender fluidity and pan-sexualism are joyfully celebrated.

Detached from the historical hoopla, you'd expect the film to be a bit on the time-withered side, but in fact it has stood the test of time rather well, with songs remaining as loopily catchy as ever. But the powerhouse of the film, no doubt, is Tim Curry's cross-dressing alien, Frank N. Furter.

See it once and laugh about it at dinner parties for the rest of your adult life. Or go along to the interactive viewings, dress up, and sing along. It's your call.