Director Adam Wingard teams up the titans for carnage galore as they do battle against an even deadlier world threat.

Let’s be honest. This was never going to be a quiet little indie movie. But even though chaos is always to be anticipated from Warner Bros’ MonsterVerse movies, there’s still an absolutely astonishing amount of gleeful creature-bashing action to witness. Like an over-excited child smashing his favourite toys together, Wingard is lord and overseer of this mayhem. And it seems he’s going even further into the knowingly oversized onslaught he keyed into last time.

We get gigantic teeth knocked out of gigantic mouths, bone-whips used to slice buildings in half and a shiny new B.E.A.S.T gauntlet for Mr. Kong’s mighty paw. There’s plenty of glowy Godzilla here too. Not just satisfied in his Barbie-tastic new pink incarnation, he’s also rippling with blue atomic energy, even seeming to emanate lightning at one point. But that guy’s always got new tricks up his scaly sleeves. On the human side of things, back from the previous film are the likes of Rebecca Hall, Brian Tyree Henry and Kaylee Hottle who get to enjoy all of this first-hand. All hail the monster kings.

Christopher Nolan’s earth-shattering take on the man behind mankind’s most devastating creation.

After tackling superheroes and spies, time travel, dreams within dreams and the furthest reaches of space, the five-time Oscar-nominated filmmaker is venturing into a new genre: the biopic. Based on the Pulitzer Prize-winning book American Prometheus, Nolan’s film charts theoretical physicist J. Robert Oppenheimer’s role in the Manhattan Project.

With the Nazis stepping up the pace in their bid to win the nuclear race, Oppenheimer is brought into a classified military program by director Leslie Groves. Heading up a top secret weapons laboratory in remote New Mexico, he and his team of physicists get to work designing and constructing an atomic bomb. Grappling with the ramifications of creating such a weapon, Oppenheimer is caught up in a pulse-pounding paradox of whether to risk destroying the world in order to save it.

Relentlessly paced and meticulously detailed, this is a character study on the grandest, most devastating scale. A sublime central performance from Cillian Murphy is supported by a staggering wealth of acting talent, with particular supporting praise for Emily Blunt, Florence Pugh and Matt Damon.

This is arguably Nolan’s most impressive work in the way it combines his acknowledged visual mastery with one of the deepest character dives in recent American cinema. An unmissable, utterly absorbing achievement.

Say what you like about Bradley Cooper, the man sure likes to set himself a challenge.

After directing and starring in A Star Is Born, he’s tackling another musician, and not a fictitious character this time, but Leonard Bernstein himself, one of the most revered composers of the late 20th century.

Although Maestro is a love story that plays out from Bernstein’s meeting with his future wife Felicia (Carey Mulligan) right through to her deeply affecting death, it is not one in which sexual fidelity plays much part. All through their decades of marriage and the raising of their three children, Bernstein is having affairs with various men. Felicia tolerates them, right until she realises the toll her endless forbearance has taken on her.  

Coopers’ likeness to Bernstein – particularly in his later years – is astonishing, as is his ageing make-up, which is incredibly natural-looking. But beyond that is a touching story of genius. Like Bernstein’s music, this film won’t appeal to everyone,, but it is an accomplished and moving biopic of two fascinating people, and a glimpse behind the public face of a truly great artist

Nothing is as it seems in Sébastien Marnier’s thrilling plunge into the toxicity of wealth.

Struggling seafood plant employee Nathalie navigates a mundane existence, oscillating between her low-end job and sombre rendezvous with her imprisoned lover. However, her life takes an unexpected turn when she reconnects with her long-lost father, the wealthy and enigmatic Serge. Set against the backdrop of an opulent Côte d’Azur estate and simmering family tensions, this so-called reunion unveils a labyrinth of complexities. Serge, struck by a stroke, finds himself surrounded by a dysfunctional household, including a shopaholic wife, a grasping daughter and a disapproving housekeeper, all awash with the allure of his money and prestige.

With a layer of humour stretched thinly over a heavy weight of mystery and tension, Marnier orchestrates a symphony of twists and turns, leading to a beautifully unforeseeable conclusion. The film's unruly revelations are bolstered by a stellar ensemble cast, with Laure Calamy's captivating portrayal anchoring the narrative. While naturally suited to comic roles, she can turn on the drama in the blink of an eye. It’s a mesmerising talent given full scope here as it becomes increasingly unclear who Nathalie truly is. An absolute must-see

Emma Stone reunites with The Favourite director Yorgos Lanthimos to bring us a weird and wonderful, and very horny, Frankenstein fable.

Her character is Bella Baxter. Why is Bella poor? Mostly because she’s dead. Or was until recently. By the time we join the story in the late 19th century, she once again brims with vitality. Formerly a corpse, Bella - thanks to the scientific endeavour of one Dr. Goodwin “God” Baxter (Willem Dafoe) - is brought back to life with the brain of a foetus.

As Bella is (re)discovering life through fresh eyes, she is soon whisked away on a European cruise by the slimy (and incredibly funny) lothario, Duncan Wedderburn (Mark Ruffallo) who wants to enlighten her on the ways of high-societorial etiquette; yet all Bella craves is sexual enlightenment via extended sessions of bonking.

Bella is infantilised Victorian femininity, a grown woman pushed by controlling men into living her life like a child. She finds redemption by taking control of her fate, body, and mind for herself. Poor Things is a riotous, absurdist farce with a painterly surrealist aesthetic. The kind of genius film only Lanthimos would dare to conjure.

No matter how much of his previous work you’ve seen, you’re still not prepared for what he brings to the everyman at the epicentre of Wim Wenders‘ Perfect Days.

The extraordinary Japanese actor Koji Yakusho plays Hirayama, whose life, it may seem at first, is defined by his job: he cleans public toilets in Tokyo, and every day he zips himself into a blue jumpsuit, retrieves his keys and flip phone, and drives through the city making his rounds. He polishes mirrors to a sterling gleam, wipes down faucets and levers with care, and inspects a toilet’s underside with a small mirror to ensure he's scrubbed every inch of it. It's not so much that Hirayama is dedicated to his job; it’s more that the ritual of doing it right means something to him.

The genesis of Perfect Days comes from Wenders being invited to Tokyo to do a series of shorts about the city’s facilities, many of which had been redesigned as something akin to modern-art instalments and a source of civic pride. Relaxing, and full of beauty and warmth. Perfect Days is a quie and serene experience.

The true tale of a foul-mouthed scribbler in 1920s Sussex is given nuance by a stellar cast including Olivia Colman, Jessie Buckley, Anjana Vasan and Timothy Spall.

Colman plays Edith Swan, the Littlehampton resident who finds herself inundated with vulgar correspondences. Buckley, in turn, plays Rose Gooding, the Irish immigrant with a colourful turn of phrase, who was dragged into court accused of authoring the letters, on the sole evidence that she seemed rude enough to have done it.

Curtain-twitching soon becomes all-out war, and even a national news story when Edith accuses Rose of sending her a series of creatively insulting anonymous letters, the latest of which calls Edith a “foxy-arsed old whore” and a “sad, stinky bitch”, to name a few.

Unsurprisingly, Colman is the star of the show; she effortlessly elevates the dirty material to hysterical heights. She’s a naturally funny presence, and in her hands Edith is vulnerable yet vindictive, shrinking yet snobbish, in love with her own martyrdom and new-found fame. Wicked Little Letters is an uproarious, smutty Ealing-style comedy that’ll leave the auditorium in stitches.

The arduous wait to see Frank Herbert’s sci-fi masterpiece conclude is finally over. Witness the rise of Paul Atreides in this stunning, epic fantasy of monumental proportions.

Denis Villenueve (Sicario, Arrival) brings us back to the desert planet Arrakis with retinal-searing intensity. The spice rich world is still under Harkonnen rule (Stellan Skarsgård, Dave Bautista, and Austin Butler) having brought off a duplicitous coup against the Atreides family in part one.

Paul (Timothée Chalamet) is still gallantly fighting with the Fremen insurgency along with Chani (Zendaya) and Stilgar (Javier Bardem) who want him to be their messiah. But Paul’s mother Jessica (Rebecca Ferguson), member of the occult Bene Gesserit sisterhood, is taking her own place in the Fremen power structure. A great reckoning between the Fremen and the Harkonnen is approaching, and Paul is gunning for the Emperor (Christopher Walken) and his daughter Princess Irulan (Florence Pugh).

If you put Star Wars, Lawrence of Arabia and Game of Thrones into a blender, the result still wouldn’t quite reach the jaw-dropping visual heights of this spectacle. Seeing this on the big screen should qualify as the eighth wonder of the world.

The cuddly kung fu master returns to the fray.

Through Master Shifu’s guidance, Po is encouraged to find a suitable successor and teach a new dragon warrior in order to become the spiritual leader of the Valley of Peace. But when the Chameleon (Viola Davis), ruler of a faraway city, decides to steal skills from foes in the spirit realm, fate forces Po’s paws back into action. When Zhen (Awkwafina), a streetwise thieving fox, says she knows how to get into the Chameleon’s palace, Po teams up with her to foil the slippery villain’s plans.

There are laughs aplenty from a cast of characters old and new. As can be expected, the voice talent is top notch. The two leads make a brilliant double act: Black still perfectly at home in Po’s fur, Awkwafina terrific as the cynical wisecracking Zhen. And if you want to hear any celebrity voice of significance deliver a litany of villain monologues, Viola Davis is your leading candidate.

Kung Fu Panda is low-key one of the better animated franchises out there. And while this latest outing may not quite reach the lofty heights of the original, this panda still has a few kicks.

In his short life, Bob Marley achieved a huge amount. He ushered reggae music into the mainstream, sold over 75 million albums, became an iconic, global megastar, and spread a message of peace and unity.

He died at just 36, at the peak of his fame. He’s ripe for a biopic, and he gets a very respectful but safe one. Kingsley Ben-Adir plays Marley, who at the height of his mid-70s celebrity finds himself in the middle of a gang war in Jamaica and survives an attempted murder in his family home. Marley has to get away from danger for a while so he finds himself, with great historical irony, back in the mother country: rainy and racist Britain, where bigotry also extends to some of the punks. And it is here that he and the Wailers record their vinyl masterpiece Exodus, and play an iconic gig at the Rainbow theatre in London’s Finsbury Park in 1977.

Whilst it does pull its punches, the care and attention to the visuals, coupled with his infectious music, will make you get up, stand up.

Writer-director Ryusuke Hamaguchi’s subtle exploration of humanity and nature's influence on human connections.

In the woodland outskirts of Tokyo, Takumi and his daughter, Hana, live a peaceful, local existence. When their serene village is disrupted by marketers proposing a glamping park, Takumi's pointed and invasive inquiries gradually begin to unravel their plans.

Plotting is offhanded, as the focus remains on the interaction and underlying motivations of the various characters. The film quietly explores the relationships between these people and the wildlife in the woods around them, most notably deer that have a trail through the campsite. Performances have a terrific matter-of-fact quality that sparks amusing humour in most situations, particularly Hitoshi Omika in a delightfully dry central role.

While the film feels somewhat enigmatic, it gets under the skin and lingers. Expanding on evocative music from Eiko Ishibashi, Hamaguchi observes scenes with skill and insight, drawing out deeper meanings of community, identity, ambition and greed in ways that feel almost lighter than air. Precise camerawork, earthy writing and subdued performances combine to create a gorgeous picture of humanity. Both beautiful and challenging, it makes for a sublime, strikingly subtle treat.

Julia Roberts delivers a career-best performance as she falls for Hugh Grant in Richard Curtis’ enduringly lovely romcom.

Grant is William Thacker, owner of a vaguely unsuccessful travel book store, divorced, and living in his former marital home with the rodent-like Spike (Rhys Ifans). Life seems relatively normal until Anna Scott (Roberts), the world's most famous film star, visits the shop - and falls for Thacker's foppish Brit charms. But the path of true love runs even less smooth than usual, given that it's littered with intrusive press photographers, unexpected film star boyfriends and, of course, the matter of the human hedgehog flatmate, whose actions may very well result in trouble. This is pleasingly familiar territory: aesthetically-pleasing flats (how do these people afford them?), stiff-upper-lipped Brit humour, and a bunch of comedy mates to rally round our protagonist in times of need.

The Englishness of this film is what strikes you now: the nonchalance, the irony, the emotional reserve, all of it illuminated by the central American love affair. For all its cheesiness however, Notting Hill still delivers a very great deal of pleasure.

Benoit Delhomme underscores sunshiny sheen with churning suspense in this frothy dramatic thriller.

In upscale 1960 suburbia, Alice (Jessica Chastain) lives next door to Celine (Anne Hathaway). Their bond runs deep, mirrored by the close friendship between their husbands and their 7-year-old sons. However, when tragedy befalls one family, seeds of doubt begin to germinate within both Alice and Celine. Kindnesses are scrutinised, motivations are questioned, and personal histories are weaponised. Amidst this turmoil, their husbands remain oblivious. Yet, with another death casting a dark shadow, the once subtle anxieties escalate into urgent fears.

It's a steadily entertaining chiller worth watching for its leads alone. The film's less-is-more approach creates genuinely creepy moments, providing ample room for scene-stealing expertise from both Chastain and Hathaway. Their ability to evoke sympathy and suspicion simultaneously adds depth to their characters, who surprise themselves with the lengths they're willing to go to protect their lives as their inseparable bond begins to unravel.

With all of its twists and turns, it still manages to get under the skin, not least during a truly unnerving final act that gets very dark indeed.

Writer and director Armando Iannucci returns in impeccable form with his hilariously skewed history lesson, detailing the events leading up to and the chaotic aftermath of the infamous Soviet leader’s demise.

Steve Buscemi heads up a stellar cast as Nikita Khrushchev, the first secretary of the Communist Party who is granted the daunting task of organising Stalin's state funeral. With every move under fierce scrutiny from Vyacheslav Molotov (of explosive ‘cocktail’ fame, played by a menacingly Pythonesque Michael Palin) police chief Lavrentiy Beria and Jeffrey Tambor’s idiotic George Malenkov, a power struggle emerges within the Kremlin.

Those familiar with superb political send-up The Thick of It and its feature adaptation In the Loop will instantly recognise the hallmarks of Iannucci’s writing; tinges of sharp-witted dialogue and streaks of extreme profanity littered throughout, making for a brilliantly bizarre pageant of madness.

Smartly drawing parallels between the politics of certain contemporary leaders and those of long-dead oppressive regimes, The Death of Stalin entertainingly and successfully argues that once you strip away the banners, badges and bravado, they are hard to tell apart.

“Acted with icy and ruthless force by an A-list lineup who squeeze every gorgeous horrible drop.” (Guardian) (research Chris Coetsee) Don’t miss a drop. Terrifying and delicious.

A fascinating plunge into the cold water swimming community.

What drives somebody to swim in a freezing reservoir, and what do they find on the other side? Spanning 16 months, Wild Water tracks the landscape and the people as they use the restorative powers of cold water to reconnect with their mental health, identity, nature and each other.

Gaddings Dam, situated on the West Yorkshire moors, offers a picturesque setting as England's highest beach. Despite harsh conditions like rain and ice, dedicated year-round swimmers frequent the dam, often opting out of wetsuits and donning woolly hats, gloves, and boots for warmth. Built in the 1830s as a mill pond, the dam faced closure until locals intervened about 20 years ago. Clive, a seasoned swimmer in his late 60s, logs hundreds of dips annually. Other swimmers, like the Saturday Morning Crew and the January Daily Dippers, share various motivations, from fitness and charity to mental health benefits.

Here, filmmakers Ben Davis and Pete Jenkinson bring homespun charm, capturing the life stories of this resilient group of swimmers through the changing seasons. It’s an insightful journey and a peak into the community surrounding one of England’s hidden gems

Contemporary political divisions and paranoia add an uneasy edge to filmmaker Alex Garland’s chilling nightmare of America’s future.

Kirsten Dunst portrays Lee, a seasoned war photographer embarking from New York to Washington, D.C. amid a tumultuous clash between federal forces and revolutionary groups. The Western Forces and the Florida Alliance vie for control, targeting the President. Lee, accompanied by Joel, a thrill-seeking reporter, Sammy, a seasoned journalist, and Jesse, an aspiring photographer, navigates a perilous America, where even refuelling invites danger. Amidst the chaos, Lee and Joel mentor Jesse in the brutal realities of their profession, where capturing the perfect shot outweighs saving lives in a country now ravaged by conflict.

Garland, best known for science fiction films Ex Machina and Annihilation, has delivered his most realistic film to date. Everything that occurs in Civil War could potentially happen. This is urban warfare, devoid of fun and flare. We’re not meant to cheer the violence on here. We’re meant to be horrified and we’re meant to be wary.

It makes for a finely crafted, intense thriller that holds back from overt political commentary, subtly suggesting the current crying uncertainties about the stability of the Land of the Free.

An unconventional friendship blossoms in this charmingly quirky animated feature.

In the animal-inhabited streets of 1980s New York, Dog leads a solitary life yearning for companionship. His wish comes true when he discovers an advertisement on a home-shopping network for a build-your-own robot companion. Quickly forming an unbreakable bond, Dog and Robot explore the vibrant city together, culminating in a blissful day at Ocean Beach. However, Robot's inability to withstand water leaves him stranded when the beach closes for the season, forcing Dog to leave him behind. As months pass, Robot dreams of reuniting with Dog while his loyal friend anxiously awaits his return.

The film is packed with delightful and witty visual details, every element pointing to the story's central themes about companionship and connection. These may be simple line drawings, but they burst with feelings that create characters who are strongly engaging. Without a single word of spoken dialogue, they reveal complex textures, revealing thoughts and feelings that are easy to identify with for anyone who has ever felt lonely or loved.

A thoroughly grown-up movie that has something important to say to children too and thoroughly deserves to become a cult classic

Kicking against the odds, Michael Fassbender stars in Taika Waititi’s charming tale of the biggest losers in football history.

A decade after enduring the worst World Cup loss on record, the American Samoa soccer team's redemption lies in the hands of disgraced Dutch American coach Thomas Rongen (Fassbender). Tasked with resurrecting their dignity, he faces cultural clashes and a team more focused on relationships than the game. But their lush Pacific island setting soon becomes the canvas for a remarkable journey of self-reflection, rebirth and unexpected triumph.

Renowned for films like Hunt for the Wilderpeople and What We Do in the Shadows, Waititi's signature blend of heartwarming storytelling and quirky characters seamlessly blends with the world of sports. As the perpetually frustrated Thomas, Fassbender is the straight guy amongst a large ensemble of wonderful local actors who never steal focus from each other. His crippling intensity sits at odds with their more soulful approach to life but as Thomas evolves from a grumpy outsider to an empathetic mentor, both his character and the film explore themes of acceptance and the joy inherent in the game. A delightful blend of humour, heart and sportsmanship.

A cascade of terrible decisions and shocking revelations are served up in this enjoyably offbeat dark comedy.

As their financial situation becomes desperate, wealthy London couple Sarah and Tom resort to hosting a dinner for their affluent London friends, Beth and Richard in hope of maintaining appearances. The already tense evening takes a dramatic turn when Jessica, a flirtatious author and mutual friend, unexpectedly attends the dinner before excusing herself to commit suicide in the garden. Fearing the repercussions of police involvement on the sale of their home, Sarah proposes an unconventional solution: moving Jessica's body back to her own flat. But just when they think they've reached a resolution, the doorbell rings.

Performances are razor-sharp, perfectly tuned to intensify the already charged atmosphere. As longtime friends, they find their bond stretched to its limits by shared mistakes and startling revelations. Among the central quartet, each actor delivers powerful moments. Shirley Henderson anchors the film as the unstable Sarah, Olivia Williams brings a captivating steeliness to her role while Tudyk and Sewell add intriguing layers as men on the verge of collapse.

Forever teetering between drama and comedy, it’s a deliciously twisted tale.

Italian filmmaker Matteo Garrone's profound exploration of the immigrant journey.

In Dakar, Senegal, Seydou and his cousin Moussa dream of escaping to Europe to pursue their musical aspirations. Their journey unfolds through a perilous odyssey spanning Mali, Niger and the treacherous expanse of the Sahara desert. Along the way, they face a series of brutal challenges and obstacles, from opportunists to bandits and militias, all exploiting and mistreating them. Beaten and battered but never discouraged, the duo maintain an unwavering grip on hope, finding solace in fleeting acts of kindness amid the harshness.

Led by stellar performances from namesakes Seydou Sarr and Moustapha Fall, Io Capitano thrives on the authenticity of their emotional journey. Both portrayals are incredibly compelling, effectively drawing you into the heart of their experience. Assisted by stunning cinematography and a poignant score, Garrone skilfully captures the intricate cultural tapestry of Africa, emphasising a sense of solidarity among the characters and grounding the story in realism.

A poignant reminder of the enduring quest for hope and belonging amidst adversity, the film transcends mere politics, illuminating the universal human experience of migration and the pursuit of a better life

Master filmmaker Hirokazu Kore-eda’s haunting and exemplary tale about innocence and influence.

In a coastal city suburb, Saori (Sakura Ando), a spirited young widow, lives with with her mischievous preteen son, Minato. As she observes Minato's increasingly erratic behaviour, she grows concerned. Suspecting an issue at school, she seeks answers from his teacher, Mr. Hori, who apologises for a previous unkind remark. However, Saori's worries persist as the school brushes off her concerns with vague responses. Determined to uncover the truth, she turns to Minato's classmate, Yori, who's also hiding something. It will take empathy to find the truth, and so Saori begins to study events through both Hori's and Minato's young eyes.

Opening with an earthy, naturally comical tone, Kore-eda adds a layer of mystery that grows increasingly dark. With a fiercely inventive script by Yuji Sakamoto, he builds the tension adeptly to intensely involve the audience. As the narrative circles, repeats and shifts its gaze from character to character, a delightful cast adds texture while a delicate score helps to strengthen their powerful emotional connection. It's a staggeringly beautiful film and a fascinating exploration of the dangers of being driven by the fear of speaking the truth

The life and legacy of post-millennial pop’s unforgettable icon.

Arguably the greatest singer of her generation and the queen of modern soul, Amy Winehouse recorded just two albums in her lifetime: 2003’s Frank and 2006’s sixteen-million-selling masterpiece Back to Black. But so enduring are her songs and shadow-eyed, wild-beehived image that she practically defines her era single-handedly.

Here, rather than delving into the forensic details surrounding Amy's tragic death, Sam Taylor-Johnson’s film chooses to focus predominantly on celebrating her life and musical journey. Back to Black unfolds as the story viewed through the lens of the singer herself, an approach that sidesteps the potential pitfalls of recounting her rise and fall.

While there exist grittier and darker portrayals of Winehouse's life that could be depicted on screen, Marisa Abela brilliantly captures her essence with a tenderness that highlights her youth, a stark contrast to her tough exterior and a voice rich far beyond her years. And though it may present a somewhat sanitised version of Amy's decline compared to Asif Kapadia's gritty and definitive 2015 documentary Amy, this film still paints a significant narrative of an artist tragically lost well before her time.

Dev Patel takes several cues from John Wick and directs this action film with a confidence and exuberance usually reserved only for veteran filmmakers.

This extravagantly violent and exuberantly messy revenge saga is set in contemporary India (in a fictional city called Yatana). It’s a place where power and money pollute, and where the poor are not just invisible, they are regarded as being less than human.

Patel plays Kid, a young man with no name living in a fictional Indian city, seeking revenge against the man who murdered his mother. So, he pummels and stabs his way to the guilty party, chief of police Rana Singh (Sikandar Kher). And after that, he pummels and stabs his way to that guy’s boss, a religious leader Baba Shakti (Makarand Deshpande). At first, Kid carries these stories as a burden, choosing to wear a monkey mask while throwing fights in an underground ring for the shady Tiger (a typically unhinged Shartlo Copley).

Patel has an eye for provocative compositions. Drawing on the work of Hong Kong action, and Indonesian thriller The Raid, he deploys dizzying camerawork that makes its set pieces propulsive

Animation wizard Hayao Miyazaki re-emerges after a decade with another strikingly beautiful, yet mournful tale of a young boy coming to terms with his mother’s death.

It’s the one Miyazaki came out of retirement to make, and it’s arguably one of his most personal. The backdrop is 1940s wartime Japan. The boy of the title is 12-year-old Mahito (Luca Padovan). Shortly before the main action takes place, Mahito loses his mother in a hospital fire after a bombing raid on Tokyo. The still grieving Mahito is forced to relocate to the country estate after his father remarries.

It also has another resident: a strange heron (Robert Pattinson) that seems to be taking an interest in Mahito. At the behest of this mysterious bird, Mahito enters a forbidden tower and finds himself drawn into a netherworld where timelines are knitted together. Fellow inhabitants of this world include Kiriko (Florence Pugh), a dashing sailor and fisherwoman who is skilled in magic, and the fire maiden Himi (Karen Fukuhara) and a community of giant man-eating parakeets. A slow-burn at first, this stunning film unfolds into a dimension hopping adventure

Jonathan Glazer's haunting masterpiece navigates the delicate balance between ordinary life and the unspeakable horrors of the Second World War.

Offering a unique and emotionally intense perspective on the life of Rudolf Hoss, the commandant of Auschwitz, and his family just outside the camp's walls, the film focuses on the idyllic day to day activities of Hoss, his wife Hedwig, and their children, despite the brutality occurring inside. Skillfully keeping much of the horror off-screen, the narrative instead relies on suggestion and imagination to convey the truth of what’s happening around them, juxtaposing everyday life against a backdrop of unimaginable suffering. The evil is unseen but underlying. This is about what we don’t see but, more importantly, what we choose not to see.

Complemented by captivating performances from Christian Friedel and Sandra Huller, meticulous cinematography and a harrowing score from Mica Levi, Glazer crafts an immersive journey unlike anything in recent memory. Forcing us to confront our own complacency amid the haunting realities of a dark chapter in history, it’s a riveting, unmissable cinematic achievement and a powerful reminder of the ongoing atrocities in the world

The possibility of change in post-war Italy is conveyed through the domestic struggles of one Roman housewife in There’s Still Tomorrow.

The film’s director Paola Cortellesi plays Delia, her role in this patriarchal society is confined to being a mother, cleaning the house, and catering to her husband’s every need. In the house, it falls upon her to care for her misogynistic father-in-law; she works four jobs to earn very little, and all of it goes to her despotic husband. Because Ivano is also a violent man, having learned from a young age a set of rules about men and women’s roles in a society where the latter are required to be quiet and comply, deprived of a right to vote, and a right to education.

The film follows Delia as she endures the domestic violence and verbal humiliation coming from her husband and father-in-law, hile doing all she can to leave her daughter Marisa with a better “tomorrow”.

Cortellesi’s ambitious, big-hearted directorial debut feature echoes the Neo-realist classics of the period, showcasing a central character who might once have been played by Sophia Loren.

Heartfelt and sincere, Bleeding Love is a father-daughter story about love, lies and family trauma starring a real father-daughter duo.

The dramatic duet opens with the nameless father (Ewan McGregor) already behind the wheel of his pickup truck with his nameless, angrily sullen daughter (Clara McGregor) riding shotgun. They’re on a highway headed toward Santa Fe, New Mexico, though it soon becomes evident that they’re also on the road to reconciliation — that byway many indie-film families travel in order to heal.

Their relationship is strained, to say the least, due to the father being absent for the majority of his daughter’s life, and what’s spurred him to try and reconnect is the discovery that she’s recently suffered a drug overdose. A recovering addict himself, there are multiple points in the film where it’s obvious that he feels like he’s staring at a mirror, seeing someone he holds incredibly dear go through almost the exact same things he once did. All he wants is for his daughter to be better than him, to do anything but live the life he did. It’s incredibly moving, because that feeling is so universal.

Joel Edgerton coaches a group of rowing underdogs at the height of the Great Depression in this inspirational true-story sporting drama from George Clooney.

In 1936 Seattle, impoverished-orphan Joe is convinced by his friend Roger to join the rowing team to help fund his university studies. Discovering a natural talent for the sport, he is soon under the watchful eye of Coach Ulbrickson (Edgerton) who is determined to transform the squad into world-class winners. Thrust into the spotlight, they take on elite rivals from around the USA, and then the world, as they bid for ultimate glory at the Berlin Olympics.

Based on Daniel James Brown’s book of the same name, it’s a straight-forward, no-nonsense take on their journey. Performances from the sharp ensemble cast are earthy and natural, anchored by Callum Turner as Joe. He's compelling as a young man with identity issues and determination to be the best. It's Joe's perspective that holds the interest, as a guy who raised himself and made it to university against the odds, succeeding at something he stumbles into. While a touch formulaic at points, slick production design and some genuinely riveting racing sequences make this a safe but ultimately enjoyable retelling.

Blood is on the menu as six hapless victims flee from a child monster in Scream V and VI directors’ fun-house horror.

The film begins with the coordinated kidnapping of 12-year-old ballerina Abigail (Alisha Weir), the daughter of a powerful crime lord guaranteed to fetch a hefty ransom prize. Splitting the obscene loot are the six tasked with snatching Abigail from her home and safeguarding her for 24 hours: ex-cop Frank (Dan Stevens), medic and Abigail caretaker Joey (Melissa Barrera), endearing himbo muscleman Peter (Kevin Durand), spunky hacker Sammy (Kathryn Newton), wheelman Dean (Angus Cloud), and ex-military Rickles (William Catlett).

The group of strangers arrive at their luxury hideout with minimal hiccups, where they’re given the rundown by employer Lambert (Giancarlo Esposito) and forced to give up their phones. Once left to their own devices, it quickly becomes clear that their kidnapping stint comes with job hazards they couldn’t have anticipated. This hazard being that the target is actually a vampire. What follows is pure claret carnage as the little blood-sucker goes on the hunt. It’s funny, wild, fangtastic entertainment.

It’s the original ‘Wizard of Oz’ cleaned up for the big screen. Not only don’t miss it but bring every child in the street, if only to frighten the life out them.

Made in 1939, just a year after the Rex first opened; it must have been shown here.

It tells the story of Dorothy and her new friends on a huge, surreal adventure. I didn’t get it as a kid and hated it at Christmas ever since. But don’t let that put you off. Every child must be subjected to it, like cod-liver oil from a spoon and goose-grease rubbed into your chest every winter until you are 32. The best is the fade from black and white into spectacular technicolour.

The film’s big homespun, American message is ‘There’s no place like home’: Dorothy’s mythic journey seems to reveal that to find one’s heart’s desire, you need not look further than your own backyard. Never mind the hokum, come for the spectacle of early primative film effects . Forget the witch, Judy Garland still frightens me.

Based on the true story of a young boy kidnapped by papal authorities, this Dickensian drama lays bare bigotry and the abuse of power in the Catholic church.

Edgardo Mortara (Enea Sala) a young Jewish child in Bologna who, in 1858, when he was six, was taken away from his family. This was done because Edgardo’s doting Catholic nursemaid had claimed that when Edgardo was a baby, and apparently in dire sickness, she had presumed to carry out an emergency baptism, because she feared Edgardo would die and go to limbo. The fanatical Inquisition authorities believed that the Jewish family would therefore “sacrifice” the now-Catholic child, and jumped at the chance to punish the Jewish community and inflate their own missionary self-importance. Edgardo, extensively brainwashed, grew up to be a priest and vehement partisan of the church.

Edgardo’s father (Fasuto Russo Alesi) tries to settle things between men, reasoning with the church. His wife Marianna (Barbara Ronchi), however, is a mother on the warpath with no appetite for compromise. Marco Bellocchio has created a gripping, heartbreaking true-political crime story from the pages of history

A warm welcome back, after 73(!) years, to this delightful Ealing gem, written by TEB Clarke and directed by Charles Crichton.

Alec Guinness gives a pitch perfect performance as Henry Holland, the mousy, bespectacled bank clerk in bomb-damaged postwar London. His job is to accompany gold bullion in the special van with armed security guards and, with the help of his friend Pendlebury (Stanley Holloway) figures out a way to pinch the gold and smuggle it out of the country into Paris smelted down into bogus lead paperweights in the shape of the Eiffel Tower.

It's tremendously good fun, though lighter in tone than Ealing's two more unconventional masterpieces, Kind Hearts and Coronets and The Ladykillers. Holloway and Guinness's chase down the staircase of the Eiffel Tower has a Hitchcockian quality. Alfie Bass and Sid James, playing the other criminals, are classic supporting turns; like Holloway, they are the kind of organic, garden-grown character actors that Britain doesn't produce anymore. A before-she-was-famous cameo from Audrey Hepburn is a surreal frisson. A delightful classic which audiences flock back to time and time again.

Delightful nineties classic of acceptance and embracing one's true nature.

After being used in a guess the weight contest at a county fair, orphaned piglet Babe is brought home to the farm of the contest winner, Arthur Hoggett. Raised by Farmer Hoggett, Babe's journey begins when he showcases his knack for herding sheep, earning the admiration of his fellow farm animals and the farmer alike. As Babe navigates his newfound identity, he forms deep bonds with his friends, including the loyal sheepdog Fly and the nurturing ewe Maa. Together, they embark on a journey of self-discovery, proving that kindness and determination can triumph over prejudice and tradition.

Seamlessly blending live-action with animatronic animals, the film presents an enchanting world filled with charm and authenticity. Even years after its release, the film's visual effects remain remarkably convincing, and while huge advancements in digital animation have revolutionised filmmaking since its release, the charm and authenticity here have endured. Every detail feels authentic and genuine. In an age where CGI often dominates the cinematic landscape, Babe serves as a refreshing reminder of the power of traditional filmmaking techniques and great storytelling

You could probably choose a less conspicuous method of getting over the wall than floating across the border in what looks like a giant glowing lightbulb.

Yet a spectacular nocturnal breakout from communist East Germany by hot-air balloon is exactly what two families did on one chilly night in September, 1979.

Director Michael Bully Herbig tells the true story of the Strelzyks and the Wetzels, who built their balloon in a cellar. After sewing and tinkering for weeks, they make their first attempt. A few feet from West German freedom, their balloon suffers from the rain and crash lands. Luckily, they manage to avoid being caught by the nazi Stasi. However, the wreckage from their escape attempt is found and that triggers a desperate manhunt. The tension rises as the families determine to try again, and a race against time begins.

Besides being a fine thriller, Balloon also shows very well the effects authoritarian societies have on its people. It’s further proof that Herbig is one of the best directors his Country has to offer. (research Jack Whiting) I remember my own family’s joy at the international news of this fantastical escape. Miss everything else, but not this.

Arthur Ransome’s beloved tales recounting childhood adventures are told anew on the big screen. The twelve books were named after the title of the first one in the series and set between the two World Wars. Despite some deviations from the original plot, including the addition of heavily overcoated spies, the children, non-actors, are perfectly cast. The Lake District is perfect in all its careless, spectacular beauty and moody tranquillity, fulfilling our love for trees and hills and streams. As for simple penknife and string adventures, this is a delicious tale set in a time of innocence in a most beautiful part of England. “A good-natured, if self-conscious period adaptation that grafts on a new grown-up plotline with dastardly spies” (Guardian) “There’s a period-appropriate honesty to it, easily mistaken at first for earnestness or nostalgia. It stands apart from any other family film you’ll see for a long time.” (Telegraph) Much of it was filmed on the endlessly breathtaking, blue Derwent Water at Keswick, where the most special ‘Cat Bells’ ridge can be seen clearly in many background shots. I will love Keswick in April forever, even in August. This lovely tale will return again and again. So, please come again and again.

Zendaya, Josh O’Connor and Mike Faist play a trio of tennis players whose lives are inextricably connected in an uproariously sexy love triangle.

Zendaya is Tashi, a former superstar tennis player turned coach, now married to her single client, Art (Faist) a tennis player who’s way off his game these days, is going out to patently inferior players. But fiercely focused Tashi comes up with a plan: he will slum it on the ATP Challenger Tour to match with some no-hoper whom he can crush.

But to his horror, Art is matched with his former best friend and Tashi’s ex-boyfriend Patrick (O’Connor). Patrick has fallen on hard times, but maybe trouncing Art will impress Tashi, with whom he is, of course, still deeply in love.

This sexually-charged psychodrama is the sort of barbed character study that Gudagnino has turned into a fine art throughout his career. The characters in this central love triangle are stubborn and reckless and desperate in their own ways. Every teasing frame, with its sweat-locked curls of hair and muscled thighs emerging out of tiny shorts, triggers an intoxication.

A wacky, quacky, quirky delight.

Dad mallard Mack has convinced his son Dax and younger daughter Gwen that their lives exist within their pond and their pond only. But mum Pam longs for new scenery, especially when a passing flock chatters about wintering in Jamaica. After much deliberation, the feathered family take flight and head south. Landing in a swamp, they encounter a terrifying oddball heron, and later a scrappy Central Park pigeon and a caged red macaw longing for his Jamaican home. However, freeing him puts them in the crosshairs of a vindictive chef who's determined to roast them all for dinner.

A sparky script, voiced by a superbly eclectic cast, takes what would otherwise have been a silly animated adventure and gives it some substance. Visually, Migration boasts beautifully crafted design with a striking attention to detail in the characters and settings. Each of the environments is fascinating, from the pastoral pond to a creepy swamp, an outrageously bustling New York, a zen-like happy duck farm and an off-season coastal resort.

A charming adventure that unfolds its wings and soars.

Wigs abound as King Louis XV’s infatuation with a sexy, smart courtesan makes for an entertaining and well-crafted costume drama with plenty of satirical bite.

Jeanne du Barry (Maiwenn, who also directs) is a young woman from a very humble background who, partly through chance, ends up at the Palace of Versailles. She is abominably treated by many of the men she encounters but has enough wit and humour to get ahead all the same. After the king (Johnny Depp) takes a shine to her, Jeanne is forced to undergo a humiliating gynecological examination before a doctor pronounces her “worthy of the royal bed”. Yet with the declining of the king’s health, Jeanne’s powerbase dwindles and calamity looms.

Maiwenn recreates a very hierarchical world, in which every look, gesture and word has hidden meaning. Everybody is plotting against everybody else. It’s regarded as bad form to show emotion.

Jeanne du Barry lays bare the absurdity and chauvinism of court life. It is a preposterous confection of a film, like one of the rich sweetmeats being languidly nibbled in the courts, but very moreish, nonetheless.