Bridget Jones is back for one last hoorah in this vulnerable, honest and very funny final chapter.

Spoiler. Mark Darcy is dead. In fact, he’s been dead for four years. Bridget is taking it about as well as can be expected. Now older and (slightly) wiser, she’s a singleton once more and finds herself at a crossroads. Though she’s grown, learned from her mistakes, and evolved, she’s still ultimately the same Bridget at heart. After jumping back into the dating pool, she finds herself caught between a younger man and her son's science teacher. Surrounded by her faithful friends (Shirley Henderson, Sally Phillips, and James Callis), her withering gynecologist (Emma Thompson), and ageing playboy Daniel Cleaver (Hugh Grant), Bridget weighs up whether to let herself fall in love all over again.

‘Fourquels’ are usually where film franchises start to flirt with rock bottom. But not this time. Renée Zellweger, who for 24 years has given us possibly the greatest romantic-comedy heroine of the millennium, is Mad About the Boy’s life-force. The nature of her performance and obvious admiration for the role brings everything together here, re-capturing the magic, humour, and heartbreak of the original and bowing out with its best sequel.

It looks gorgeous and was already threatening an Oscar for Kiera, who lifts the part of Elizabeth above all great expectations. BAFTA, it appears, couldn’t consider her. Too beautiful..? If ever How’s that for rejection by committee - of correct-thinking arseholes. But all for the greater good. Happily the whole production was stunningly beautiful - how did they miss that? The countryside alone, the backlit summer meadows, the lake and beautiful Jane language is enough to set your heart athrob. The scenery stops in its own tracks, the cinematography is just breathtaking, and their faces stay in tune with fragile hope, longing and loss throughout. They take you with them every step. Manners, misunderstandings, courtship, love, pride and prejudice are all here, of course - condensed into two hours for the screen. Elizabeth and Darcy play their hearts out for you… It is heartbreaking and uplifting, and where it is funny, it is funny.

“…serene and beautiful…The classic battle of the sexes in literature, now on screen…” City Screens

Never mind that. Matthew MacFadyen turns-in the best - Complete awkward, brooding screen Heartthrob personified - ever. As for Joe Wright, he never managed such beauty and attention to useful detail on screen again (lucky sun & rain? too). A cinematic big screen epic in every word, snub, caricature and gesture. Don’t dare miss it now.

Moderate bad language

A bittersweet, folk-tinged tale of missed connections, old wounds and the odd note of hope.

Tim Key plays Charles, a socially awkward lottery winner living in self-imposed exile on a remote island, nursing old wounds with vinyl records and wistful memories. His solace comes in the form of a long-disbanded folk duo, Herb (Tom Basden) and Nell (Carey Mulligan), whose music once scored his happiest days. With a suitcase full of cash, he hatches a quietly madcap plan: reunite them for a private concert, each under the impression the other won't be there.

Writers and co-stars Key and Basden strike a fine balance between heartfelt emotion and well-timed comedy. As the embittered Herb, Basden gives a wonderfully weary performance opposite Mulligan’s Nell, whose arrival complicates everything. Their shared songs, written by Basden, carry the ache of things left unsaid, while Charles’ well-meaning manipulation adds a touch of chaos.

Director James Griffiths allows these odd dynamics to unfold with warmth and restraint, finding emotional depth beneath the film’s charming eccentricities. Gently funny, wistful and often unexpectedly wise, it’s a clear message that not all love stories are about staying together. Some are about letting go with grace.

Infrequent strong language, moderate sex, drug misuse

This uplifting film about a couple who embark on a long coastal walk after becoming homeless, is a breath of fresh, sea air.

Based on the bestselling memoir of husband and wife, Raynor and Moth

Winn’s (Jason Isaacs and Gillian Anderson) 630-mile trek along the beautiful but rugged Cornish, Devon and Dorset Coastline. Once farmers, they lost their home and their livelihood after a bad investment by Moth. Rather than wallow in their misfortune, they both pack up what belongings they have, and hit the road to Land’s End, to simply walk the coastal path and make the trail their home.

If it couldn’t get any more heartbreaking, Raynor is diagnosed with a terminal neurodegenerative disease. They make the desperate decision to walk in the hope that, in nature, they will find solace. With depleted resources, only a tent and some essentials between them, every step along the path is a testament to their growing strength and determination.

The Salt Path is a journey that is challenging, and liberating in equal measure. A portrayal of home, how it can be lost and rediscovered in the most unexpected ways.

The 1994 Palme D’or winning classic is a remarkable act of alchemy, winning over both arthouse and multiplex audiences like nothing else before it.

The film sports a complex interweaving of vignettes. Opening with a pair of cafe robbers (Tim Roth and Amanda Plummer), it quickly segues into our pair of “main” protagonists, hitmen Vincent Vega (John Travolta) and Jules (Samuel L. Jackson), whose stories of death and violence wend throughout the story as they come to grips with what they do for a living. Simultaneously, Bruce Willis steps into the story as Butch Coolidge, a boxer who doesn’t throw a fight for Vincent and Jules’s boss Marsellus (Ving Rhames), which climaxes in an unforgettable tussle in a local store. Then there’s the film’s real star in Uma Thurman’s Mia Wallace.

The film can be poignant, disgusting, yet never boring or uninteresting, and more than thirty years later, there’s still nothing quite like it. Full of quotable lines that still permeate our lexicon to this day, Pulp Fiction is an infinitely rewatchable masterpiece. So don’t be a square, and catch this on the big screen.

Moderate violence, threat, language

Florence Pugh leads a messy, magnetic ensemble in this refreshingly sharp, character-driven Marvel entry that works best when it forgets it's part of a franchise.

Frustrated with life in CIA black-ops, Yelena (Pugh) asks her boss Valentina (Julia Louis-Dreyfus) for something redemptive. Instead, she’s sent on a mission designed to destroy her and fellow morally grey agents: John Walker, Ava/Ghost, and Taskmaster Antonia. Realising the trap, they join forces to protect the mysterious Bob (Lewis Pullman), with backup from Yelena’s chaotic father Alexei (David Harbour) and the ever-conflicted Bucky Barnes (Sebastian Stan). But Valentina has deeper plans, and Bob may be more than he seems.

Told largely through Yelena’s eyes, the story finds real weight in her journey, and Pugh’s brilliant performance grounds the mayhem. She brings depth to themes of isolation, identity, and reluctant kinship with her fellow “losers.” Harbour, Stan, and Louis-Dreyfus offer striking support, with the latter chewing the scenery as the masterfully manipulative Valentina.

Balancing snark, sorrow and spectacle with surprising elegance, Thunderbolts* (don’t forget the asterisk) is a manic but meaningful ride. Less about saving the world, more about saving themselves and, quite possibly, the franchise

Strong injury detail

For all their abundant style, the films of Wes Anderson are always weighted with character depth. For his latest film, Anderson once again welcomes audiences into a world that no other filmmaker could create.

Benicio del Toro stars as a derring-do millionaire called Zsa-zsa Korda, who has survived six plane crashes and fathered nine sons and one daughter, a nun called Liesel played by Mia Threapleton.

They embark on a quest with tutor Bjorn Lund (Michael Cera) to secure the future of his business ventures, encountering characters such as Uncle Nubar (Benedict Cumberbatch), Excaliber (Rupert Friend) and Richard Ayoade’s freedom fighter. The usual stacked cast of Anderson regulars include: Mathieu Amalric, Charlotte Gainsbourg, Tom Hanks, Scarlett Johansson, Bryan Cranston and Jeffrey Wright.

Anderson’s style hit its unique stride with The Royal Tenenbaums, and from there on has only been obsessively accentuated, controlled, these last 25 years. Those who found his previous two films (The French Dispatch, Asteroid City) to perhaps be a little too dour in their approach, will find this to be a welcoming jolt of fun; more in line with Grand Budapest Hotel’s zany antics

(Subtitled) Infrequent strong language

The heist sub-genre is one that  feels like it’s been mined to death. So it comes as a surprise to find this German-language comedy has found a new angle.

A group of people in the German Democratic Republic (GDR) - or East Germany as we knew it - in 1990, with reunification a few days away, discover an old storage depot with tons of abandoned and soon-to-be-worthless ostmarks, and not much time left for sneakily exchanging them for deutschemarks at the accepted (and humiliating) rate of two to one.

Sandra Hüller plays a woman called Maren who, with husband Robert (Max Riemelt), leads the plan while Ronald Zehrfeld plays Volker, with whom Maren has some emotional history.

First the scam revolves around discreetly buying up consumer items such as microwaves from door-to-door salesmen who still accept ostmarks and reselling them. There’s also a plot point about using the cash to revive the old factory for the community’s benefit – so the film’s audience understands that the characters are not just greedy. Sandra Huller again excels (when does she not?), and elevates this somewhat slight, Ealing-esque caper to greater heights

Moderate violence, injury detail, threat, language

As the title suggests, this is the last mission for Tom Cruise’s flagship series, and after three decades of thrilling high-wire acts, we’re closing out with some of the craziest stunt-work to date.

With his doughty team including Grace (Hayley Atwell), Luther (Ving Rhames) and Benji (Simon Pegg), Ethan Hunt (Cruise) must now confront the sinister AI brain named “the Entity”, the ultimate MacGuffin-slash-baddie which is undermining truth all over the world with lies and deep-fakes, setting nuclear power against nuclear power And to stop it, Ethan has to take the low-tech “cruciform key” he salvaged in the last film and apply it to the device which is on board a wrecked Russian submarine, somewhere on the seabed.

For all of Cruise-as-Hunt’s godlike powers, the actor is especially willing here to slip and slide around the place like he’s been touched by the grace of Buster Keaton. Whether it’s tumbling around in a sinking sub, or hanging off the wing of a bi-plane as it throttles through a canyon, he’s always willing to accept the greatest mission of all: to entertain.

Moderate violence, injury detail, language

Four decades have passed since Mr Miyagi taught a young boy how to catch flies with chopsticks, and the series has now become a legend in itself.

This long-coming legacy sequel is set three years after the events of Cobra Kai (the TV series, which itself was a continuation of the original films). After a family tragedy, kung-fu prodigy Li Fong (Ben Wang) is uprooted from his home in Beijing and forced to move to New York City with his mother. Li struggles to let go of his past as he tries to fit in with his new classmates, and although he doesn't want to fight, trouble seems to find him everywhere.

When a new friend seeks his help, Li enters a karate competition — but his skills alone aren’t enough. Li’s kung-fu teacher Mr. Han (Jackie Chan, channeling Pat Morita) enlists the original karate kid, Daniel LaRusso (Ralph Macchio) for help, and Li learns a new way to fight, merging their two styles into one for the ultimate martial arts showdown. Strap in for some high-flying, kung-fu fun.

(Subtitled) Strong language, sex, sex references

Writer/director Laura Piani’s sweet film is a French romantic comedy with an English twist, brimming with charm and literary allusions that readers are going to adore.

Agathe (Camille Rutherford) works at the famous Shakespeare & Co bookshop in Paris, though she secretly hopes to one day publish her own novel. She’s not into dating apps and prefers to believe that she’ll simply run into the man of her dreams in real life. Her cute colleague, Felix (Pablo Pauly), isn’t that principled — or is it delusional? — and sleeps around, though he also spends a suspicious amount of time at Agathe’s cramped apartment. When Agathe is awarded a stay at an exclusive retreat for writers, she not only finds the creativity to finally begin putting her ideas on paper, but also a bit of romance.

Presented as a lighthearted farce, complete with characters stepping (naked) through the wrong doors and a tense cross-country ride, in which Agathe complains in French (not realising her companion speaks the language), the film is at once old-fashioned and refreshingly, realistically up to date in its take on modern courtship.