The cast members of 2006’s beloved fashionista comedy expressed no desire in doing a sequel, but apparently something changed, and now everyone has come back for a second strut.

This time, the story dives into the decline of print fashion magazines and the rise of digital media. Miranda Priestly (Meryl Streep) is dealing with retirement and the collapse of the magazine industry, now forced to build bridges with her one-time assistant Emily (Emily Blunt). Emily has become a powerful executive in the luxury brand world. The tension? Emily’s company no longer needs Miranda’s magazine, flipping their old dynamic on its head. It’s not just fashion anymore; it’s survival, relevance, and reinvention. Anne Hathaway’s Andy Sachs is also back in business with Miranda, working as an editor at Runway.

Expect sharp dialogue, breathtaking wardrobes, and that same biting humour that made the original a classic. This sequel has that perfect mix of nostalgia and new energy. The devil is back and she’s more fabulous and ruthless than ever. The Devil Wears Prada 2 feels like catching up with old friends, ones who wear designer heels.

The paunchy Nintendo mascot Mario (Chris Pratt) and his brother Luigi (Charlie Day) return for another colourful, kid-friendly adventure, this time going beyond the stars.

We meet a princess, Rosalina (Brie Larson), who is the mother of a brood of multi-coloured stars. She’s kidnapped by Bowser Jr (Benny Safdie), who’s out to avenge his imprisoned dad (Jack Black). Meanwhile Mario and Luigi meet and befriend cute dinosaur Yoshi (Donald Glover) and set out to help Princess Peach (Anya Taylor-Joy) as she goes off to rescue her fellow royal.

What follows is 90 minutes of pure sugar-rush as we quite literally bounce from one madcap segment to the next, with nary a time to breathe. There’s precious little humanity in the dialogue or performances, yet the joy lies in its sincere affection for the Mario universe; the people who made this, including a great many from Nintendo itself, care enough about the Mario games to ensure that the details are right: that everything looks and sounds as it should, from those spinning star-launchers from the Galaxy games to the cute 2D sequences that are straight out of Super Mario Bros. It’s silly, delightful stuff.

(Subtitled)

Language: French

What more to be said of this fabulous heartwarming gallic spark? A huge true-story hit around the world, no moreso than at here the Rex where it has/will run and run.

The film chronicles the unlikely burgeoning friendship between Philippe (Cluzet) a wealthy and cultured quadriplegic, and Driss (Omar Sy) a young banlieue (slum) dwelling French West African hired to be his reluctant carer.  This routine ‘odd-couple’ story works on some other level, simultaneously wry, tender and hard-hitting. Perhaps inevitably, Philippe and Driss find their cosmic differences reveal more about... Philippe's reluctant romantic involvement with a pen-friend; Driss with his flirtatious, mischievous ways and his deep rooted immigrant poverty and consequent daily family earthquakes.  “Untouchable’s moral is conservative optimism: give a man responsibility and he will act responsibly? Might charm, but wont change the world…” (Oh yeah? Telegraph) It will move yours.

From its opening ambiguity, it draws you in, teasing an uncertain tension, before you fall in love. Only the French seem to understand how to tell a fundamental human tale to touch us all across barriers of language and… borders. At the closing of a bad year, come: be uplifted by a European Country’s effortless art of screen story telling; perhaps France’s greatest export gift…

Knives Out meets Babe in this light-hearted, wooly whodunnit, starring Hugh Jackman.

In this witty, new breed of mystery, Jackman is George Hardy, a shepherd who loves his sheep and raises them only for their wool. Every night he reads aloud a murder mystery, pretending his sheep can understand, never suspecting that not only can they understand but they argue for hours afterwards about whodunnit

Then, when someone is actually found dead under mysterious circumstances, the sheep realise at once that it was a murder and think they know everything about how to go about solving it. The local cop Tim Derry (Nicholas Braun), on the other hand, has never solved a serious crime in his life, so the sheep conclude they will have to solve it themselves, even if it means leaving their meadow for the first time and facing the fact that the human world isn’t as simple as it appears in books.

The Sheep Detectives is a fun, wholesome murder mystery with an all-star voice cast including: Bryan Cranston, Regina Hall, and Patrick Stewart. Don’t miss.

Ian McKellen and Michaela Coel play off each other beautifully in an intimate London-set comedy drama about art, commerce and the mess in-between.

McKellen is Julian Sklar, a once-brilliant painter who sullied his name with awful behaviour. Now, separated from the world he looks down on in his London townhouse, he makes money through embarrassing Cameo videos.

He’s cursed with two talentless children (Jessica Gunning and James Corden), they’re obsessed with the money they might still be able to squeeze from him. There’s a set of portraits – The Christophers – that have gained a mythical reputation and while no one on the outside knows they’re unfinished, the siblings intend to hire an expert to finish them so that they can con their way into a fortune. They pick Lori (Coel), an art restorer, she pretends to be Julian’s new assistant and the pair begin an unusual relationship, filled with mistrust, anger and revenge.

The Christophers is an witty comedy drama with plot reversals that make it feel like it’s on the verge of a thriller. It doesn’t end up there, but it’s unpredictable enough to never make us entirely sure just where it’s heading.

A glossy portrait of Michael Jackson’s rise from child prodigy to global superstar, covering the years from the Jackson 5 through the height of his 1980s fame.

The film traces Michael’s journey from performing under the demanding eye of his father Joseph Jackson (Colman Domingo) to breaking away as a solo artist alongside key figures including Quincy Jones and manager John Branca. Along the way, it highlights both the extraordinary pressure surrounding his success and the intense spotlight that shaped his life from childhood onwards.

Much of the film’s appeal relies on the music itself, with elaborate recreations of iconic routines and concert moments serving constant reminders as to why Jackson became one of the defining entertainers of modern pop culture. In his screen debut, Jaafar Jackson impressively captures both the physicality and mannerisms of his uncle, while Domingo brings real force to the role of Joseph.

The film closes before the most controversial chapters of Jackson’s life, but its major box-office success and audience appeal have paved the way for a follow-up. Any continuation, however, would inevitably have to confront the darker scandals and complexities surrounding his later years more directly.

(Subtitled)

Language: French

A light-footed, time-spanning drama that explores how the past quietly shapes the present.

When a large extended family in Normandy are asked to clear out their long-abandoned ancestral home ahead of a redevelopment, four distant relatives take on the task. As they sift through letters, photographs and paintings, one of them, Seb, begins to imagine the life of a young woman from the 19th century, Adele, whose journey to Paris opens up a parallel story that gradually intertwines with the present.

Director Cédric Klapisch moves fluidly between timelines, drawing connections across generations with a playful, inventive touch. The film finds its rhythm in small discoveries and shifting perspectives, using visual echoes and gentle humour to link past and present without ever feeling heavy. Moments of curiosity, coincidence and imagination keep the narrative buoyant, even as deeper themes about identity and belonging come into focus.

A strong ensemble brings warmth and personality to a wide range of characters, grounding the story in recognisable emotions as new relationships form and old ones are reconsidered.

Easygoing yet thoughtful, it’s a quietly uplifting reflection on connection, memory and the traces people leave behind.

Baz Luhrmann reshapes rare concert footage and unheard interviews into an immersive portrait of Elvis Presley at full power.

For decades, 59 hours of professionally shot material from Presley’s early Seventies shows sat locked away in a Kansas salt mine, unseen and largely mythical even among devoted fans. When Luhrmann persuaded Warner Bros. to unearth the archive while preparing his 2022 biopic, what emerged was far more than performance reels. Multi-camera concert footage captures Elvis at his peak as a live artist, while backstage moments and candid reflections reveal a man both commanding and curiously exposed.

Rather than assembling a conventional cradle-to-grave documentary, Luhrmann opts for something more fluid and impressionistic. Presley effectively narrates the film himself through archival interviews and recordings, his voice guiding viewers through fame, doubt and creative hunger. The effect is intimate without being reverential, allowing flashes of vulnerability to sit alongside the swagger.

There is fresh force in being reminded that this global icon began life in deep poverty before becoming the most famous young performer on the planet. By letting the man speak and sing for himself, the film offers a vivid, unvarnished encounter with the King.

A glossy romantic comedy filled with sun-soaked scenery, family chaos and plenty of Italian charm.

After the death of her mother, Anna (Maia Reficco) finds herself drifting through life, abandoning culinary school and taking temporary jobs as a housesitter. A chance meeting with Matteo unexpectedly sends her to Tuscany, where a misunderstanding leads his lively family to believe she is his fiancée. Welcomed into their world of restaurants, vineyards and long family meals, Anna soon forms a connection with Matteo’s charming cousin Michael (Michele Morrone), complicating matters further.

Director Kat Coiro leans fully into the genre’s pleasures, balancing romance, comedy and picturesque escapism with an easygoing touch. The story follows familiar beats, but the Tuscan backdrop, warm ensemble cast and steady stream of food and wine keep everything light and entertaining. Family tensions, old rivalries and unexpected attractions all bubble away beneath the postcard-perfect surface.

The supporting cast adds much of the film’s warmth, grounding the romance in affectionate family dynamics and generational humour. Easy to sink into, it’s an upbeat feel-good romance about fresh starts, unexpected connections and finding somewhere you belong

Twenty years in the making, Enid Blyton’s much-loved 1940s book series is vividly brought to life on the big screen.

Polly (Claire Foy) and Tim (Andrew Garfield) move to the English countryside with their three children, and the initial awkwardness of their new life quickly gives way to wonder when the youngsters discover the Magic Faraway Tree. Its eccentric residents (Moonface, Silky, Dame Washalot and Saucepan Man) guide them through fantastical lands, each more dazzling and unpredictable than the last.

Screenwriter Simon Farnaby, known for his work on Paddington 2 and Wonka, brings his trademark warmth and wit to the adaptation, crafting a world where curiosity, courage, and familial bonds shine. The stellar ensemble also includes Rebecca Ferguson, Jennifer Saunders, Lenny Henry and Michael Palin, infusing the story with humour and a rich sense of fun at every turn.

It’s a charming adventure, perfectly capturing the imagination and gentle magic that have kept Blyton’s books beloved for over eighty years. For anyone whose grown up dreaming of wondrous lands and whimsical creatures, this is a joyful journey full of laughter and the enduring delight of discovering new worlds together.

Blending big ideas with a refreshingly playful spirit, this ambitious space adventure mixes high-stakes science with a generous streak of humour.

When scientists discover that a mysterious microbe is slowly draining energy from the sun, project manager Eva (Sandra Hüller) recruits unassuming teacher Ryland Grace (Ryan Gosling) to help prepare a desperate mission to save Earth. After awakening alone on a distant spacecraft with no memory of how he got there, Grace soon realises he isn’t the only one trying to solve the cosmic mystery. A nearby vessel carries a lone survivor from another world, a stone-like alien Grace affectionately names Rocky, and the two gradually learn to communicate.

Directed by Phil Lord and Christopher Miller, the story unfolds as a lively mix of inventive sci-fi spectacle and witty character moments. The tone is kept warm and inviting, turning complex astrophysics into an entertaining ride built around character, curiosity and an unlikely friendship. And at its heart lies the growing friendship between Gosling’s bewildered astronaut and his curious alien counterpart. Their teamwork, filled with jokes, discoveries and improvised science, powers a thrilling, imaginative adventure that proves even the vastness of space is better explored together.

(Subtitled)

Language:Italian

A richly atmospheric period drama that blends music, ambition and emotional restraint against the backdrop of Baroque Venice.

Set in 1716, the story follows composer Antonio Vivaldi (Michele Riondino) during his years at Venice’s Ospedale della Pietà, where he taught music to orphaned girls while developing the work that would eventually shape his legacy. Among his students is Cecilia (Tecla Insolia), a gifted young violinist whose connection with Vivaldi gradually deepens through their shared dedication to music. As their mentor-student relationship evolves, the film quietly explores ideas of creativity, sacrifice and the limited freedoms available to women of the era.

Opera director Damiano Michieletto brings a strong visual and musical sensibility to his feature debut, combining elegant period detail with a more contemporary emotional rhythm. The recreation of 18th century Venice feels immersive without becoming overly ornate, while the music itself flows naturally through the story rather than simply decorating it. Riondino gives Vivaldi a driven, thoughtful presence, while Insolia brings warmth and intensity to Cecilia’s growing confidence.

Gracefully assembled and beautifully performed, it’s a sumptuous film that captures both the discipline and emotional pull of artistic creation.

A thoughtful and quietly rousing documentary exploring Britain’s growing right-to-roam movement and the debate over who truly has access to the countryside.

Director Orban Wallace follows campaigners pushing for broader public access to land in England and Wales, inspired by Scotland’s long-established outdoor access laws. Rather than framing the issue as a straightforward battle between protesters and wealthy landowners, the film takes a wider view, speaking to walkers, activists and rural landowners with sharply differing opinions about ownership, tradition and public space.

Alongside the political discussion, Wallace captures the eccentric energy of the movement itself, from peaceful mass trespasses to surreal gatherings involving Morris dancers and folk-inspired celebrations in open fields. The deeper emotional connection many people feel towards nature and shared landscapes comes through in conversations and contrasting perspectives that unfold naturally without forced conclusions. Even those resistant to change are presented as part of a broader national conversation about land, class and community.

By the end, the film leaves behind a simple but persuasive idea: that access to the countryside should feel less like a privilege and more like something shared by everyone.

A warm, reflective family drama about grief, memory and the complicated bonds between sisters.

For her directorial debut, Kristin Scott Thomas draws on personal experience to tell the story of three sisters reuniting in the English countryside for their mother’s third wedding. As Diana (Scott Thomas) prepares to marry again, daughters Katherine (Scarlett Johansson), Victoria (Sienna Miller) and Georgina (Emily Beecham) are forced to confront old family wounds, lingering memories of their late fathers and the uneasy feeling that life is continuing to move forward without them fully ready.

Set largely within a cosy countryside home, the film balances gentle humour with more emotional conversations about loss, identity and family expectations. The wedding itself becomes less about romance and more about the shifting relationships between the women gathered around it, each carrying very different ideas about love, loyalty and the past.

The performances give the film much of its warmth, with Johansson, Miller and Beecham creating a believable sibling dynamic filled with affection, irritation and shared history. Johansson in particular brings a grounded emotional steadiness that quietly anchors the ensemble.

Bittersweet and heartfelt, it’s an intimate drama that finds comfort in connection, even amid unresolved feelings

A sharp, fast-moving political drama exploring power, media and modern Russia’s transformation after the fall of the Soviet Union.

Adapted from Giuliano da Empoli’s acclaimed novel, the story follows political strategist Vadim (Paul Dano), a former television producer who becomes drawn into the shifting world of Russian politics during the 1990s. Working alongside influential oligarch Boris Berezovsky (Tom Sturridge), he helps shape the public image of a little-known politician named Vladimir Putin (Jude Law), unaware of how dramatically the country is about to change.

Director Olivier Assayas approaches things with energy and precision, balancing political intrigue with moments of dark humour and human drama. Moving through key moments in recent Russian history, the film traces how media influence, ambition and carefully managed public perception helped reshape the country’s political landscape. Despite the density of the subject matter, the storytelling remains accessible and surprisingly tense throughout.

At the centre, Dano gives the film an anxious, thoughtful perspective, while Law delivers a strikingly controlled portrayal of Putin, capturing both his charisma and growing authority without slipping into caricature.

Stylish and absorbing, it’s an intelligent political thriller that turns recent history into compelling drama

The late Tony Scott, Ridley’s brother, was a great adventure film maker. One of the best and least precious: Days of Thunder, True Romance, Enemy of The State…

Deciding on an uplifting film to fly us into the autumn we came up with this schmaltzy, macho, homo-erotic, gung-ho fluff, now a timeless big screen classic adventure yarn. We looked through the best, entertaining, funny, heart warming, family all-round repeats of our last fourteen years and Tom Gun won the day. We should show it every year!

We have screened it in 70mm now it’s boasting this fab digital re-mastering which claims the detail on the big screen will be crystal clear and the sound full to bursting (apart from macho mumbling) so let’s see. Don’t you think it would have had a real mischief edge, if Tom had been called Goose?

It is feel-good enough to send you off with a happy ending, to pick a fight with sailors on the way home.

Come and have the ‘time of your life’ with us again… 31 years later.

Wow… thirty one years on and Tom looks better than ever and still riding a bike at 120 mph+ without a hat.

(Subtitled)

Language: English, German

This light and zippy music biopic explores the story behind one of the most famous concerts ever performed.

Keith Jarrett (John Magaro) is an American jazz pianist and composer renowned for his virtuosic improvisational performances, most famously the one at the Opera House in Cologne on the night of January 24, 1975 — the recording of which remains the best-selling solo album in the history of jazz.

The central character, Vera Brandes (Mala Emde) is the 18-year-old spitfire who organised the concert, promoted it, and — at a crucial moment — cajoled Jarrett into going through with it, after he had decided to back out.

She needs 10,000 Deutsche Marks to rent the hall, which her mother lends her on the sly; Vera promises that she’ll either pay her back or quit the music business. But all of this is merely the set-up for the major mishap that happens. We pick up with Jarrett on the road, driving the 500 kilometres to Cologne because Jarrett needs to cash in the plane ticket the record company sent him if he’s going to have enough money to sustain the tour. Köln 75 is fun lark with an infectious spirit.

Hepburn plays Ann, bored princess (of an unnamed country) who is slowly being driven to despair by the toll of endless engagements. While in the bustling city of Rome, Ann makes her escape for 24 hours of fun. She happens to meet American Journalist Joe Bradley (dashingly handsome Gregory Peck). Recognising a hot news story, Joe pretends not to recognise the princess and offers to give her a guided tour of Rome.

Eddie Albert plays Joe’s friend Irving, who is excellent as the bewildered and breezy photographer who surreptitiously snaps the unwitting princess on her tour.

“Timeless, exuberant classic, with Hepburn’s naïve sense of fun and perfectly charming performance matched equally by Peck’s lauche and charismatic worldy American.”(Empire)

Filmed entirely in Rome, the location does rather dominate the movie; however, it turns the viewer into a willing tourist. (the location, it’s beauty, it’s sunshine and a time lost, is the whole reason for the film) Come and escape to Italy for 2 hours of fun with real stars, Miss Hepburn and Mr Peck.

Silent Sherlock

Sherlock Holmes is witty and watchable as Arthur Conan Doyle’s 1920’s silent-era mysteries come to life in this stunning restoration.

Numerous actors have portrayed Sherlock on the big screen over the course of the past century, but nobody comes close to Eille Norwood, who played the super sleuth in 45 shorts and two features between 1921 and 1923. The entire collection of films have been beautifully restored, and the first fruits of that invaluable effort are at The Rex.

We begin with A Scandal in Bohemia, where Holmes is approached by the King of Bohemia at his rooms in Baker Street, wearing a mask, although Holmes’s powers of deduction allow him to rumble the king at once. He wants Holmes to pinch an incriminating photograph taken of him with a young woman.

Next up is The Golden Pince-Nez, a dead man is found with this object in his grasp, and Holmes brilliantly senses exactly what sort of person would have worn these spectacles. And in The Final Problem, Holmes climactically confronts his arch-nemesis, Moriarty himself, for their colossal hand-to-hand combat. Three classics not to be missed.

Baz Luhrmann’s delightful debut is the opening chapter in a career that exploded like a dynamite-rigged disco.

It provided a springboard to bigger things for the former opera director on a mission to shower audiences with style and spectacle. Luhrmann’s ambition soared as his stocks grew. Nothing was too loud, grand or colourful; no literary source too precious or revered.

Scott Hastings (Paul Mercurio), the son of two retired ballroom dancers who now run a teaching studio, is a future champion. Or he would be, if he didn’t keep deviating from the steps laid down by the Australian Dance Federation’s Barry Fife (Bill Hunter).When his dancing partner dumps him after he goes rogue during a competition, Fran (Tara Morice) offers to take on the might of the Federation with him. Cue lingering looks, secret rooftop rehearsals and a montage set to Time After Time, with plenty of neon eyeshadow thrown in.

Luhrmann’s films are like Michael Bay films for the high-end part of town: flashy, unsubtle, populist and whipped together with frenetic impatience. Strictly Ballroom is by far his most charming and tender-hearted film.

Dustin Hoffman and Leo Woodall make quite the pair in in an offbeat rom-com turned heist thriller, that’s far better than it sounds.

Harry Horowitz (Hoffman) is losing his hearing, while his shy apprentice Niki White (Woodall) has a condition called hyperacusis, which obliges him to wear special noise-cancelling earplugs at all times. Even the slightest sounds bother him, but despite that, this pair are the best piano tuners in town. Niki begins a blossoming romance with music student Ruthie (Havana Rose Liu); the light-hearted, bouncy tone of the opening where we see him undertaking various tuning jobs with her helps you buy into their natural chemistry.

It lends Niki a special knack for this practice. He makes nothing of at first, until he finds out his condition can help him crack safes. A bunch of shady Israelis, led by Uri (Lior Raz) quickly ropes him into their small-time criminal enterprise, which involves swiping cash and luxury items. Niki relents after learning that Harry, currently hospitalised after a heart attack, has $36,000 in past due medical bills.

Tuner is reminiscent of Soderbergh’s Ocean’s trilogy with its stylish, fast-cut montages and energetic pacing.

This darkly comic period piece sees Richard E. Grant and Claire Foy teaming up to play a pair of bourgeois rotters looking to get ahead in 18th century England.

They are powdered wig wearing Sir Chauncey and corset rocking Lady Savage. Set against the backdrop of a massive pox outbreak, and Jacobite uprising – this is a timely satirical story of blind pursuit of a better life. It is not without a tinge of irony that their family name is the Savages, for this is a savage house indeed. Filled with duels, decadence, and bloodshed, this is a madcap play on class and power.

Also co-starring a veritable who's who of "Oh yeah, it's him/her off of such-and-such historical drama" — there's no shortage of talent behind Savage House. And, what's more, we do love a good trouncing of the historical and enduring insanity of the class divide.

With buckets of excrement, wonderfully decadent finery, and Grant calling someone a "dirty little piggy" as she sucks her finger, Savage House is a riotous, filthy romp that makes The Favourite look tame.

(Subtitled)

Language: Hungarian

Hungarian director László Nemes returns with a heavy dose of sepia-tinted childhood torment.

After the spiritual ordeal of his Holocaust movie Son of Saul, Nemes brings us another sombre story from 20th-century central Europe, executed with impressive technical control.

Set in the aftermath of Hungary’s failed uprising against its Soviet masters, it is a story about sons rebelling against fathers. Andor (Bojtorján Barábas) is an angry, lonely teenage boy who idolises the memory of his father, who went missing during the second world war. Andor’s life is turned upside down by the appearance of a brutal, boorish butcher (Grégory Gadebois) who seems to be claiming some sort of right over Andor’s mother.

We piece together the truth a little faster than Andor; once he’s caught up, his only recourse is hostile, stubborn denial. Orphan is vivid and battering in its depiction of the city as a veritable assault course of everyday horrors, from street fighting children to violently authoritarian police to so many varieties of abusive civilian men. It’s a story of vast,  echoing sadness, apparently rooted in the director’s own family history. Unmissable viewing!