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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.

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.

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.

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.

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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!

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.

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

Star Wars’ most beloved recent duo blast their way onto the big screen.

Now working for the New Republic, Mandalorian bounty hunter Din Djarin (Pedro Pascal) and his young companion Grogu embark on a new mission that sends them across the galaxy in pursuit of danger, mystery and a host of unexpected encounters. Their journey centres on the rescue of Rotta the Hutt, the long-lost son of Jabba, but what begins as a straightforward assignment soon leads them into a web of criminals, mercenaries and rival factions operating beyond the reach of the Republic.

The accessible charm that made the series such a success is still the driving force, with the story built around spectacle, humour and a steady flow of action. The combination of practical effects and digital craftsmanship recalls the texture and spirit of the original trilogy. Grogu remains a charming scene-stealer, while the bond between him and Din continues to provide the story’s emotional core.

Relaxed, entertaining and very much cut from the same cloth as the television series, this adventure may not redefine the galaxy far, far away, but for audiences eager to spend more time with Din and Grogu, this is very much the way.

A surreal, darkly comic Hungarian drama that follows a battery-farm chicken on an unexpected and unsettling journey into the human world.

After escaping a mechanised egg farm, a lone hen finds itself thrust into a chaotic chain of events, eventually seeking refuge in a seaside taverna on the Greek coast. There, it becomes entangled in a volatile family situation involving a kindly restaurant owner (Yannis Kokiasmenos) and his intimidating mobster son-in-law (Argyris Pandazaras), whose presence casts a shadow over the fragile sanctuary.

Adopting a strikingly animal-centred perspective, the film uses the hen’s experience to expose moments of casual cruelty and uneasy absurdity in human behaviour. The early sequences are especially sharp, contrasting the fragile vitality of living creatures with the mechanical indifference of industrial farming. Shot with an attentive, roaming camera, the chicken’s movements are rendered with unusual clarity and presence, giving the animal a surprising sense of agency and personality.

While the human storyline is more conventional and less developed, the concept remains consistently engaging, shifting between discomfort and dark humour. Supported by Szőke Szabolcs’ dry, playful score, this is an unusual and often compelling parable about survival, freedom and the uneasy overlap between human and animal worlds

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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…

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James Vanderbilt turns the Nuremberg trials into a tense, sharply crafted historical thriller that plays with the urgency of a political nail-biter.

Drawing on firsthand accounts, this post-war drama follows the scramble to bring Nazi leadership to justice after Hitler’s death. When Hermann Göring (Russell Crowe) is captured, military psychiatrist Douglas Kelley (Rami Malek) is dispatched to assess him, working closely with translator Howie (Fabien Frankel). As Kelley probes Göring’s charm and cunning, US Supreme Court Justice Robert Jackson (Michael Shannon) fights to build a legally sound tribunal that the world will accept. With atrocities emerging and political pressure mounting, the question becomes not just how to try these men, but what justice can look like in the aftermath of unimaginable horror.

Vanderbilt keeps the drama lively with vivid behind-the-scenes details and a large, engaging ensemble. Crowe’s magnetic swagger makes Göring a disturbingly compelling presence, while Malek brings a cool, coiled intelligence that turns their exchanges into the film’s sharpest scenes. Frankel adds warmth as the quietly perceptive translator, and the supporting cast contribute texture even when the script gives them limited space.

Handsomely mounted and briskly paced, Vanderbilt’s film balances procedural intrigue with psychological tension, offering a fresh, absorbing retelling of history without overstating its conclusions

A knowingly playful reboot of a famously over-the-top franchise, this live-action take on He-Man embraces its own absurdity with a straight face and a raised eyebrow.

Prince Adam of Eternia (Nicholas Galitzine) is heir to a fantastical kingdom protected by the Sorceress (Morena Baccarin) and warriors like Man-At-Arms (Idris Elba), until the villainous Skeletor (Jared Leto) launches an assault that forces the young prince through a portal to Earth. Stripped of his memory and separated from the sword that connects him to his destiny, Adam grows up far from home, only to rediscover his past when the weapon resurfaces and draws the attention of Skeletor’s forces. With help from childhood ally Teela (Camila Mendes), he is pulled back into a battle that stretches from Earth to Eternia, with Castle Grayskull looming as the destination.

Leaning into the material’s silliness, the mythos is treated with a light touch and plenty of visual flair. The tone stays bright and self-aware, with bold design and exaggerated characters keeping things moving.

Slick, camp, colourful and knowingly daft, it works best when it trusts its comic instincts, delivering a spirited dose of nostalgia-driven fun that never pretends to be anything more serious.

Anders Thomas Jensen’s darkly comic drama balances absurd humour with a surprisingly moving exploration of family, memory and trauma.

After spending 15 years in prison, Anker (Nikolaj Lie Kaas) returns home determined to recover money from a long-hidden robbery stash. The problem is that his brother Manfred (Mads Mikkelsen), who was entrusted with its location, now lives with dissociative identity disorder and believes he is John Lennon. Hoping to unlock his memory, Anker takes him back to the remote woodland house where they grew up. But as old wounds resurface, an increasingly eccentric collection of characters gathers around them, turning a simple mission into something far more unpredictable.

Writer-director Jensen once again mixes outrageous comedy with deeper emotional themes, creating a story that veers between laugh-out-loud absurdity and moments of genuine sadness. The humour is often delightfully strange, but it is grounded by a thoughtful examination of how people cope with painful experiences and fractured identities. Strong ensemble performances keep even the most eccentric situations feeling oddly believable, with Lie Kaas and Mikkelsen proving a particularly compelling pairing.

Beneath its eccentric surface lies an unexpectedly heartfelt story about family bonds, resilience and the different ways people learn to live with the past.

This eccentric Scottish dramedy hangs on Peter Mullan’s commanding central performance, balancing humour with a strong emotional undercurrent.

In the fictional town of Aberloch, Kenneth (Mullan) is a weary local historian and widower fixated on his controversial ancestor Sir Douglas Weatherford, an 18th-century landowner whose reputation blends Enlightenment thought with deeply dubious morality. Kenneth clings to this legacy with uncomfortable enthusiasm, dressing in period costume to lecture bemused tourists about a figure he reveres more than the town around him. When a low-budget fantasy television production arrives in the area, the local heritage centre swiftly pivots towards the show’s popularity, sidelining Kenneth’s carefully curated exhibits and pushing him into unwanted new roles tied to the production.

Director Sean Robert Dunn’s debut leans into character-driven humour and small-town absurdity, but it is Mullan who anchors everything, shaping Kenneth into a man both prickly and unexpectedly vulnerable. His frustrations never tip into caricature, instead revealing someone struggling to reconcile pride, loss and irrelevance.

There are hints of sharper satire in the opening passages, particularly around the figure of Sir Douglas himself, but the film gradually settles into a warmer, more melancholic register as Kenneth’s story takes hold, resulting in a modest but affecting character study.

A Paris-set psychological mystery with a playful Hitchcockian edge, anchored by Jodie Foster’s coolly composed central performance.

Lilian Steiner (Foster), an American psychoanalyst working in France, is unsettled when a patient, Paula (Virginie Efira), appears to have taken her own life. The case takes on a more troubling shape when Paula’s widower questions the circumstances and begins to direct his grief and anger towards Lilian, blaming her treatment. A further encounter with Paula’s daughter deepens Lilian’s suspicions, nudging her away from professional detachment and into private investigation. With the help of her affable ex-husband Gabriel, she begins following leads, while a theft from her consulting rooms adds another layer of unease.

Director Rebecca Zlotowski keeps the tone light on its feet, mixing genre nods with character-focused intrigue and a strong sense of place in Paris. Foster brings poise and intelligence to Lilian, gradually revealing a woman whose certainty starts to fracture as she becomes more personally entangled in the case.

Part mystery, part character study, the film leans into ambiguity, suggesting that the real investigation is less about solving a crime than confronting buried emotional truths.

A portrait of an artistic encounter set against the haze of noughties London, this drama revisits the unlikely connection between model Kate Moss and painter Lucian Freud.

Following the peak of Cool Britannia, Moss (Ellie Bamber) is already a cultural phenomenon. Seeking something beyond the churn of fashion, she becomes drawn into the orbit of Freud (Derek Jacobi), whose reputation for uncompromising portraiture sets him apart from the commercial world she inhabits. What follows is a series of sittings and conversations that unfold in the confines of Kensington Church Street, where the two slowly establish an unusual rapport while Freud works on his now-famous study of Moss.

Director James Lucas recreates the era with a strong sense of atmosphere, capturing the smoky texture of West London’s artistic circles and the quiet tension of observation and being observed. Bamber delivers a striking performance, convincingly channelling Moss’s distinctive presence and restless energy, while Jacobi grounds Freud in sharp intelligence and dry humour.

Less concerned with scandal than with connection, the film reflects on what happens when two very different people briefly share the same frame, and how art can change the way they see each other.

YouTube wunderkind Kane Parsons conjures creepy imagery in his liminal space feature debut.

It is the early 90s and Clark (Chiwetel Ejiofor) is a failed architect, self-hatingly managing an eerily vast discount furniture store. He goes to see his therapist, Dr. Mary Kline (Renate Reinsve), who is haunted by childhood memories of her abusive mother. One day in the store’s basement, Clark discovers a seemingly passable section of wall, through which he can walk to discover an infinitely vast secret network of, you guessed it, backrooms. As he winds his way through the space, more doors lead to more halls and yellow rooms — where objects that should be situated firmly on the ground defy gravitational logic and sometimes appear to be growing out of the ceilings and walls.

When Mary follows her missing patient, she is troubled by memories of her recently demolished childhood home even as endless partitions, walls, stairs, doors and ceilings blur the distinction between agoraphobia and claustrophobia.

Parsons’ vision of the eponymous location, rendered here in magnificent, sprawling detail is a (creepy) sight to behold; the creative freakiness of the set design keeps things appropriately disquieting.

This A-list ensemble is electrifying in Olivia Wilde’s spiky and riotous comedy about sex, marriage and partner-swapping.

The Invite puts the spotlight entirely upon four quite different actors playing two adult couples negotiating anxieties surrounding sex with other people.

A remake of the Spanish film The People Upstairs, it focuses on one disastrous hangout as Joe (Seth Rogen) and Angela (Wilde) invite the freewheeling, un-married couple, Pina (Penélope Cruz) and Hawk (Edward Norton) from the apartment above them over for drinks. Tensions soon rise as uncomfortable truths are revealed and we get to revel (not to mention squirm) in the ever increasing awkwardness.

It might be too easy to compare this to vintage Woody Allen – sophisticated pitter-patter dialogue over wine – but there are shades of his best work here. The film knows how much we all vicariously enjoy watching couples spar, and it’s impossible not to insert ourselves into the night, turning us all into deeply invested armchair commentators. It seems that the chance to watch a genuinely funny and uncommonly intelligent comedy for adults is an invite we have all been waiting for

The 100th anniversary of Marilyn Monroe’s birth is the occasion for the re-release of her most serious and poignant film.

Written by Arthur Miller and directed by John Huston, this post-Western classic follows the newly divorced Roslyn (Monroe), who drifts into the lives of three ageing cowboys in the Nevada desert, men clinging to a version of the West that no longer exists. They capture wild horses and sell them for slaughter, a brutal metaphor that the film never lets you ignore.

She catches the eye of Gaylord Langland (Clark Gable), a womanising cowboy. Gaylord’s wingman Guido (Eli Wallach) invites Gaylord, Roslyn and Isabelle (Thelma Ritter) for a party in the half-built house out in the desert. Then they all decide to go up into the mountains with their other pal, Perce (Montgomery Clift), a sweet-natured bronco rider. All three are complete gentlemen, and it is out on that stark plain that the four of them confront their destiny.

Monroe’s performance is fascinatingly sad: the mannerisms and style are what had become her authentic self are brushed away in favour of something more vulnerable. Don’t miss.

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.

Maisie Williams and Clare Dunne shine in this sentimental Irish drama.

Two brothers, Charlie (Dexter Sol Ansell) and Finn (Roman Griffin Davis) quietly decide to run away from the turmoil and unhappiness of their fractured family life. They escape their home in England to seek refuge with their grandfather (Bill Nighy) on the west coast of Ireland. With their parents (Dunne and Eoin Duffy) heading for divorce, the boys fear they will soon be separated. By embarking on this life-changing journey, these brothers hope to rekindle the warmth of those happier times and perhaps find a way to stay together as siblings. Kait (Maisie Williams), a busker returning home to Ireland, embodies the kindness of strangers as she takes the underage boys under her wing.

Adapted by from Mark Lowery’s novel Charlie and Me, 500 Miles subtly blends a number of themes into Finn and Charlie’s epic trek. It is is a tender story about family, forgiveness and the importance of moving forward. Life is short, and this may well leave you wanting to book a trip to Dingle as soon as possible

It’s close encounters of the deferred kind in Stephen Spielberg’s wondrous conspiracy spectacular.

Alien life has long been confirmed and concealed from the public. Disclosure Day opens in the middle of the fight to declassify that information. Whistleblower Daniel (Josh O’Connor), a cybersecurity expert at the Wardex corporation, is on the run with a bit of alien technology, while his girlfriend Jane (Eve Hewson) is in Wardex’s custody (headed up by a villainous Colin Firth). Daniel and fellow whistleblower, Hugo (Colman Domingo), stand firm against the idea that corporations should have control over information any more than they should air or light.

And then there’s meteorologist Margaret Fairchild (Emily Blunt, completely stealing the film), suddenly gifted with telepathic abilities (channelling a mysterious alien language). She must face reality in a more intimate way, tearing open the closed-off parts of her childhood years.

The plot is something straight out of an episode of the X-Files, but Spielberg sprinkles in enough of his movie magic and sense of awe to make it feel like a huge event. See it big, see it loud. See it here.

Pixar returns to the franchise that started it all for a fifth go-around. Woody, Buzz, and the toy gang are now competing against every parents nightmare: the electronic tablet!

The story picks up a few years after the last instalment, and things have drastically changed. Aside from the new toys added to the mix, the biggest shocker is how Woody (Tom Hanks) has actually aged. At first glance, it doesn’t seem like much, until everyone’s favourite pull-string cowboy toy removes his hat and reveals he is balding.

The gang are then thrust into the digital age with the introduction of Lilypad (Greta Lee). All the kids are glued to their tablets and screens. Bonnie, now 8 years old, and her friends use their devices to interact with one another via group chats and online games. Lilypad becomes the film’s main antagonist as the toys grapple with her. Are they in danger of facing extinction now that kids don’t spend as much time with their toys?

This is the dilemma our heroes must face in this new adventure. Pixar once again showing they are masters of their craft.

A pleasant Italian gem on drinking buddies, ageing and wistful flavours of life

Francesco Sossai’s dramedy is a about a boozy car trip with small-time ex-criminals who are now old and broke, but mostly still living for the moment. Carlo (Sergio Romano) and Dori (Pierpaolo Capovilla) are in a search for another “last” drink, life as a perpetual bar crawl. To them, the party is never quite over.

The olden days seem to have slipped away from them rapidly. And the financial crisis of 2008 has probably been rough on them as a pair who burned through whatever cash they possessed. If only they could dig up the sizeable chunk of money that their old friend buried somewhere in town before he left for Argentina. Maybe they will one day, right after that last drink.

Most might think of a last drink as a way to cap off an evening, but for Carlo and Dori, the eternal search for a last drink is a search for an evening that never ends. The Last One for the Road has humour, a heart and a melancholic streak.

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Laurent Tirard’s fun and frothy French comedy sees a peloton of nuns race for renovation of their dilapidated hospice.

When the local nursing home is on the brink of collapse, it falls to Mother Veronique (Valérie Bonneton) and the five quirky sisters of the St. Benedict convent to find a solution. Their big break comes when they spot a poster for a bike race offering a €25,000 cash prize and a trip to the Vatican for the winner. It seems like the perfect opportunity, but there's one major problem: none of the sisters are skilled cyclists. To make matters worse, their rival convent, led by Mother Veronique's childhood nemesis, Mother Josephine (Sidse Babett Knudsen), has their own plans for the prize money. But as they say, God works in mysterious ways.

Tirard, a versatile filmmaker with a talent for balancing lighthearted narratives with emotional depth, died at the age of 57 last September following a long illness. Here, the stunning landscapes of France’s Jura region provide a beautiful backdrop for his final film, a heartfelt and uplifting tale of resilience, camaraderie, and faith.