If Episode VII: The Force Awakens crammed everything fans love into one entertaining origin story, the next chapter directed by Rian Johnson adds scope, humour and a spectacular finale that’s one of the highlights of the entire series.
Independently made to the tune of $6 million, 2003 romantic drama The Room has gained a cult following as one of the worst films of all time. Actor-director James Franco pays tribute with this comedic dramatisation of the making of the film.
Oscar-winning German film-maker Michael Haneke crafts another portrait of an insular privileged dysfunctional family who can’t go 15 minutes without one of them getting poisoned, beaten up, attempting suicide or dying.
Adapted from the award-winning 2012 novel by RJ Palacio, Stephen Chbosky’s emotional family saga has Room star Jacob Tremblay playing a boy with a rare genetic syndrome, and Julia Roberts and Owen Wilson as his parents.
Bharat Nalluri’s comedy-drama adaptation of Les Standiford’s book, starring Downtown Abbey pin-up Dan Stevens, finds fun amid the tumultuous events leading to the publication of Charles Dickens’s A Christmas Carol.
So successful was Paul King’s heart-warming box office hit Paddington that a sequel was a welcome inevitability. With Paddington 2, King has delivered a continuation as charming and hilarious as the first.
Husband and wife directors Jonathan Dayton and Valerie Faris serve-and-volley a dramatisation of the televised 1973 man v woman tennis match between Billie Jean King and Bobby Riggs, played by Emma Stone and Steve Carell.
A bungled robbery in a picket-fenced 1950s American white community provides the catalyst for George Clooney’s comic crime caper based on a script by Joel and Ethan Coen, which has been gathering dust on a shelf since the 1980s.
Sean Anders’ festive sequel to his 2015 comedy reunites a gurning Will Ferrell and po-faced Mark Wahlberg as hapless dads, adding John Lithgow and Mel Gibson as an older generation of dysfunctional family members.
Despite its thrilling action sequences and sterling work from Ben Affleck and Gal Gadot, Zach Synders Batman Vs. Superman: Dawn of Justice (2016) was impeded by its over reliance on CGI and a poorly written villain.
DC’s gathering of the clan, their equivalent of the Avengers Assembling, has had a low-key arrival in cinemas after the hubris of their Batman Vs Superman and Suicide Squad fiascos, and this film feels like a chore, a contractual obligation.
Annette Bening does a magnificent job as the Oscar-winning 1950s Hollywood screen siren who finds romance and happiness with a younger man, but her life changes forever when she is diagnosed with breast cancer in the 1970s.
Paul King’s wholesome and crowd-pleasing sequel, which replicates the irresistible charm of the 2014 film that introduced the duffel-coat clad hero to the big screen, is nice, but not at the expense of wit and invention.
After the success of 2014’s Kingsman: The Secret Service, British Director Matthew Vaughan and scriptwriter Jane Goldman return for this sequel following the continuing exploits of Taron Egertons secret agent Eggsy.
With comedy programmes The Thick of it and Veep and feature length debut In The Loop, writer-director Armando Iannucci has long established himself as one of the finest political satirists working today.
Three is the magic number for Marvel Comics’ dreamy incarnation of the hammer-wielding Norse god of thunder who finally gets into an otherworldly groove in this third solo outing directed to the comic hilt by New Zealand indie film-maker Taika Waititi.
Adapted from Andre Acriman’s novel by James Ivory, Luca Guadagnino’s sun-drenched and gorgeously restrained tale of a summer romance between two boys in 1980s Italy is poignant and truthful but also so oppressively tasteful.