Set during the Great War, '1917' follows the story of Lance Corporals William Schofield (George MacKay) and Tom Blake (Dean-Charles Chapman). Tasked with an important mission, the two young soldiers must cross no man's land in order to reach an advancing British battalion, and stop them from marching into a German trap. If they fail to deliver the message in time 1600 men will be slaughtered - including Blake's older brother. Time truly is the enemy in this tense and unforgiving war drama. There aren't many movies that I would say you definitely have to see in the cinema, but '1917' is definitely one of them. Sam Mendes' tribute to his grandfather is something you really should see on the big screen. The way it's shot - like one continuous take - makes it more of an immersive experience than most other movies. There is an element of anxiety to '1917', in that you never really know what's going to happen - or more importantly

Mickey Pearson (Matthew McConaughey) has built a multi-million pound cannabis empire, and used it to ingratiate his way into British high society. But with legalisation on the horizon, Mickey's looking to sell up and retire, spend some time with the wife. The problem is word of Mickey's plans have got out, and the vultures are circling. Can the gentleman drug dealer keep his empire intact long enough to find a buyer? Guy Ritchie returns to the genre that made him with a movie that puts a hilarious - and not entirely unbelievable - spin on the British upper class. Told mostly through flashback, and from the point of view of Fletcher, a sleazy private investigator played by Hugh Grant in a show stealing performance. Very different from the type of character we're used to seeing Grant play, Fletcher is by far the best thing about The Gentlemen. Something of an unreliable narrator - he is prone to flashes of "artistic license" - his attempts to liven up t

Since the Battle of Crait, Kylo Ren (Adam Driver) has sought to increase his control over the galaxy. All the while Rey (Daisy Ridley) has continued her Jedi training and the Resistance have struggled to maintain a foothold. But when a new threat emerges, the rebels are faced with a race against time to save the galaxy from the Sith and a new Galactic Empire. JJ Abrams' conclusion to one of the biggest movie franchises in history certainly tries to live up to the word "epic". There is a lot going on here - enough for two movies in fact - and because of that it's all a bit rushed. The movie's pace steams along at something akin to light speed. Rarely letting up - even for the much needed exposition - The Rise of Skywalker jumps from one intense moment to the next. As feared, it is a little JJ does Return of the Jedi. Beyond that, he and writer Chris Terrio have just tried to do too much with one movie. This includes providing a conclusion to all nine movies

When his boss is murdered, Lionel Essrog (Edward Norton) - a private detective afflicted with Tourette's - looks into his last case to try and figure out who killed him. Essrog's investigation will see him caught in a web of political conspiracy, as he draws the attention of some of New York's most powerful. Edward Norton has his hands full with Motherless Brooklyn - not that you'd know it. On top of his acting duties the star also serves as writer, director and producer. Taking the book Motherless Brooklyn - the title is eventually explained - a story set in 1999 and adapting it into a movie set in 1957 is a bold move, but I'd be lying if I said it didn't work. Norton and his team have done a good job of recreating 1950's New York in all its glory...and its destitution. Shot in the style of a classic noir detective drama - much like Chinatown and L.A. Confidential - the story cleverly deals with issues of corruption, greed, gentrification, exploitat

After eight cops are found dead in Brooklyn, veteran NYPD detective Andre Davis (Chadwick Boseman) is brought in to investigate. But when the suspects are tracked to Manhattan, Davis proposes a radical plan; close all the bridges and tunnels into Manhattan, trapping the suspects on the island. Now the cops are caught in a race against time to catch the killers and end the bloodshed. '21 Bridges' is a fast-paced and highly kinetic action movie, in which a group of cops literally whizz around Manhattan searching for a pair of cop killers. As Sergeant Nicholas Angel from 'Hot Fuzz' would say: " I wouldn't argue that it wasn't a no-holds-barred, adrenaline fuelled thrill ride. But there is no way you can perpetuate that amount of carnage and mayhem and not incur a considerable amount of paperwork." In fact, that's a perfect way to describe the events in this movie. As an action movie it is a lot of fun, dialling up the excitement very early on

When the famous mystery writer Harlan Thrombey (Christopher Plummer) is found dead in his home, legendary detective Benoit Blanc (Daniel Craig) is brought in to investigate. But in order to do so, Blanc will have to deal with Harlan's extremely dysfunctional family, all of whom are potential suspects. And the only person who can help him sort through all the madness is Harlan's nurse, Marta (Ana de Armas). Rian Johnson's crack at a murder mystery is undoubtedly some of the best fun you'll have at the cinema in 2019. It takes the classic whodunnit and dials things up to eleven. Thanks to a superb script and some fantastic performances - even Christopher Plummer gets time to shine through flashbacks - Johnson's take on the world-class detective is introduced to what is possibly the world's most dysfunctional family, a myriad bundle of mysteries even without Harlan's death. They're the type of people that many would try to avoid, especially in publi

Also known as Ford v Ferrari, this is the story of Ford's battle to beat Ferrari at Le Mans. Racing veterans Carroll Shelby (Matt Damon) and Ken Miles (Christian Bale) are caught in an up-hill struggle with Ford executives, as they spearhead the development of a car that can go head to head with the Italian racing pedigree. Based on the book "Go Like Hell" by A. J. Baime, "Logan" director James Mangold tells the story of one of racing's great rivalries. In the early 1960's, Henry Ford II (Tracy Letts) looked to improve sales by investing in a racing team. But when a deal to purchase Ferrari fell through - resulting in some animosity between Ford and old Enzo Ferrari (Remo Girone) - the man from Michigan was determined to have his revenge, by winning the Ferrari dominated Le Mans 24 hour race. Now you're probably thinking that a story like this is all about the racing, well you'd be half-way right. There are indeed a lot of scenes featurin