What’s it about?
Jedi – Sith / Rebellion – Empire / Resistance – First Order / Good – Evil / Vader – Luke / Rey – Kylo … everything is black and white, right?

Not anymore. Not when “The First Order Strikes Back” and the final trilogy in the Skywalker saga hits the darker, middle episode.

What did we think?
Stephen Scott says: Sure there’s some darker material here (dark for a family movie) but there’s also comedy (a little too jovial for my taste, but it’s aimed at a younger audience), with the added bonus of some terrific social commentary on capitalism and war profiteering to make the kids think about how the world works.

Where The Last Jedi improves on Episode VII is that it’s captured the original movie’s soul: a super-fun, high-octane fantasy space opera with effects to make your jaw drop, heart-pumping action sequences, and a couple of tear-jerking moments.

The kids are dysfunctional and jaded about the universe and their place in it, the parents bicker and try to find meaning, while the passionate go to extremes.

It’s classic Star Wars and bodes well for the Rian trilogy recently greenlit by Disney.

What’s it about?

The original board game that sucked Alan Parrish into the wilderness has evolved to a video cartridge to capture the imaginations of a new generation. Four kids from different social circles get trapped in the game and must play through its levels to survive and escape.

What did we think? 

Elizabeth Best says: Guys, it’s actually pretty damn good. Jumanji next gen manages to pay homage to the original film without crapping on its legacy, and advance the game’s abilities staying true to video gaming conventions in really cute ways. The first two thirds of the film were missing some of the emotional heart of its predecessor, instead relying on hyper-quippy dialogue. But I forgave it, since there was enough heart shoehorned in the last third to make up for it. A genuinely surprising, enjoyable film.

What’s it about?
Seven months after her daughter’s brutal murder, Mildred Hayes (Frances McDormand) rents a trio of disused billboards to express her anger at the case remaining unsolved.

What did we think?
Amy Currie says: Three Billboards is an instant classic packed with dark humour, unexpected character arcs and some damn good acting. See it as soon as you can.

What’s it about?
Handed the poison chalice of leading a country facing imminent invasion by the undefeatable Nazis, the man responsible for the catastrophe at Gallipoli fights on all fronts: denigrators within his own government, Nazi forces amassing in France, and his own inner demons.

What did we think?
Stephen Scott says: A stirring portrayal of the first days of Winston Churchill rule in WWII, this is no dry history lesson: the script energetically spotlights the politics and perils of leadership and the immense influence of rhetoric. Gary Oldman’s acting masterclass (in his overdue Oscar-winning role) is equally supported by a quality cast (Ben Mendelsohn’s portrayal of King George VI is particularly noteworthy); the uneasy, claustrophobic atmosphere created by Wright’s clever direction, shot-framing and editing; and the niggling social commentary on the little people being toyed with by the power brokers from above.

If a movie is this finely crafted does it matter if its Oscar-bait?

What’s it about?
Returning from The Great War, Blue (AA Milne) finds it hard to readjust to ‘proper’ society and moves his family to the country where he plans to write a protest book against war. When his wife flees back to the social lifestyle of the city and their nanny abandons him, a bonding with his son Billie (Christopher Robin) changes not only his objectives, but his perspective.

What did we think?
Stephen Scott says: like a swan, there’s a deceptive volume of activity in Goodbye Christopher Robin: aside from the obvious origins of the classic stories on the surface, there are reflections on the brutality and futility of war, the loss of self brought on by fame, the impersonal relationships caused by the rigid class society of early 20th century Britain, and the brutal consequences that PTSD and post-natal depression have on families.

Like a swan, all of these subplots weave together seamlessly into a charming, heartfelt narrative that paints a picture of a family trying to find the happiness they gifted to the world.

Charming, beautiful and heartbreaking.

What’s it about?
A young boy born with facial genetic defects finally goes to a mainstream school where he and his family face a gamut of reaction.

What did we think?
Anthony Sherratt says: Thankfully this wasn’t as tear-inducing as the trailer suggested though it does tug at the heart strings. Wonderfully this isn’t just about Auggie – the boy whose face inspires heartbreaking reactions. It focuses heavily on family and new friends and their actions and motivations. What could have been a semi-light feel-good flick actually becomes something much more with some interesting explorations of human reactions and the reasons behind it. The whys of how we treat each other are possibly even more important than the actual treatment.

This is a story younger people should be made to see.

Unfortunately an unnecessarily saccharine moment at the end threatens to sugarcoat things but it nonetheless remains a movie that will inspire thought and conversation about the very real failings and strengths of human beings.

What’s it about?
Many know the character Wonder Woman was created by psychologist William Marston but most people don’t realise he was in a polyamorous relationship with two women. This is a look at the controversy the comic generated and the secrets of another time.

What did we think?
Anthony Sherratt says: As an avid Wonder Woman fan I was aware of Marston’s colourful past and was half expecting a critical piece focusing on the BDSM and sexist commentary of early Wonder Woman (common criticisms). So it was a pleasant surprise to see this biopic spend more time on the genuine love and respect in the non-traditional relationship where three people genuinely cared about each other, raising a family in an incredibly conservative and judgemental time.

All three main characters are given the depth they deserve and the women in particular are multi-dimensional, intelligent and never relegated into minor roles.

With Wonder Woman enjoying renewed popularity, this biopic is a wonderful chance to question just how far we’ve come in our attitudes even today. Director Angela Robinson deserves a lot of credit for her handling of material that will, once again, no doubt be controversial.