Films Coming Soon: UK

Full of dazzling images.

Mungiu’s eye moves between the juggernaut and the barely visible.

This simultaneously cool and cosy tale of families and Christmas spirit will have Aardman's pockets jingling all the way to the bank. And deservedly so.

De Araújo is particularly good at evoking the emotional turmoil Jo feels.

A fourth doctor, unsuccessful in his efforts to get to Gaza, helps in whatever ways he can. This enables the film to move between intense scenes within Gaza itself, and the US, where it’s easier to breathe.

Sociopolitics spritzes delicately, like the water from the club's sprinklers, over the whole affair.

Filmed over seven seasons, the co-directors make time tactile.

Zvyagintsev handles this material with his familiar control: psychological realism, cold visual restraint and an aversion to overt flourish.

The Holiday is a romantic comedy. You know what that means.

By viewing the situation, at least initially, mostly from the perspective of the bears, the directors ask us to consider who exactly is trespassing on whose turf.

Comes at you like a pint of lager with a Jäger bomb chaser and a packet of crisps – strong, energising, salty and sharp, you feel the headiness and the kick.

It's A Wonderful Life relies on a great script, captivating performances and the inspirational drive of its director/producer, Frank Capra

Danny Boyle brings his customary energy to James Graham’s adaptation of his own stage play, which flies along quicker than paper through a printing press.

Eisenberg’s obvious love of amateur dramatics provides The Debut with a foundation that feels akin to a warm hug.

Worse than incomplete, Haigh's film lacks a fully developed soul. This is in spite of striking aesthetic moments and sharply written scenes complemented by strong performances from the cast.

Heldman’s sharpest instinct is to show how a society polices intimacy by pretending it cannot see it.

Scott’s beacon of light is swallowed up by Stone and Beresford’s heavy-handedness.

Apart from setting the tone and maintaining it, the strongest point of Schleinzer’s filmmaking is casting and directing the actors' interactions between one another and the environment.

Hamaguchi’s most pointed provocation is not that the nursing home becomes excessive in its care, but that ordinary neglect has trained us to see basic tenderness as excess.

The issue is that if you strip out the elevated craft and A-list performances, what is left is the sort of bread-and-butter plot arc Cagney & Lacey used to rely on back in the day.

Few can deny the great storytelling of Lucas' true first episode of his space-opera.

No surprises. Nothing to write home about. And yet thoroughly entertaining.