Written and Directed by: Cord Jefferson

Based on novel by: Percival Everett

Thelonious “Monk” Ellison is a frustrated man. A black writer struggling to get his work published. While visiting a book fair in Boston, his life his changed by a tragic family event and he finds himself dealing with an ailing mother (Leslie Uggams),a strained relationship with his recently divorced and out brother Cliff (Sterling K. Brown) and a new relationship with neighbour Coraline (Erika Alexander). This all adds to his frustrations which drives him to write a nonsense book “Fuck”, under the pseudonym, Stagg R. Leigh, full of the tropes he detests. But to his disgust the book is a massive hit as his the fake author. The crazier he acts, the more his success grows, with sales, critical acclaim and a movie deal. This makes his frustration worse as he tries to grapple with the man he is and the how it impacts his life.

American Fiction is a fabulous bitter sweet comedy balancing comedy and satire perfectly. It is also a really well written, well played, piece about family, love, loss and relationships, often touching and moving.

While the premise of creating something ridiculous, to find it taken seriously, may not be new, it is done brilliantly and hilariously as Monk gets more ridiculous, so the admiration for his book and his frustration grows.

But the heart of the story is the relationships, which are beautifully drawn delivering something that is truly heart warming and engaging.

The performances are great, Wright shows his comic capabilities and is a joy. He’s well supported with Brown and Erika Alexander at the stories heart. Leslie Uggams portrayal as his mother with Alzheimer’s is touching and John Ortiz is fabulously funny as his publisher Arthur.

American Fiction is a wonderfully bitter sweet comedy. Its satire is laugh out loud funny throughout. But its real strength is its touching portrayal of relationships that gives the film a real warmth and heart. Funny and touching in equal measure, well worth a watch.

Writer/Director: Andrew Haigh

Based on Taichi Yamada’s novel

Adam (Andrew Scott) is a screenwriter, living in an almost deserted tower block. He is writing a new script based on his growing up in the 1980’s and the loss of his parents when he was only 12. His work is interrupted when, it seems the only other tower block resident, Harry (Paul Mescal) knocks on his door. It interrupts his lonely insular existence. It also inspires him to visit his childhood home, it is here life changes as he finds his parents (Jamie Bell & Claire Foy), who are preserved at the age he remembers them. It gives him an opportunity to share with them the life they’ve missed. We follow Adam’s life growing more complex as he deals with his memories, the growing relationship with Harry and all that it means.

It is a complex film, the story is purposely vague. It leaves to your interpretation what you’re watching, who Adam is, the reality of where he lives, the relationship with Harry and his encounters with his parents. It also comes with an ending that certainly leaves you with more questions than answers about even what genre of film this is.

But don’t be put off by this unusual piece of storytelling. Because what this film also has is a beauty and sweetness. The real strength of the film is in Adam’s relationship with his parents. The chance for him to discuss a life he had that his parents never saw, the chance to discuss his sexuality, his life and the reality that he’s turned out okay. These interactions are beautifully done and heartbreaking at times.

The film is built around four wonderful performances, each perfectly judged making it mysterious and moving in equal measure. And helped along by its 80’s soundtrack.

This is an unusual story and its ethereal and unclear nature may not work for all. But, it’s also a beautiful and touching piece of storytelling about love, regret and second chances. Lit up by four superb performances. A film that is touching and will leave you thinking.

Director: Alexander Payne

Writer: David Hemingson

In 1970 New England the boys of Barton school, an elite boarding school, are getting ready for Christmas break. But some boys can’t go home for Christmas and stay at school as the holdovers. This year there are five boys and the teacher tasked to look after them is Mr. Hunham (Paul Giamatti), helped by school head of catering, Mary (Da’Vine Joy Randolph). Hunham is not popular amongst the students, or the students with them, with his resentment towards their entitlement and privilege. But as the holiday passes and numbers dwindle, Hunham and Mary are left with just Angus Tully (Dominic Sessa) and between them they go on a journey of discovery of themselves and each other in ways that will change all of their lives.

The problem with small reviews is you can’t always do wonderful films justice. This is one of those times. So if I can only tell you one thing it is that The Holdovers is a wonderful treat. Effortlessly beautiful from first minute to last. Like a favourite dish the more you have, the more you realise you love it.

It is a perfect balance between grief and happiness, potential and disappointment. Delivered by three excellent central performances. Giamatti’s frustrated and embittered teacher, Joy Randolph’s grief stricken Mary and in debutant Sessa, a portrayal of a youngster at war with the world. Each is wonderfully layered, their depth giving you characters to truly care for and relate to. It is not just the main characters, there is not a performance that is anything other than perfectly judged.

It is also laugh out loud funny. A comedy interspersed with emotional warmth, all perfectly judged. Funny and poignant, no joke missing its mark. And even when it takes its predictable final steps you don’t care as it has earned the sweetness of its ending

The Holdovers is a wonderful film. Fabulously made and performed and doesn’t miss a step. It portrays life, for its humour and grief, frustration and hope. Pitch perfect from start to finish and I can’t recommend it enough.

Director: Mahalia Belo

Writers: Alice Birch, Megan Hunter

A young couple (Jodie Comer, Joel Fry) find themselves new parents in the middle of a developing environmental crisis. As flood waters starts to make London uninhabitable, they head off to high ground and his parents (Nina Sosanya, Mark Strong). But as the disaster continues resources become scarce and a life changing incident send the young parents back out into a very different world. We follow a young mother trying to navigate societal breakdown and an evermore treacherous landscape as she tries to find her way home, the life she’s lost and to give her new child a chance of a normal upbringing.

There is no getting away from this being a bleak look at a future impacted by environmental change. It’s close enough to reality to feel believable, uncomfortable and possible. It spends a lot of time in grey wind swept wilderness and sometimes it does make watching feel windswept, grey and hard work.

But it’s also interesting and in the, as always, excellent Jodie Comer, you have a lead who you engage with and care for as you feel every bit of her struggle as she tries to navigate a new world and new motherhood.

It’s a though story, but alongside Comer’s excellent performance full of strength and vulnerability, there is a host of solid performances that keep you involved and intrigued. This is especially true of Katherine Waterston who provides a companion for much of the journey. But it is Comer that does all the heavy lifting from start to finish.

It doesn’t work perfectly, it does feel it drags a little, but maybe that’s just the work involved navigating its endless bleakness.

This is an interesting, tense, bleak and well told story that looks at humanity and society, good, bad and the bits inbetween. It’s tension filled and, thanks to Jodie Comer, it does enough to keep you interested throughout. A dark look at an apocalyptic future that feels a little to close for comfort.

Director: Yorgos Lanthimos

Writer: Tony McNamara based on Alasdair Gray’s book.

Bella Baxter (Emma Stone) is, in Frankenstein style, the reanimated creation of the experimental Dr. Godwin Baxter (Willem Dafoe). Having found Bella’s body in the Thames he brings her back too life with a child’s brain. Studied by Baxter’s student Max McCandles (Ramy Youssef) Bella matures quickly, becoming increasingly curious of the world around her and of her sexuality. Her world changes when she meets Duncan Wedderburn (Mark Ruffalo) who seduces her with the chance to see the world. As Bella experiences more, her views change as she learns about its wonders and harsh realities. She outgrows Wedderburn as she strives to improve herself and her world, which brings her back to London, where she tackles mortality and her past.

This is a wild, often dark, often funny bit of storytelling. It is likely to be divisive and won’t work for some but it did for me.

It is carried by Stone’s fabulous performance which takes Bella from blank canvas to independent and driven. The character quirks remain, although less obvious as she grows. She portrays Bella’s quizzical distance as she continues to learn and remain confused by society but not one to accept the norms of others. It’s full of humour, heart and a strange charm.

There’s excellent support from Dafoe particularly, who’s misguided mad scientist, is built on its own dark story. Ruffalo is fun as he channels his 1950’s cinema cad through to is broken by a failure to find a way to control Bella. Both standout but it’s full of fine performances.

It looks gorgeous, part fantasy horror, part colourful stylised artwork. Accompanied by a score that matches its weirdness.

It’s not perfect. It outstays its welcome at times and has a final act that feels a little tacked, not really adding to Bella’s journey.

Poor Things is a weird and wonderful journey. Its oddness is made to work by Emma Stone’s wonderful, oddly charming performance, that shows the world through inquisitive and different eyes. It won’t be for everyone, but it certainly was for me.

Director: James Hawes

Writers: Lucinda Coxon, Nick Drake

One Life tells the incredible story of Nicolas Winton, who finds in 1938 Prague the shocking reality of, mainly Jewish, families, displaced by the Nazi annexing of the Sudetenland. He finds them living in poverty and fear of their lives and is compelled to act. He does so by arranging the passage of over 600 children to England and safety. The story is told in two parts, young Winton (Jonny Flynn) in Prague, battling to arrange the transportation of 100’s of children to the UK. We also see an older Winton (Anthony Hopkins) looking back on his life, burdened by whether he could have done more, helped more, saved more lives. The film tells an important story of a remarkable man who never fully appreciates the lives he’s touched, until he finds it laid before him.

With stories as remarkable as this, sometimes they only need putting on screen to be engaging and interesting and One Life is an example of that. An unremarkable telling of a truly remarkable story.

The films unremarkable nature doesn’t really matter as the subject matter ensures the film always keeps your attention. However, it’s a bit formulaic and a lot of surface rather than depth. The story is full of characters who did incredible things, took huge risks, tackled bureaucracy and impacted thousands of lives, but it never really feels that it fully explores that. It is more successful looking at Winton’s later life, Anthony Hopkins portraying a humble man, carrying memories and guilt for those who couldn’t save. And the films touching climax is emotionally well delivered.

Flynn and Hopkins potray the two parts of Winton’s life well, they are well supported, particularly Helena Bonham Carter’s portrayal of Winton’s strong and driven mother. However, she is almost the only supporting character who gets much to do.

One Life is an unremarkable telling of a remarkable story and life. But the remarkable story makes this film absorbing and engaging and while it’s a predictable telling, it is still a story that deserved telling and is worth seeing.

• Available: Cinema
• Director: Taika Waititi
• Writers: Taika Waititi & Iain Morris

Next Goal Wins, based on the 2014 documentary, is a comedic dramatisation the story of the American Samoa football teams attempts to improve from a world record 31-0 defeat. Experienced coach Thomas Rongen (Michael Fassbender) is brought to the island by ambitious local F.A. head Tavita (Oscar Kightley) with one goal, to score one goal in a qualifying match. Can Rongen bring together this rag tag team to win, while tackling his own demons?

Having seen this, I’m a little surprised by the sniffy reviews it has received, personally, I think Waititi has created a heartwarming, light hearted under dog story, using the true story as a rough outline. If you want to understand the true story the 2014 documentary is the place to look, not this. But if you want an enjoyable and engaging dramatisation of it, this could be for you.

Some of your enjoyment may well come down to how you feel about Waititi’s comedy, but that aside, this is a good hearted under dog story. It is full of sports story tropes, the flawed coach on his last chance. The rag tag no hopers and the feel good bringing them together into a team. But there is more to it, some thoughtful pieces around heritage and acceptance, fun with the white saviour narrative and a fascinating insight into trans gender acceptance in Jaiyah’s (Kaimana) story, a treatment that may a nation could learn from.

The story is formulaic and takes liberties with the true story. but it is funny throughout and touching at times. Performances are solid with Fassbender showing his comic touch, well supported by Kightley particularly but there are no missed steps from the cast.

What it does do surprisingly well is the football recreations, believable throughout even with the occasional comedic stretch!

While Waititi’s comedy may not be for everyone and some sniffy reviews confirm that. For me Next Goal Wins is a fun, uplifting occasionally touching feel good film and put an end of year smile on my face.

• Available: Netflix

• Director: Bradley Cooper
• Writers: Bradley Cooper, Josh Singer

Maestro looks at the life of U.S. composer, musician and conductor Leonard Bernstein (Bradley Cooper). More specifically it focuses on his long time marriage and realtionship with Felicia Montealegre (Carey Mulligan) spanning over 30 years. It examines the complexity of the realtionship caused by their work, Bernstein’s sexuality and ultimately health.

This is another in a recent series of biographical dramas that didn’t really hit the spot for me. How much it captures of Bernstein, I don’t know enough about him to be sure, but then that’s part of the problem, I never really felt that I got to know enough about him to care about this dramatised version of him.

Bernstein was clearly talented and had a complex life, with fluid sexuality and an inner battle between composer and conductor, but little of that comes through. It is a more successful with the realtionship with Felicia and while she fully understands the man that he is, over time it takes its toll, but even that never engaged me enough to be fully absorbed by it. The film is at its best as it deals with the final months of Felicia’s life as she is ravaged by illness, it shows, for all its complexity a touching and loving relationship.

The film does look good, especially its first part shot in black and white with a 50’s drama feel, that moves through his life, at times, like a musical. The music of course works well with Bernstein’s back catalogue on show. And Cooper and Mulligan are solid in the two main roles, but it is only these two with no other characters given any depth.

It also feels long and slow as it meanders between parts of his story that are never really clear as to how important they are.

Meastro was a bit of a disappointment. I didn’t feel I learned much about Bernstein’s life and realtionships or that I needed to know more and if you’re making a biographical drama that is the minimum you’d hope it did. While it had its moments overall it was rather flat.

• Directed by Michael Mann
• Written by Troy Kennedy Martin based on Brock Yates book.

Set in 1957 the film follows Enzo Ferrari through the toughest year of his life. His business is on the edge of failure as is his marriage to Laura (Penélope Cruz). Both struggling to come to terms with the loss of their son. Enzo is hiding a second family with Lina Lardi (Shailene Woodley) and their son Piero. Alongside this Ferrari face a make or break race at the upcoming Mille Miglia. A win will raise Ferrari’s profile and order book, while defeat will see its end. But it is a race that will come with the very highest price.

This is a film that should work, a story about a sporting icon, when his sport was at its most glamorous as racers won hearts with their exploits in the face of huge danger. But none of that made it to the screen. I’m not sure whether Ferrari’s life wasn’t interesting enough to carry the story, or whether it was the paper thin characters who I struggled to connect with, but it didn’t do it for me.

It all felt disjointed with a lack of chemistry between characters. Ferrari and Lardi’s affair felt cold. Drivers who were putting their lives on the line were never developed enough to care about them as inevitable disaster closed in. It was very formulaic with every twist and turn clearly signposted

It wasn’t terrible and that’s in no small part due to Cruz who brings much needed energy to the screen portraying a smart, passionate and quick-witted Laura. Her exchanges with Driver, who is as dependable as ever, are the only time the film comes to life.

Its other plus is the recreation of the races, some shonky CGI aside, which put you in the heart of the action giving you a feel of the bone rattling speeds and risks the drivers were taken. Its just a pity that the film gave them so little substance to care about.

Ferrari felt a little cold and dull, some excellently recreated races and Penélope Cruz aside. Whether it is the source material or the adaptation I don’t know, but it just never really grabbed me. More beige family car than Ferrari.

Takashi Yamazaki brings us this latest Godzilla incarnation. Set in Japan, at the end of the second world war, we find Kōich (Ryunosuke Kamiki) a Kamakaze pilot, forced to ground his plane at a small aircraft base. It is here he first witnesses the terrifying power of Godzilla. He survives and returns to a Tokyo decimated by war, where he meets a young woman Noriko (Minami Hamabe) and the small child she is caring for. Together they, as the country does, try to rebuild their lives. But when Kōich finds himself working as a minesweeper he also finds himself on course to meet Godzilla again. A creature focussed on destruction and with no government or army to help. The people must tackle the terrifying monster themselves.

In a world of CGI filled monster movies, this was a hugely enjoyable and refreshing change. As a fully Japanese production (which includes it being in Japanese with subtitles) it’s an evocative throwback to all that has gone before. A modern B-movie in all the best ways.

While Its story is built around a battle with a monster, it is much more about its people, people damaged by war, wracked with thoughts of guilt and failure. This is particularly true for Kōich who feels a coward, suffers from PTSD and for him he’s fighting a war that hasn’t ended. Alongside this is it also intelligently explores post war Japan asking questions of it and its war time attitude to its people.

Its recreation of classic Godzilla works really well. Its slow massive emotionless plodding monster . Its B-Movies plot and “on the nose dialogue”. Its fantastic score and sound design, that includes a use of silence that Christopher Nolan would be proud of, this is a fabulous reminder of a bygone era. All done for just $15M

Godzilla Minus One is a wonderfully enjoyable evocative monster movie, far removed from the crash and bash nonsense we are used to. Its look, its brilliant sound and story keep you hooked from first monstrous step to the last. A film with a lot to enjoy. And I enjoyed a lot.