Movie releases of 2017

Table of Contents

In 2017, the most important event in the world of movies was the revelation, in the Times and The New Yorker, of sexual abuse by Harvey Weinstein, and the resulting liberation of the long-stifled voices of the women and men who had been abused by him or other powerful men in the movie business, and, for that matter, in other arts and industries, too. The prevalence of sexual abuse, and the network of complicity that prevented Weinstein’s abuses from coming to light, and which inflicted additional emotional and professional abuses on the victims, have legal, moral, and political implications that are inseparable from aesthetic ones—from the art of movies.

It’s true every year, but all the more conspicuous now, that any list of the year’s best movies has gaps—of the movies, performances, and other creations that are missing because they are unrealized, unrealized because the women (and, yes, also some men) who were working their way up to directing, producing, or other notable activities in the world of movies, who were already acting or writing or fulfilling other creative positions, had their careers derailed when they were threatened, intimidated, silenced, or otherwise detached from the industry by powerful men abusing their power for their own pleasure and advantage.

It has always been so for women in the movie industry, and it is all the more so for women of color, who have faced, both in the corridors of the business and in the columns of critical consideration, a double dose of indifference, neglect, and dismissal. The most important repertory series of the year, “One Way or Another: Black Women’s Cinema, 1970–1991,” programmed for BAM Cinématek by Nellie Killian and Michelle Materre, included films by Julie Dash, Fronza Woods, Kathleen Collins, Monona Wali, and others. These filmmakers, among the best of the time, responsible for masterworks in their youth, haven’t had the careers that their early work promised—or haven’t had careers at all. (The trouble they faced in the industry is pointedly dramatized in one of the films in the series, Dash’s 1982 featurette “Illusions,” a historical fantasy-drama about a black woman producer in Hollywood during the Second World War—and about sexual harassment.)

In the same period as the one that’s covered in the BAM series, most of the best white women filmmakers (such as Claudia Weill and, of course, Barbara Loden and Elaine May, and many whose work I’m late to discovering, such as Rachel Amodeo, whose film “What About Me,” from 1993, is playing at MOMA later this month) haven’t had the careers that their great films heralded. Neither have most of the best male filmmakers of color, such as Billy Woodberry, Haile Gerima, and Wendell B. Harris, Jr. Even Charles Burnett, who won an honorary Oscar this year, has had a much slighter career than his artistry merits. This neglect is being reproduced today among some of the most notable directorial talents of the time—to name one, Terence Nance, whose startlingly and joyfully original first feature, “An Oversimplification of Her Beauty,” from 2012, hasn’t yet been followed by a second feature (only by some daring and exquisite short films). Miranda July hasn’t made a feature since “The Future,” which was the best film of 2011.

What’s missing from the year-end list, and from the era in movies, isn’t only the unmade work by these filmmakers but the artistry and the careers of cast and crew members who would have been in their unrealized films. Great directors discover the talent and develop the artistry of great actors, directors of photography, editors, and others, whose absences now scar the industry. The mentoring, collaborating, and inspiration they could have provided for others to follow in their footsteps have all been permanently lost, too.

It is no coincidence that Hollywood and its tributaries have rarely seemed as empty as they do now, the films rarely as hollow as the ones that have been on display recently. The world of Hollywood and off-Hollywood (i.e., films produced independently but featuring actors and directors who have worked on studio films) has been artificially thinned out, diminished both in human and artistic terms, by the absence of women and people of color, whose artistry (like all artistry) is inseparable from and indicative of a particular and personal range of experience.

Hollywood has always run on its exclusions, whether of race or gender or ethnicity or even politics, and the very notion of a mainstream—and a mainstream style—depends on those exclusions. To work in Hollywood, whether now or in the classic studio era, is to know what has been going on in Hollywood—or to pretend not to know. Not only has the sheer indecency and brazen inhumanity of daily life in the movie business seeped into the fabric of the movies themselves, so has the willed ignorance, the calculated head-in-the-sand obliviousness regarding the milieu’s ubiquitous and endemic abuses. That cynical silence has inflected and distorted the substance of movies, largely by distorting their form. The very notion of storytelling that keeps some things out and puts others in—that trims out disputing, disturbing, distracting voices on the grounds that they’re extraneous, superfluous, or unnecessary—is a political notion, and a regressive one. The industrial narrative efficiency of classic Hollywood movies is still frequently invoked with an air of nostalgia as good, clear storytelling, held up as a model of movie craft to be followed even now, and reflected in the popular films of the current day.

It’s no coincidence that Weinstein was nicknamed Harvey Scissorhands for his tendency to cut movies that he produced or distributed in order to slim them down, speed them up, or thin them out. His success was as a master of exclusions, eliminations, and suppressions. Although much of Hollywood’s explicit messaging is liberal (as Weinstein’s own, in movies and personally, has been), the industry’s sense of form is for the most part reactionary, stifling, hostile to difference.

Or, to put it the other way around, it’s why much of the so-called liberal cinema is intellectually backward and politically useless compared to much of the artistically original, expanded-form movies (mainly independent ones, but also the best of Hollywood and its byways), even ones without explicit political content. Representation in the ranks of the industry is crucial—not only for the practical impact of money, power, and prominence among those who have been wrongly, systematically, and intentionally denied it. It is vital not only for the change in institutional culture that will result but also for the expansion of opportunities for artists themselves who will broaden the art and change the paradigms of the cinema. The best movies aren’t only ones that include new voices; they’re also ones that include voices in new ways. Work of that sort is reflected on this year’s list, as on last year’s; it has always been the summit of the art.

Photograph by Justin Lubin / Universal Pictures / Everett 1. “Get Out” (Jordan Peele)

In his horror comedy, Peele uses familiar devices to convey philosophically rich and politically potent ideas about the state of race relations in America. Read more.

2. “A Quiet Passion” (Terence Davies)

Davies’s Emily Dickinson bio-pic is an absolute, drop-dead masterwork. Read more.

3. “Good Time” (Josh and Benny Safdie)

“Good Time,” starring Robert Pattinson, streaks and smears and shreds the screen with a sense of furious subjectivity. Read more.

4. “A Ghost Story” (David Lowery)

The movie’s dramatic power is inseparable from its quiet, sensuous splendor. Read more.

5. “Slack Bay” (Bruno Dumont)

Dumont, who is from the region where the film was shot, fuses genre with his intimate knowledge of its mysteries and myths to create a cinematic universe of his own. Read more.

6. “Phantom Thread” (Paul Thomas Anderson)

Strange, beautiful, absurd, and brilliant; a furious, tightly controlled, even violent love story done with a chill of decorum. Daniel Day-Lewis, for his last performance, is like a ballet dancer with his eyes and his voice. Read more.

7. “Beach Rats” (Eliza Hittman)

Hittman’s second feature makes talk and its absence among rough-and-tumble South Brooklyn teens the painful core of its story. Read more.

8. “Faces Places” (Agnès Varda and JR)

The directorial duo travels to small towns in France that are threatened by the economic and social forces of modern life. Read more.

9. “Song to Song” (Terrence Malick)

Within his story of a shifting romantic triangle, Malick develops an overwhelming, rapturous variety of visual experience. Read more.

10. “Sylvio” (Kentucker Audley and Albert Birney)

A generous, achingly tender comedy that offers some of the loopiest, most wondrously inventive humor this side of Jared Hess. Read more.

Photograph by Merie Wallace / A24 11. “Lady Bird” (Greta Gerwig)

Daring, distinctive, and personal in text and theme, the film is recognizably conventional in texture and style. Read more.

12. “Columbus” (Kogonada)

The film looks at a young architecture connoisseur, and considers the Indiana city’s buildings with as much analytical ardor as its protagonist does. Read more.

13. “Hermia & Helena” (Matías Piñeiro)

The fanciful twists of this romantic roundelay keep the Shakespearean promise of the title. Read more.

14. “On the Beach at Night Alone” (Hong Sang-soo)

There’s a dark romanticism powering this furious, tautly controlled, yet coolly comedic drama. Read more.

15. “Rat Film” (Theo Anthony)

The Baltimore-based filmmaker investigates the city’s rodent infestation and uncovers its surprising political roots and odd byways. Read more.

16. “Strong Island” (Yance Ford)

Ford’s extraordinarily dramatic documentary is both personal and investigative. Read more.

17. “The Meyerowitz Stories” (Noah Baumbach)

Baumbach’s latest film can be thought of as a remake of, a sequel to, and a drastic improvement upon “The Squid and the Whale.” Read more.

18. “The Son of Joseph” (Eugène Green)

The vast thematic scope and high moral purpose of Green’s film are joined to a cinematic vision that’s also mightily, incisively comedic. Read more.

19. “Hissein Habré, A Chadian Tragedy” (Mahamat-Saleh Haroun)

Haroun delves into his country’s history in this intimate, experiential, and impassioned documentary. Read more.

20. “The B-Side” (Errol Morris)

Morris’s portrait of Elsa Dorfman conveys a lifetime of wisdom, self-awareness, frustration, and survivor’s pride. It’s also a magnificent tribute to photography itself. Read more.

21. “Félicité” (Alain Gomis)

The movie is a virtual documentary of Kinshasa’s city sights and moods, and also a bitter exposé of a country without a social safety net. Read more.

Image Courtesy Kino Lorber 22. “Dawson City: Frozen Time” (Bill Morrison)

Morrison’s documentary links the gold rush with the rise of Hollywood. Read more.

23. “Colossal” (Nacho Vigalondo)

This genre mashup revels in the power of cinematic artifice to tell a story that confronts big questions about real life. Read more.

24. “I Called Him Morgan” (Kasper Collin)

A documentary about the life and tragic death of the great jazz trumpeter Lee Morgan traces the relationship between Morgan and the woman who shot him dead. Read more.

25. “The Unknown Girl” (Jean-Pierre and Luc Dardenne)

A young doctor’s investigation of a prostitute’s killing causes her to discover the moral failure of her entire life. Read more.

26. “Actor Martinez” (Nathan Silver and Mike Ott)

With their imaginative new film, Ott and Silver set themselves apart by daring to be dramatic. Read more.

27. “Whose Streets?” (Sabaah Folayan and Damon Davis)

This passionate, intimate, analytical documentary, centered on residents of Ferguson, Missouri, in the aftermath of the killing by police of Michael Brown, considers the political conditions that led to it and efforts to seek change. Read more.

28. “Logan Lucky” (Steven Soderbergh)

With its combination of giddy narrative finesse and a delight in regional idiosyncrasies, Soderbergh’s new heist film may be his most Coen-esque. Read more.

29. “Planetarium” (Rebecca Zlotowski)

Natalie Portman gives a great bilingual performance in Zlotowski’s glossy historical fantasy about the French movie industry of the nineteen-thirties. Read more.

30. “Marshall” (Reginald Hudlin)

Hudlin brings an apt blend of vigor and empathy to this historical drama, set in 1941. Read more.

Photograph by Aidan Monaghan / Bleecker Street Media / Everett 31. “The Lost City of Z” (James Gray)

The story of a search that doesn’t come to fruition, a series of missions that don’t achieve their goals, and that nonetheless reverberate powerfully and enduringly. Read more.

32. “Icaros: A Vision” (Leonor Caraballo and Matteo Norzi)

The hallucinatory power of ayahuasca and the incantatory lure of rituals fuse with existential dread in this darkly hypnotic drama. Read more.

33. “Mimosas” (Oliver Laxe)

A metaphysical road movie about a group of travellers accompanying an ailing Moroccan sheik through mind-bending mountain and desert wilds to his home town, starring the visionary nonprofessional actor Shakib Ben Omar.

34. “Wait for Your Laugh” (Jason Wise)

A showcase of Rose Marie’s long career, from radio stardom to “The Dick Van Dyke Show” and “Hollywood Squares,” paints a picture of her times—and dispels nostalgia for them. Read more.

35. “The Rape of Recy Taylor” (Nancy Buirski)

Essential viewing, not least for its emphasis on the crucial role of women in the civil-rights movement. Read more.

P.S.: The vagaries of release schedules distort best-of lists, this year in particular. Some of the best new movies I’ve seen—“Zama” (Lucrecia Martel), “Let the Sun Shine In” (Claire Denis), “Madame Hyde” (Serge Bozon), “Did You Wonder Who Fired the Gun?” (Travis Wilkerson), “Golden Exits” (Alex Ross Perry), “Werewolf” (Ashley McKenzie), “The Graduation” (“Le Concours”) (Claire Simon), and “The Four Sisters” (Claude Lanzmann)—won’t be released until next year or don’t have release dates yet at all. But if they were part of the 2017 slate, they’d all be on the list and crowding toward the top.

The summer may be over, but at least we’ve got some brilliant new film releases to look forward to over the coming autumnal and wintery months.
From Breathe, an inspiring love story starring The Crown’s Claire Foy, to Murder on the Orient Express, a star-studded adaptation of Agatha Christie’s classic murder mystery, there’s certainly enough must-watch movies to keep us entertained for the rest of 2017.
Whether you prefer a thriller (keep an eye out for The Dinner) or something a little more romantic (Film Stars Don’t Die in Liverpool is for you), there’s a new movie for every cinema-goer from October through until December.
Here’s our pick of the best…
The Glass Castle
Release date: October 6th
Brie Larson, Naomi Watts and Woody Harrelson star in this coming of age drama based on Jeannette Walls’ 2006 memoir about a childhood spent in poverty.

The Mountain Between Us
Release date: October 6th
Stranded after a plane crash, two strangers must forge a connection to survive the extreme elements of a remote snow covered mountain. When they realise help is not coming, they embark on a perilous journey across the wilderness. Stars Kate Winslet and Idris Elba.
MORE: EVERYTHING YOU NEED TO KNOW ABOUT THE CROWN SEASON 2

The Party
Release date: October 13th
Timothy Spall and Kristin Scott Thomas star in this dark comedy about an intimate party that takes a turn for the worse.

Breathe
Release date: October 27th
Andy Serkis makes his directorial debut with Breathe, a moving film about the inspiring true love story of Robin and Diana Cavendish (Andrew Garfield and Claire Foy), an adventurous couple who refuse to give up in the face of a devastating disease.

Murder on the Orient Express
Release date: November 6th
Kenneth Branagh adapts Agatha Christie’s classic muder mystery novel in this movie, which boasts a star cast including Daisy Ridley, Michelle Pfeiffer and Judi Dench.

Only the Brave

Release date: November 10th
Josh Brolin, Jennifer Connelly, Jeff Bridges and Andie MacDowell star in Only the Brave, a drama based on the true story of the elite crew of firefighters who battled the Yarnell Hill Fire that devastated parts of Arizona in 2013.
MORE: ‘PRETTY WOMAN’ IS HEADING TO THE BROADWAY STAGE

Film Stars Don’t Die In Liverpool
Release date: November 17th
A bittersweet love story based on the memoir of actor and writer Peter Turner, in which he describes falling in love with a much older famous actress in the late ’70s. Annette Bening and Jamie Bell star.

Battle of the Sexes
Release date: November 24th
Emma Stone stars as tennis legend Billie Jean King, as she fights for gender equality in the male-dominated world of sport in the ’70s. Also stars Steve Carell.

The Dinner
Release date: December 8th
Richard Gere directs this thriller, based on the novel by Herman Koch, about two sets of parents who meet over dinner to decide what to do about a crime their sons have committed.

(Main image: Getty)
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14 exciting films still to come in 2017

Love films? Then you’re probably well-accustomed to the excitement that builds around this time of year. As we inch closer to awards season – and the weeks of Christmas blockbusters –there are plenty of movies lined up to thrill, stimulate and delight cinema audiences. From Pitch Perfect 3 and Stronger to saving galaxies and epic journeys, anoraks and wellington boots, as the year draws to a close, 2017 guarantees to sign off with some tantalising cinematic experiences. Read on for more on the biggest films still to come this year…

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1. Thor: Ragnarok

Thor is BACK. This all new superhero film – based on the Marvel comics – sees a gladiatorial dual as Thor and the Hulk team up to rescue Asgardian civilization. Cue colourful costumes, comedy and many a collision. The film’s star-studded cast includes the likes of Chris Hemsworth, Tom Hiddleston, Cate Blanchett, Idris Elba, Jeff Goldblum, Mark Ruffalo and Anthony Hopkins. Can the combined superpowers of Thor and Hulk save the day?

Release date: 24th October

2. Breathe

Based on the true story of Robin Cavendish (Andrew Garfield), a handsome, brilliant and adventurous man whose life is overturned when polio leaves him paralysed at the age of 28. Robin and his wife Diana (Claire Foy) refuse to give up, travelling the world as advocates for the disabled and transforming the lives of others suffering a similar fate. The film promotes hope, love and determination – and will no doubt require a tissue or two along the way.

Release date: 27th October

3. Call Me by Your Name

Set in the 1980’s, Call Me By Your Name follows a young man, Elio (Timothée Chalamet), who meets academic Oliver (Armie Hammer) when he comes to stay at his parents’ villa in Italy. Summer, music, food and forever change: this exquisite film is a gay coming-of-age story as the teenage Elio falls for the older newcomer. Directed by Luca Guadagnino and written by James Ivory, it is based on the novel Call Me by Your Name by André Aciman.

Release date: 27th October

4. Murder on the Orient Express

It’s here! Agatha Christie’s Murder on the Orient Express has come to the big screen again. Previously created in 1974, the 2017 update revives Poirot, evidence and, of course, MURDER. This version is directed by Kenneth Branagh – who also plays Christie’s famous moustached detective – and assembles a ridiculously famous cast that includes Judi Dench, Penélope Cruz, Michelle Pfeiffer, Daisy Ridley, Willem Dafoe, Johnny Depp, Derek Jacobi and Olivia Colman. What a passenger list!

Release date: 3rd November

5. Paddington 2

Everyone’s favourite furry friend is back for a sequel. Little boots, a little duffle coat, and a tiny red hat – no, it’s not Stuart Little – Paddington Bear and more of his haphazard adventures are coming soon. Now happily settled with the Brown family, Paddington picks the perfect present for his Aunt Lucy’s 100th birthday – only for it to be stolen! With Ben Whishaw as the voice of Paddington, Hugh Bonneville and a devilish Hugh Grant adding to the humour, this follow-up promises plenty of family-friendly fun.

Release date: 10th November

6. Film Stars Don’t Die in Liverpool

From retro Hollywood glamour to brown floral wallpaper and cold tea picnics on English shores. Anette Bening stars in this moving film as real-life 50s movie star Gloria Grahame who met and fell in love with young Liverpudlian Peter Turner (Jamie Bell). The pair travel to his home town together, but Gloria’s ill health threatens to derail their unusual romance. Billy Elliot fans will be pleased to hear the film reunites Bell with his co-star, Julie Walters, who plays his mother this time around.

Release date: 17th November

7. Justice League

Not had enough superheroes for one year? Maybe, but at least in Justice League you get good bang for your buck. DC’s mega superhero film sees Bruce Wayne/Batman (Ben Affleck) enlist the help of newfound ally, Diana Prince/Wonder Woman (Gal Gadot), The Flash (Ezra Miller), Aquaman (Jason Momoa) and Cyborg (Ray Fisher) to tackle an even greater enemy. Wonder Woman aside, DC has struggled to match the dizzy heights of Marvel’s comic book stable – can Justice League continue the upturn in their fortunes? Or will it be another dour, sprawling Batman v Superman?

Release date: 17th November

8. Battle of the Sexes

Can a female tennis player beat a man? It’s a debate that’s reared its head once again in recent years with Serena Williams’ dominance, but rewind to 1973 and it was Billy Jean King who took to the court in a bid to silence – in her words – the “chauvinist pig” Bobby Riggs, a 55-year-old former world number one who believed he could beat any woman. Their duel is recreated in a new film starring Emma Stone as King and Steve Carrell as Riggs. Critics are calling it the performance of Stone’s career which, given that she won an Oscar earlier this year for La La Land, is no mean feat.

Release date: 24th November

9. The Disaster Artist

You’d be forgiven for being unfamiliar with The Room. The 2003 film is an interminable watch – criticised for its plot holes, acting, dialogue, cinematography and direction, and grossing just $1,800 in its original box office run. BUT it’s – somehow – gone on to become a cult hit. Now the making of the film is the basis of James Franco’s latest movie The Disaster Artist which charts the friendship between Tommy Wiseau and Greg Sestero – the actors responsible for the atrocious flick. Franco plays Wiseau with his younger brother Dean portraying Sestero alongside Seth Rogen, Alison Brie, Zac Efron and Sharon Stone.

Release date: 1st December

10. Wonder

Remember Jacob Tremblay, the adorable breakout star of Oscar-winning film The Room? His fledgling career takes an exciting turn with his new project – Wonder – the story of 10-year-old Auggie who, after 27 surgeries, faces the challenge of starting school for the first time while feeling anything but ordinary. Based on the best-selling novel by R.J. Palacio, Wonder also features Julia Roberts and Owen Wilson as Auggie’s parents.

Release date: 1st December

11. Stronger

The bombing at the finish line of the 2013 Boston marathon shocked the world and made a national symbol of Costco worker Jeff Bauman who was photographed after losing both his legs in the attack and whose recovery is the basis of his 2014 book Stronger. Now it’s been turned into a film with Jake Gyllenhaal earning early Oscars buzz for his portrayal of Bauman. Joining him is Orphan Black’s Tatiana Maslany, playing his on-off girlfriend Erin, in a tale of one man’s struggle with becoming the hero he is made out to be.

Release date: 8th December

12. Star Wars: The Last Jedi

Two years on from JJ Abrams’ triumphant The Force Awakens comes its follow-up, The Last Jedi – this time directed by Rian Johnson. With big footsteps to follow in, the film sees Daisy Ridley, John Boyega, Adam Driver and Mark Hamill all reprising their roles, alongside the late Carrie Fisher in her final performance as Princess Leia. While the plot remains shrouded in secrecy, we do know Hamill’s Luke Skywalker will utter more than a few cursory words and that Kylo Ren is undergoing some sort of identity crisis. Besides that, we can look forward to some awesome ice foxes and the introduction of the impossibly cute porgs.

Release date: 14th December

13. Jumanji: Welcome to the Jungle

A group of four teenagers are in detention when they stumble across an old video game titled, you guessed it, Jumanji. This 2017 reboot of the Robin Williams classic stars Dwayne “The Rock” Johnson, Karen Gillan, Kevin Hart and Jack Black and sees the quartet transported into the jungle where they face all manner of enemies trying to kill them. If this trailer is anything to go by, expect plenty of comic quips and action set pieces. Oh, and The Rock giving Kevin Hart a high-speed piggy back…

Release date: 20th December

14. Pitch Perfect 3

Aca-scuse me!? Let’s get a beat going, because the Bella’s are BACK. Pitch Perfect 3 has had us impatiently tapping our feet (in time) for a while now, but the franchise returns to cinemas this Pitchmas for one last hurrah. With a whole new round of pop hits and feel good comedy gold, the girls have plenty in store for their final outing – this time supporting US troops in Europe. Anna Kendrick, Hailee Steinfeld, Rebel Wilson, Ruby Rose and Elizabeth Banks – as the title suggests – have got this in tune.

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Release date: 22nd December

I have been writing about films a lot this past week.

That’s because it’s film-festival season (since the Oscars are just round the corner.) I’ve written about the BFI London Film Festival, Toronto International Film Festival, After Dark Film Festival, and even the Burbank International Film Festival.

Timeline for cinema

  • October 13, 2017

    How will the cinema experience change over the next few years?

  • September 7, 2017

    New data shows female movie directors are just as qualified as men — so why isn’t Hollywood hiring them?

  • August 31, 2017

    The 2017 summer box office performance has been very weak

If you’re as into film as I am, it’s a very exciting time of year.

Of course, not all of us have the time or money to attend film festivals around the world. For most of us, the only chance we get to see films is at the local cinema. With that in mind, I’ve made list of all the best films that are coming to normal cinemas this autumn.

And actually, this year, autumn might have replaced summer as the big season for movies. In addition to tent pole releases from Marvel and DC, we’ve got some massive films from our favourite stars coming this autumn too!

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Here’s all the films you need to look out for this season.

We’ve listed both their UK and US release dates and grouped them by whichever of the two comes first.

Also, we’re not playing favourites with the trailers, we just included trailers for the ones you might not have seen in the interests of having a page that doesn’t take fifteen years to load!

Films to watch in autumn 2017:

September:

God’s Own Country – 1st Sept (UK)/27th Oct (US)

Referred to by some as the first post-Brexit film, there’s no denying that God’s Own Country is a truly stunning feature. A young man named Johnny works alone on his ailing father’s isolated farm in East Yorkshire. When a Romanian migrant worker named Gheorghe joins him to help out, a tender connection blossoms between the two. A romantic tour-de-force, this one should not be missed.

It – 8th Sept (UK and US)

Surprisingly, Warner Bros. have elected to release It in September rather than saving it for Halloween. While it’s definitely an unexpected decision, it seems unlikely to dent It‘s success. An adaption of the first half of Stephen King’s horror novel of the same name, It follows a group of schoolchildren as they attempt to destroy a murderous shape-shifting extra-terrestrial creature preying on their friends and family. It looks like it’s going to be seriously freaky. If you’re into horror, something of this calibre should get you really exciting.

mother! – 15th Sept (UK)/13th Sept (US)

There’s not much we can say about this other than Jennifer Lawrence and Javier Bardem are in it. That’s because director Darren Aronofsky is hiding everything he can from critics, reviewers, and audiences before they go into the film. All we can say is that it’s a psychological horror film about a young woman and her husband. Their lives are interrupted when strangers come to visit them.

Kingsman: The Golden Circle – 20th Sept (UK)/22nd Sept (US)

After the decidedly disappointing Spectre, it feels like a long time since we’ve had a decent spy film. Still, this could be it. Kingsman blends eye-popping visuals, comedy, and intense action into a seriously fun spy flick. A follow up to the 2015 instant-classic this sequel sees the Kingsman guys heading to America after their base is destroyed by a bonkers villain. There they meet their American counterparts, the Statesman organisation. The two teams must work together to destroy Julianne Moore’s Poppy, the arch-villain of the piece.

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Battle Of The Sexes – 8th Oct (UK)/22nd Sept (US)

Battle Of The Sexes sees Stone starring alongside Steve Carrell as Billie Jean King and Bobby Riggs respectively. The two were world-famous tennis players in their respective times. As a ‘tennis hustler’, Riggs said he could defeat the best women’s player of the time, King, at age 55. Their match, known as ‘The Battle Of The Sexes’ was one of the most-watched tennis events of all time. This film dramatises that match.

Stronger – 8th Dec (UK)/22nd Sept (US)

Inspired by real life events, Stronger sees Jake Gyllenhaal star as Jeff Bauman, a victim of the Boston Marathon bombing who lost both his legs. The film documents his story as he learns to walk again and adjusts to his new circumstances in life.

The LEGO Ninjago Movie – 13th Oct (UK)/22nd Sept (US)

Ordinarily we’d be dismissive of this one. However, after enjoying the excellent LEGO Movie and it’s fun spin-off The LEGO Batman Movie, we’re full of excitement for this. The plot sees a team of six teenagers turned into ninjas to protect LEGO city from the forces of darkness. Sure, it’s aimed at kids but we’ll be surprised if there’s no plenty for the grown-ups to enjoy too.

Goodbye Christopher Robin – 29th Sept (UK)/13th Oct (US)

If you enjoyed Disney’s Saving Mr. Banks, a film about how Mary Poppins was made, you’ll love this. The film sees a former WWI soldier, A.A. Milne recovering from his traumatic experiences through his relationship with his son, Christopher Robin. These interactions lead him to create Winnie-the-Pooh, a character loved by children all over the world.

Flatliners – 29th Sept (UK and US)

A sequel/remake/reboot of the 1990 psychological horror of the same name. The film will follow the same basic plot: several medical students stop their hearts to allow them to temporarily ‘die’ before being resuscitated. They do this in order to glimpse the afterlife. However, after coming back to life, the group are haunted by what they’ve seen. This one looks a lot more ‘horror’ than the original film, so don’t be surprised if it’s very different from what you know. Kiefer Sutherland reprises his role as the main character from the first film, Dr. Nelson Wright.

October:

Blade Runner 2049 – 6th Oct (UK and US)

Few films ever released have fans so conflicted over them. The original 1982 Blade Runner is considered one of the finest sci-fi films ever made. With that in mind, many are approaching this sequel with trepidation. So far the plot details are shrouded in mystery. The film will revisit the struggle of the first film between humans and genetically-engineered replicants who are indistinguishable from their creators. By 2049, the climate has gone wild and a replicant designer believes his creations are humanity’s natural successors. A young Blade Runner (the name given to hunters who track down and kill rogue replicants) Agent K, played by Ryan Gosling, stumbles across a secret that threatens humanity. He must then hunt down Rick Deckard, the protagonist of the first film.

The Mountain Between Us – 6th Oct (UK and US)

Idris Elba and Kate Winslet play a pair of unlucky travelers whose plane crashes in the North American wilderness. The pair escape the crash with injuries and must band together to be in with a chance of surviving and making it back to civilization. It looks like a pretty quiet, character-led story, but it could be seriously interesting. If you liked 127 Hours and The Revenant this could be the perfect combination of the two.

The Snowman – 13th Oct (UK)/20th Oct (US)

If you enjoyed The Girl With The Dragon Tattoo, here’s another Scandinavian mystery for you to sink your teeth into. The film stars Michael Fassbender as Detective Harry Hole. The detective is drawn into investigating after a woman is found murdered after the first snowfall of winter. Only her scarf is recovered, tied around a large snowman. Hole realises he’s tracking Norway’s first official serial killer who seems to hate women.

Breathe – 27th Oct (UK)/13th Oct (US)

Adventurous and charismatic, Robin Cavendish has his whole life ahead of him when he is paralysed by polio while in Africa and given just months to live. Against all advice, Robin’s wife Diana brings him home from hospital where her devotion and witty determination inspire him to lead a long and fulfilled life. Together they refuse to be limited by expectations, dazzling others with their humour, courage and lust for life.

The Killing of a Sacred Deer – 17th Nov (UK)/ 27th Oct (US)

While it might be described as technically a horror film, The Killing of a Sacred Deer is something else entirely. The film is a modern take on the Greek myth of Iphigenia. Her father killed a sacred deer and the goddess Artemis demands he sacrifice his daughter in recompense. Here, the father is a surgeon played by Colin Farrell and the ‘god’ is Martin, a teenage boy who has struck up an unusually close friendship with him. Farrell’s character clearly feels a fatherly bond towards Martin and invites him into his home. However, Martin has other plans and seeks to make the surgeon pay. In the hands of another director, this could turn into a boring old slasher flick, but Yorgos Lanthimos, the director who created The Lobster is behind this, so it’s actually something much more unique and intricate.

Thor: Ragnarok – 27th Oct (UK)/3rd Nov (US)

From Greek myths to Viking gods in space. Thor: Ragnarok is set to combine everything you love about Chris Hemsworth’s character with the eye-popping, space adventures of Guardians Of The Galaxy. When the goddess of the death, Hela takes over his home planet, destroys his signature hammer, and exiles him, Thor must team up with his old pal the Incredible Hulk in order to take back Asgard and save the day. Marvel’s cinematic universe is fresh off the back of its incredible The Amazing Spiderman, will it be able to maintain momentum here?

Call Me By Your Name – 27th Oct (UK)/24th Nov (US)

Everyone loves a period drama, and 1988 is officially long enough ago to count. Call Me By Your Name recounts the 20-year love story between Elio and Oliver which began while the latter stayed with the former’s family in their Italian villa over the summer of 1988. The two share a common Jewish heritage and bisexuality. They both struggle to identify and classify their romance though both lust after the other. This might be one of the most tenderly beautiful romantic films of our age; not to be missed!

Jigsaw – 27th Oct (UK and US)

It’s been a long time since the last Saw movie and many fans would say rightfully so. While the originals were clever, if gory, psychological body-horror, the later sequels focused more on the gruesome nastiness rather than the psychology of the villain. Thankfully, this update puts the latter front and centre. The film finds another series of murders which fit Jigsaw’s modus operandi taking place a decade after the original Jigsaw was thought to have died. If you’re up for Halloween scares, this could be perfect.

November:

Murder on the Orient Express – 3rd Nov (UK)/10th Nov (US)

A modern adaption of Agatha Christie’s best-selling classic? Sign us up! Kenneth Branagh directs and stars as Hercule Poirot with a star-studded cast of potential murderers and victims. This one looks like it’s more than prepared to capture all the dazzling details of its 1930s setting.

Justice League – 17th Nov (Worldwide)

Let’s be honest, this is more than likely to be terrible, isn’t it? Justice League is the tentpole movie in DC’s attempt to construct a cinematic universe just like their old rivals at Marvel. Unfortunately, unlike Marvel, DC’s efforts have been hamstrung by some truly terrible films. Batman Vs. Superman: Dawn Of Justice stands out as the worst film they’ve done so far. This time around, Batman and Wonder Woman are gathering a team of superheroes to battle an extra-terrestrial threat now that Superman himself has passed away. The one ray of hope in all of this is that Joss Whedon, the mastermind behind Marvel’s The Avengers has been in charge of reshooting and lightening up Zack Snyder’s original, which was apparently pretty similar in tone to the universally-panned BvS.

Wonder – 1st Dec (UK)/17th Nov (US)

Prepare to get emotional with this one, folks. Julia Roberts and Owen Wilson play the parents of August Pullman. He’s a little boy with a facial disfigurement who has been in and out of hospitals his whole life. The film shows his parents helping him get settled into school for the first time ever. Expect tears aplenty!

Coco – 19th Jan (UK)/22nd Nov (US)

Despite his family’s generation-old ban on music, Miguel dreams of becoming an accomplished musician like his idol Ernesto de la Cruz. Desperate to prove his talent, Miguel and his dog Dante find themselves in the Land of the Dead. Along the way, they meet charming trickster Hector and together they set off on an extraordinary journey to unlock the real story behind Miguel’s family history. It’s from Pixar so you know it’s going to be a classic!

After these, the films dry up a little bit. That’s probably because no one dares to compete with Star Wars: The Last Jedi which is releasing on December 15th. Still, plenty to enjoy in the meantime, eh?