Forty years after the classic, multi-Oscar winning Kramer v Kramer comes another divorce drama involving two young Americans and a son caught in the crossfire. And this one is even better. 

Game of Thrones’ Emilia Clarke stars in this awkward but sweet Yuletide romcom as Kate, a chaotic, George Michael obsessed twenty-something in London who’s lost her way following a serious illness.

For a sports movie to work for more than just the fans, it has to have drama off the pitch, track or field, with characters to root for, personal demons, a good underdog. Based on a true story that also involves high-speed danger and tragedy, James Mangold’s Le Mans ‘66 duly obliges.

Ian McKellen, his Mr Holmes director Bill Condon and Helen Mirren play clever, nasty games with conman clichés and presumptions about the elderly in this sometimes absurdly twisty thriller.

Director Roland Emmerich has been trying to make this movie since the 1990s, and battled hard to raise its $100m budget from individual investors. But why?

Much has been made of Martin Scorsese’s recent dismissal of Marvel films. Putting that debate aside, there’s no escaping the fact that in an era of rapid-fire sequels, with the same ensembles trotted out year after year, there’s far more frisson to be felt when the reunion is after not one or two, but 25 years – and what the filmmakers are seeking to recreate really is movie magic. 

Wild Rose director Tom Harper blends fact with fiction in a charming Victorian ballooning adventure that reunites Eddie Redmayne and Felicity Jones for the first time since The Theory of Everything.

Brittany (Jillian Bell) is the unhappily overweight life of the party, numbing her lonely life with booze and acerbic one-liners as she nears 30. Bad medical news makes her obsessively turn to running, eventually entering the New York marathon, with side-effects include an ambiguous romance with slobby fellow house-sitter Jern (Utkarsh Amdudkar).

How long can one decision follow you? How long can you hide from it? This is what underpins After the Wedding, a remake of Susanne Bier’s Efter brylluppet. It’s a drama shaped like a thriller, driven by emotion rather than intrigue.

If the recent period of British history that has involved recession, austerity, the hostile environment and Brexit is to have chroniclers, who better than Ken Loach and his trusty screenwriter Paul Laverty. Their blend of carefully researched social realism and nail-biting melodrama is angry, shaming, essential. Only the coldest-hearted bureaucrat or corporate heel could leave the cinema dry-eyed.