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Sassy, saucy and sexy are adjectives that simultaneously describe director Yorgos Lanthimos’s sumptuously dark period comedy and its trio of stellar leading ladies, who seem to revel in the material and deliver some of their best performances as a result.

Let me say it now: I will be surprised if Green Book doesn’t win the Best Picture Oscar in February. From its talented cast to its true-story roots, it has Oscar-bait written all over it. It’s already won multiple film-festival audience awards and is also exactly the type of crowd-pleasing issue film that Hollywood will no doubt want to celebrate and reward, especially given the current social and political climate in the United States. Thankfully, the movie is also well done, so an Oscar victory wouldn’t be unreasonable.

Rosamund Pike turns in a gritty, unflinching and balls-out performance in this stirring biopic of award-winning gritty, unflinching, balls-out war reporter Marie Colvin.

Widows puts an amazing ensemble cast into an intriguing, flipped-on-its-head heist plot, adds a dose of righteous female-badassery, then attaches an acclaimed an Oscar-winning director, and it is... a snoozefest.

Showing the destructive nature of conversion therapy, Boy Erased still manages to be a refreshing and respectful take on one young man's struggle to align his homosexuality with his faith and family.

A tiresome and at times laughable exercise in bad casting and lazy writing, this newest installment in the Lisbeth Salander saga – and the first based on a book not written by Dragon Tattoo author Stieg Larsson – is a limp, dull would-be action-thriller that’s devoid of thrills and features a central character who feels like a meek shadow of her former big-screen self.

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