The sight of this elderly bunch hobbling around the table may well make you laugh, but the passion with which they play each game as if it might (and probably will) be their last will also make you cry.

Angry, impassionate filmmaking that demands - and deserves - serious answers.

On a par with "Inglourious Basterds" and "Django Unchained," The Hateful Eight starts low-key but ultimately delivers big, bold, blood-soaked rewards. Roll on, QT Western number three.

As vehicles for fat comedians who were big in the States but never exported well go, this self-proclaimed slob comedy is nearly a masterpiece and certainly much better than the comparable Revenge of the Nerds films.

A splendidly detailed and rousing caper movie.

An absolute treat of an interview with a man who has told other people’s stories wonderfully for decades and tells his own just as well.

It’s very conventional in form and dances round his famous temper, but Never Give In touches on topics (class, identity) rare in a sports documentary, etching a moving portrait of a man reflecting on his past at a point when his memory is slipping away from him.

The most terrifying fashion film since The Devil Wears Prada, Deerskin is a deliciously ridiculous farce played largely straight. This is a jacket you will feel the benefit of.

This is lots of fun and the actors definitely look like they're having a good time.

Though low-stakes for an adventure film, this is nonetheless an engaging, found-family eco-fable that imparts an important conservationist message with considerable, at times impressionistic, style.

Expertly executed example of a golden time in British cinema - one to savour.

It's not on a gasp-inducing making-the-Statue-Of-Liberty-disappear level, but with its opulent presentation and confident storytelling, The Illusionist has the power to keep an audience rapt like a good old-fashioned card trick.

While not exactly reaching Ring-levels of terror, it's certainly one for connoisseurs of the weird.

Less vibrant than the original, but equally thoughtful and funny.

Cute and sweet, and if it lacks great wit or magic, at least it has the courage to remain faithful to the gentle sadness and 'realism' of the original material.

It says little that is new and lacks heat, but Wilson and Burke inhabit a compelling mismatched couple, with Wootliff finding cinematic ways to get under their skin. A flawed but admirable attempt to take the temperature of a dark, modern relationship.

Yes, Rick Baker won the Oscar a year down the line for his American Werewolf In London FX. And, yes, they are staggering. But it is Rob Bottin's work here (with inflatable air bags under a latex "skin" and a pioneering "hydraulic snout") that is — and ever shall be — the pinnacle of mutation effects. Amen.

The lesser of 2017’s two Wonder Woman movies, this attempt to explore a complex three-sided relationship is let down by bland storytelling.

We expect oddball wit of a higher calibre from Guest and co., although their inherent, zany likeability means plenty of laughs.

The ending doesn’t quite land, but this timely right-wing allegory promises there’s much more to come from Corbet.

As soon as Howard steps up to the mic, the movie crackles to life.

It's colourful, fun and as surreal as Disney is ever likely to get, this isn't as good as the books, but works as a cute introduction to them.

More engrossing than both "Sully" and "The 15:17 To Paris," Richard Jewell is enlivened by Paul Walter Hauser’s breakout performance yet undone by a lack of subtlety and real dramatic wallop. Solid, dependable, very late period Eastwood.

The result is both audaciously amusing and provocatively sophisticated.

Although let down by muddled plotting, The Night House is a low-key, well-made thoughtful horror flick, excellently played by Rebecca Hall.

A starry trio and suspenseful filmmaking can’t save this apocalyptic thriller from collapsing on itself.

An absolute blast, with a frenetic strike-rate and songs that will worm their way into your ears for days. Like Conner, this comedy’s for real.

Sarah Polley's second film is a masterfully painted portrait of an ordinary marriage under threat, dominated by a central performance of exquisite subtlety and observation.