Fresh off the worldwide blockbuster success of summer 2024’s funniest comedy, Despicable Me 4, Illumination expands its joyful animated universe with a riotous new chapter, featuring all-new characters, in the biggest global animated franchise in history: Minions & Monsters.

This is the rambunctious, ridiculous and totally true story of how the Minions conquered Hollywood, became movie stars, lost everything, unleashed monsters onto the world and then banded together to try and save the planet from the mayhem they had just created.

England, 18th Century. The Savages are at their lowest: they despise each other, their house is falling apart, and they are disliked in polite society — sleeping with their servants, and selling off jewellery to keep their gambling and drinking going. Oh, and Chauncey Savage’s foot might be rotting off. This is until they are set to be visited by higher ranking nobleman. The honour gives them a renewed energy to get new outfits, polish their silver, and hire new help to make sure the House of Savage is looking as impressive as possible. Anchored by two outrageously hilarious performances by British legends Claire Foy and Richard E. Grant as you’ve never seen them before, the sights and smells of Savage House will stick to your skin long after you’ve exited the cinema.

After graduating from college, Andy lands the dream job that "a million girls would kill for": assistant to Miranda - the chief editor of Runway, the top-selling fashion magazine in the industry. It is a job set to fast track her career in journalism if she can survive a year working for Miranda. From here, Andy, with no sense of fashion at all, begins a fish-out-of-water drama as she is thrown into a lifestyle full of the fast-paced, three-inch-minimum heel height, diet Coke and coffee substance abuse. Andy works really hard to deal with Miranda's endless unimaginable demands. She even becomes trendy and classy. However, she gradually finds she is working 24/7, and soon her life with boyfriend, Nate, and best friend, Lily, is slipping away from her. Then, she realizes that she is losing what really matters. She does not want to lose herself no matter how many pairs of Monolos and Jimmy Choos she can score along the way.

Miranda Priestly (Meryl Streep) struggles against Emily Charlton (Emily Blunt), her former assistant turned rival executive, as they compete for advertising revenue amidst declining print media while Miranda nears retirement.

Twenty years after making their iconic turns as Miranda, Andy, Emily and Nigel- Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci return to the fashionable streets of New York City and the sleek offices of Runway Magazine in 20th Century Studios’ “The Devil Wears Prada 2,” the eagerly awaited sequel to the 2006 phenomenon that defined a generation.

The film reunites the original main cast with director David Frankel and writer Aline Brosh McKenna, and introduces an all-new runway of characters including Kenneth Branagh, Simone Ashley, Justin Theroux, Lucy Liu, Patrick Brammall, Caleb Hearon, Helen J. Shen, Pauline Chalamet, B.J. Novak and Conrad Ricamora. Tracie Thoms and Tibor Feldman also reprise their roles as “Lily” and “Irv” from the first film.

Either choose to watch the film on its own or select seats for both this film and for Devil Wears Prada, that precedes this screening, for the Double Bill Price of just �15

“Is it safe?” It’s the screech of the dentist’s drill, the frantic dash of a man trying to forget the death of his father, a victim of McCarthyism and who is confronted head-on with the death of his brother, murdered before his eyes. It’s a significant part of 20th century history, the ghosts of the Holocaust that continue to haunt subsequent generations. It’s Paris, it’s New York, dirty, violent, hostile. Seven years after Midnight Cowboy, Schlesinger reunites with Dustin Hoffman, the embodiment of the youthful, humanist, and anguished student. Opposite him, the great Laurence Olivier as a former  Auschwitz executioner, a cheap Mengele who comes to rekindle the embers of Nazism (Golden Globe for his performance), and in solid supporting roles, the wonderful Roy Scheider and William Devane. Adapted from William Goldman's eponymous novel, a paranoid thriller steeped in its time, and a pinnacle of the genre.

William Goldman's novel Marathon Man was published in 1975. He himself wrote the screenplay adaptation just a year later, commissioned by Robert Evans for Paramount. Evans hired British filmmaker John Schlesinger to direct, who had already directed Dustin Hoffman in Midnight Cowboy in 1969. A typical paranoid thriller of the 1970s, Marathon Man is distinguished by its edgy and realistic style, its chaotic atmosphere reflecting the violence and moral decay of the era, and its geopolitical ramifications where the traumas of 20th century American and European history, particularly the ghosts of Nazism, loom large. Dr. Szell, played by Laurence Olivier, is inspired by Dr. Mengele, the SS chief physician of the Auschwitz extermination camp, who went into hiding in South America after the war. While Conrad L. Hall handled the film's cinematography, Marathon Man also marks one of the very first uses of the Steadicam in a feature film by its creator, Garrett Brown. The use of the technique is particularly striking in the sequences where Dustin Hoffman runs around the Central Park Reservoir (notably the opening scene, which encapsulates all the film's central themes). And in the scene where Szell wanders through a teeming Manhattan, recognised by an elderly Jewish woman who accosts him and tries to have him arrested. Here, the Steadicam contributes to creating an ethereal, ghostly atmosphere within the gritty New York and polluted Paris of the 1970s.