INTERSTELLAR (Christopher Nolan)
Opens 6 November: The latest in Nolan’s non-Dark Knight, ‘I’ films (Insomnia and Inception count towards the superstition), this one is a full-blown sci-fi adventure with a stellar cast of astronauts exploring a newly discovered wormhole in space to see if there’s somewhere on the other side mankind can go and live. This is going to be unavoidably massive.
JIMMY’S HALL (Ken Loach)
Opens 13 November: Ken Loach has been making politically and socially aware film and television for 50 years. His latest is similarly progressive despite being set in 1930s Ireland. A young radical returns to his home village after ten years in exile and reopens the local hall, allowing education, social interaction and — potentially — political activity to take place. This threatens the establishment, who determine to prevent such a thing.
THE GOOD LIE (Philippe Falardeau)
Opens 20 November: Reese Witherspoon bought the rights to Gone Girl for herself but then had a change of heart about appearing in it. Instead she has channelled her talent into more worthy projects like this, where she plays a Kansas employment agency counsellor who tries to help a group of Sudanese ‘lost boy’ refugees start new lives in the US.
THE DROP (Michaël R. Roskam)
Opens 27 November: In this, James Gandolfini’s last film, he plays the owner of a small Brooklyn bar that makes its real money as a place where illicit cash can be ‘dropped’ and picked up again. Written by the great Dennis (Mystic River, Shutter Island) Lehane from his own short story, it is deeply embedded in the low-life, petty crime, making-do milieu that indie Hollywood still does so well.
Small print: Release plans for all but the biggest movies are fluid these days and dates can change with little or no notice. Films may appear earlier or later (or not at all).