A weekly round-up of the newest movies coming to cinemas near you.
The Old Man & The Gun
Based on a 2003 article of the same title in The New Yorker magazine, The Old Man & The Gun possesses a simple, old-fashioned charm epitomised by the 82-year-old star at the film's emotionally molten centre.
Photographed in lustrous close-up, Redford beguiles us with each glance into camera as real-life bank robber Forrest Tucker, who ran rings around the authorities and escaped from San Quentin State Prison in a canoe.
Lowery pays homage to his star by lovingly re-appropriating footage from Redford's 1966 picture The Chase as one of these close brushes with the law.
Robert Redford could almost be reflecting on his own ascent into the pantheon of well-heeled Hollywood greats in such classics as Butch Cassidy And The Sundance Kid, The Sting, All The President's Men and Out Of Africa.
In Lowery's picture, he discharges that star wattage one final time in swoonsome exchanges with fellow Oscar winner Sissy Spacey.
Dialogue between the couple is light and playful, kindling a smouldering on-screen partnership that casts a satisfying glow over every frame.
The film concentrates on events in 1981 when Forrest pulls off a series of bank robberies, often with ageing associates Teddy (Danny Glover) and Waller (Tom Waits).
During the getaway from one hold-up, Forrest evades police by stopping to help a stranded motorist called Jewel (Sissy Spacek). Sparks of attraction fly over a cup of coffee.
Meanwhile, Texas detective John Hunt (Casey Affleck) becomes fascinated by Forrest's far from illustrious career on the wrong side of the law and is secretly relieved that the old timer is always one step ahead of the police.
‘I'm sorry you didn't catch him,’ commiserates John's wife Maureen (Tika Sumpter).
‘I'm not,’ he responds tenderly.
The Old Man & The Gun is the cinematic equivalent of a warm hug: comforting, heartfelt and undeniably pleasurable in the moment.
Lowery's script stages a couple of tense robberies with aplomb but characterisation always takes priority.
Redford reminds us why he has been setting hearts aflutter on screen for more than 55 years and Affleck is an appealing sparring partner in a game of cat and mouse where everyone, including us, wins.
Released December 7.
Sorry To Bother You (15)
Chicago-born rapper Boots Riley makes his feature film directorial debut with an audacious, wildly inventive and frequently uproarious satire about workplace culture, black exploitation and rampant capitalism.
It's fair to say that Sorry To Bother You won't be everyone's tipple and there are madcap moments in Riley's script when the wheels threaten to come off this runaway train of thoughts.
However, patience and gargantuan suspensions of disbelief reap rewards over almost two hours, which simultaneously bamboozle, delight and astound.
Armie Hammer has a blast in a small supporting role while Tessa Thompson is poorly served as the film's female lead but she relishes her character's standout scene of performance art, which incorporates dialogue from the 1985 martial arts film The Last Dragon.
Sorry To Bother You plays with madness as Stanfield's everyman becomes complicit in modern-day slavery on a grotesque scale.
The writer-director has a penchant for visual gags in background detail like a rogue photocopier, which churns out reams of paper, creating a snowstorm of tumbling A4 around despairing employees.
Released December 7.
Ralph Breaks The Internet (PG)
Rich Moore and Phil Johnston's imaginative and deeply satisfying follow-up to the 2013 feel-good computer animation Wreck-It Ralph achieves the former without straying far from the latter by propelling its coin-operated arcade game characters into the mind-boggling realms of the World Wide Web.
Ralph Breaks The Internet expands its bewildering array of visual targets to include social media behemoths, video-sharing portals and online shopping brands plus those irritating advertising pop-ups which multiply like a virulent fungus.
A savvy, warm-hearted script is punctuated by cautionary notes about viruses, the dark web and trolls.
Creed II (12A)
Deep-rooted nostalgia for Rocky fails to deliver a knockout blow in the eighth instalment of the long-running series, which punched well above its weight class in 1977 by winning three Academy Awards including Best Picture and Best Director.
Co-written by Sylvester Stallone, Creed II unleashes the same flurry of emotional jabs as its brawny predecessor but these slick moves fail to connect squarely in a sequel that hankers for the past.
Director Steven Caple Jr choreographs impressive sweat-drenched fight sequences between leading man Michael B Jordan and real-life German boxer Florian Munteanu.