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William Friedkins white-knuckle, high-octane remake of one of the tensest films ever made, Clouzots The Wages of Fear, features Roy Scheider as a down-on-his-luck American ex-pat in South America who joins a desperate group of men transporting dangerous explosives across treacherous territory in order to stop an oil refinery fire. SORCERER ups the ante on its predecessor by throwing even more obstacles at its protagonists. For instance, where Clouzot had cliffside, switchback mountain passes, Friedkin adds a crumbling rope bridge across a gorge. And the natural obstructions are just the obvious problems soon, the emotional toll of the work and the outright cravenness of the team conspire to create some of the most sensational scenes of sustained tension in cinema history. Initially positioned as a summer tentpole, SORCERER was effectively obliterated by the release of Star Wars a month earlier.

Now viewable in a gorgeous digital restoration heartily endorsed by Friedkin, the film is being seen in a new light and causing film fans to consider an alternate history where SORCERER and not Star Wars became the blueprint for the blockbusters to come.

Based on the incredible life story of the Godfather of Soul, the film will give a fearless look inside the music, moves and moods of James Brown, taking audiences on the journey from his impoverished childhood to his evolution into one of the most influential figures of the 20th century.

When a half-Chechen, half-Russian, brutally tortured immigrant turns up in Hamburg’s Islamic community, laying claim to his father’s ill gotten fortune, both German and US security agencies take a close interest.

As the clock ticks down, the stakes rise, and the race is on to establish this most wanted man’s true identity – oppressed victim or destruction-bent extremist? Based on John le Carre’s novel, A Most Wanted Man is a contemporary, cerebral tale of intrigue, love, rivalry, and politics that prickles with tension right through to its last heart-stopping scene.

In the wake of a disaster that changed the world, the growing and genetically evolving apes find themselves at a critical point with the human race.

Its been 17 years since we froze the earth. The few remaining humans live on the Snowpiercer, a train on an infinite loop around the globe. For those at the front, its a lavish paradise of drugs and sushi in the lap of luxury; for those trapped in the tail section, life is short and cruel.

But change is in the air. Curtis (Chris Evans), desperate to escape the tail of the train, plans an uprising, aided by his mentor Gilliam (John Hurt). What begins as an isolated riot explodes into a mass revolution, an all-or-nothing push to the front of the train, and a war for humanitys future. Who will live and who will die? How far can they go? Is there hope beyond the frozen wastes?

From acclaimed director Pawel Pawlikowski (Last Resort, My Summer of Love) comes Ida, a moving and intimate drama about a young novitiate nun in 1960s Poland who, on the verge of taking her vows, makes a shocking discovery about her past.

A twenty-something comedienne’s unplanned pregnancy forces her to confront the realities of independent womanhood for the first time.

An officer finds himself caught in a time loop in a war with an alien race. His skills increase as he faces the same brutal combat scenarios, and his union with a Special Forces warrior gets him closer and closer to defeating the enemy.

The Dance of Reality is the first film in 23 years made by writer/director Alejandro Jodorowsky, a genuine superstar of the international artistic counter-culture, best known for his cult classics El Topo, The Holy Mountain and Santa Sangre. His eagerly-awaited new film is a sensational, outrageous, surreal, hyper-imaginative magical realist dream autobiography of his difficult childhood growing up in a family of Ukrainian-Jewish immigrants in a small coastal town in Chile (Tocopilla, where the film was shot). His father (played by Jodorowsky’s son Brontis) is harsh and dominating, an idealistic communist who attempts to assassinate a plutocratic general; his big-bosomed, over-protective mother (Pamela Flores), sings all her lines opera-style, often nude. Jodorowsky himself appears as a spirit guide to his youthful self (Jeremias Herskovits). Blending his personal history with metaphor, mythology and poetry, The Dance of Reality reflects Jodorowsky’s philosophy that reality is not objective but rather a “dance” created by our own imaginations. An unforgettable and unique film.