A perfect case of ‘just when I thought I was out, they pull me back in’, John Wick: Chapter 2 starts off soon after the original feature. Starting with a video of Buster Keaton projected onto a New York City wall, Wick (Keanu Reeves) is like one of those silent film stars of the 1920s – though much more violent. A man of few words, he bumps, crashes and bangs his way through foes, a wandering ‘tramp’ with no true home, albeit, wealthier, better dressed and much more connected. Keaton, nicknamed "The Great Stone Face" has the same stoic demeanor as our protagonist – who, for the most part, plays things close to the vest.

We like to think of things in our lives as fitting into a nice square box. Everything has an order, with the structured days of the week to our routines fitting into this comforting perspective. We do not want to think of life as being random, chaotic and lacking a straightforward linear form – as it reminds us that things are not truly in our control. It is this linear way of thinking that is questioned in the 2016 cerebral science fiction film Arrival. Eric Heisserer adapts the text "The Story of Your Life" (written by Ted Chiang), placing it in the hands of talented French Canadian director Denis Villeneuve. Having a twofold narrative, the main portion follows the landing of twelve spacecrafts in random places around the world. With people beginning to panic and riot (as no indication has been made, either peaceful or otherwise), the government attempts to make some sense out of the unorthodox and exceptional arrival. Colonel Weber (Forest Whitaker) reaches out to linguist Dr. Louise Banks (Amy Adams), a woman with immense knowledge of numerous dialects and written languages (and military clearance to boot). She leads a team along with physicist Ian Donnelly (Jeremy Renner), the Colonel, and several other military men who will record the data after they enter the hull of the dark, kidney-shaped foreign craft located in Montana.

I have always been a big proponent of the education system teaching philosophy. When translated from its original Greek root words, we learn that it is best described as the love (philo) of wisdom (sophia), which is very much at the heart of the 2016 film Captain Fantastic – written and directed by Matt Ross. Towards the end of the motion picture, our main character, a multi-faceted father named Ben (Viggo Mortensen), is read a letter from his now deceased wife (her mother thinks he needs to hear it). At one point, she references the term ‘philosopher king’ – a concept adopted by Plato. For those of you who do not know of it, it was these people that he emphasized would rule his perfect utopia. Dedicated to the pursuit of knowledge and living a simple life, their ways were not that of bells and whistles (like most rulers, who live in extravagance and are catered to), but rather, to refrain from such things, educating themselves in the ways of wisdom and understanding the higher forms of knowledge.

"Grand Hotel. . . always the same. People come, people go. Nothing ever happens". But we know this is not so. The winner of Best Picture at the 1932 Academy Awards (the only film to ever win the big prize without being nominated for any other Oscar), Grand Hotel is the first film to ever bring together a who’s who cast to create an ensemble. Breaking the mould, where studios would have had only one or two of their stars in a single film (to cut down on costs as well as avoid strife), MGM united five of their top actors. The iridescent Greta Garbo plays Grusinskaya, a temperamental prima ballerina who is depressed and disillusioned, feeling like her best days are behind her. The versatile John Barrymore plays the Baron, a man who, despite his aristocratic title, has fallen on hard times, desperate for money.

The title of Hidden Figures, one of 2017's Academy Award Best Picture nominees, has a double meaning. Speaking to the mathematics that is at the heart of the space travel film, it more subtly references the story of its three African American female leads, who, despite playing a big part in Space Race history, have been lost to time. . . until now. Depicting the combative duality of the Cold War, writer/director Theodore Melfi (who adapts Margot Lee Shetterly’s book of the same name, along with Allison Schroeder) captures the essence of this complicated time. On the surface, it is America versus Soviet Union – funnelled through the propaganda-filled battle that centres around who will win the Space Race; though, more specifically, it portrays the civil rights battle, a world where, in 1961 Virginia, everything is still segregated. Written with deft precision, dialogue like "Civil Rights ain’t always civil", which is uttered by Levi Jackson (Aldis Hodge), succinctly represents this era; while a scene that appears towards the end, where mathematician Katherine G. Goble (Taraji P. Henson) hurriedly delivers some updated calculations for John Glenn’s (Glen Powell) all important mission – only to have the door slammed in her face after all of the white personnel have been ushered into the room, highlights the atrocities and unfairness of the era, while also showing how far we have come and how much farther we still have to go.