Here’s hoping that everyone has been enjoying the beginning of 2017. The end of last year was certainly a difficult one for us film fans, as we lost both Star Wars’ Carrie Fisher and her mother, icon Debbie Reynolds just one day apart. This followed the loss of so many other iconic actors, ranging from Alan Rickman (one of the best voices in the business) to Robert Vaughn (the last living member of The Magnificent Seven), and many, many more. Thankfully, we have their work to remind us of their amazing talents. Yet, it was not all doom and gloom – it was exciting to be able to witness two milestone birthdays, as two members of Hollywood royalty, Kirk Douglas and Olivia de Havilland, both turned one hundred this past year.

Moonlight, one of the most lauded films of the year 2016, depicts a world that feels near inescapable. Set in an impoverished neighbourhood in Miami, our protagonist, a confused, introverted, gay African American boy named Chiron, is trapped in a world where his mother is a crack addict, his role model is the one selling the drugs to her, and he is brutally bullied for not fitting the mould. The film is broken up into three parts, ‘Little’, ‘Chiron’ and ‘Black’, each a name and iteration of the main character’s life. ‘Little’ (Alex Hibbert) is a shy young boy, introverted and different from those energetic, bombastic kids around him. His mother, Paula (Naomie Harris), is a verbally abusive single mother (though she has moments of maternal caring), stuck in an endless cycle of drug abuse. With no father at home, Little gravitates toward Juan (Mahershala Ali), as well as his girlfriend Teresa (Janelle Monáe). Juan is a drug dealer in charge of those selling on the street corners of the ghetto. A complex figure, he sees that the boy is different and truly wants to give him a hand up, yet is a huge part of the problem. Quiet moments of mentorship and advice abound, like when Little says he hates his mother. Juan, simply states "I bet you do. I hated my mom too. Miss her like hell now, though."

A perfect film to watch as you hunker down on a cold, blustery winter’s night, 2008's Transsiberian, directed by Brad Anderson (The Machinist) follows a married American couple, Roy (Woody Harrelson) and Jessie (Emily Mortimer), as they take the Trans-Siberian Railway from Beijing, through Siberia, and ending in Moscow. A taut, tense traditional thriller, the couple, despite their recent charitable efforts (helping needy children in China), are having some relationship issues. With opposite pasts, Roy is an excitable, boyish man who has lived a good life, while his wife has been running from her demons, finally finding some semblance of normalcy after meeting him (they were thrown together by way of a serious car accident). At one point, Jessie ominously utters "kill off all my demons, Roy, and my angels might die, too" – a complicated warning for her do-gooder husband.

The first stand-alone film in the Star Wars universe, Rogue One bridges the gap between episodes 3 (2005's Revenge of the Sith) and 4 (the original 1977 motion picture); it is also a movie that lives in the grey zone more than any other in the operatic space saga – depicting the complexity of the actions executed by the Rebel forces that are our protagonists. What we see is a complicated universe filled with spies, traitors and extremists – a place where no decision is an easy one. Our lead character, Jyn Erso (Felicity Jones), is a perfect example of this, for when she was young, her father, Galen (Mads Mikkelsen), a weapons developer, was forcibly taken by Imperial baddie Orson Krennic (Ben Mendelsohn) to finish work on the Death Star (the planet killer from A New Hope). This leaves the impressionable girl in the hands of a radical, ultra dangerous Rebel fighter by the name of Saw Gerrera (Forest Whitaker), who deserts her at the age of sixteen.

Perhaps one of the most iconic introductions to a character finds Clint Eastwood’s Man with No Name riding into a dry, vile town, wearing the now legendary garb – dust covered poncho, brown gaucho-style hat, black jeans, spurs, and a Colt in his trusty holster (the stubby cigars will come a little later). Stopping for a drink of water, he takes in the violent, melancholic locale, where people gaze at him in a distrusting and ominous way through their wooden shutters, and children are shot at in the street by thuggish individuals. The first of what would become the "Dollars Trilogy" (or "The Man with No Name Trilogy"), A Fistful of Dollars, despite its now celebrated status, was poorly received by most North American and British critics when originally released. Once again showing how time is a fickle thing, the term Spaghetti Western (this type of motion picture), was first coined as a negative, disparaging term (ridiculing the European product for being of poorer quality to their American counterparts) – though today, it is generally thought of as an endearing and highly positive term. Directed by Sergio Leone, its unique visual style (beautifully framed close-ups that differ from the typical Hollywood use of the technique, as well as his then unorthodox use of viewpoint that places us in the moment over Eastwood’s gun), and attempt to move away from the traditional American tropes of the western, is now viewed as the beginning of the rejuvenation of the historic genre.