Proving that children’s entertainment can be legitimate art like any other kind of cinema, the sequel to 2014’s Paddington displays a stronger love for community and storytelling than many other adult-oriented productions. It may be cutesy and innocent, but Paddington 2 also uses its stunning visual effects and intricate production design to prop up a sophisticated story about discrimination, staying true to one’s self, and (most surprisingly) the prison-industrial complex. It’s a proper throwback to another era of family movies that offers something far more substantial to young children and genuinely moving moments for the parents and children at heart.

Mike Leigh’s forthright and compassionate depiction of working-class life extends to his period pieces as well. Imelda Staunton is remarkable as Vera Drake, a housekeeper in 1950’s London who quietly performs abortions on the side.

Leigh’s vigilant portrayal of class highlights the stark divide between abortion access for the poor and what is offered to the rich. The storytelling is simple and straightforward, he doesn’t over-sentimentalize or grandstand, but merely depicts conditions as they were. Meanwhile, Staunton’s Vera oozes so much fullness, warmth, and empathy, that the heartbreak that follows is mercilessly palpable. 

IRA terrorists kidnap a British soldier to negotiate an exchange for one of their own imprisoned members. Among them is Fergus (Stephen Rea), whose ambivalence is amplified by his interactions with the hostage soldier Jody (Forest Whitaker) while guarding him. After the terrorists’ plan goes awry, Fergus tracks down a woman Jody spoke of during his captivity, only to become confronted with even more complications.

The film, its cast and crew won a slew of awards and nominations in 1993, including the Academy award for Best Original Screenplay. It’s a knockout. Each act presents an increasingly challenging psychological and emotional conflict for Fergus: conflicts that require him to question the choices he makes and his beliefs, even about himself. It’s a dark but deeply touching thriller that is ultimately unforgettable.

Michael “Eddie” Edwards (Taron Egerton) was a man with big glasses and even bigger dreams. As a physically disabled child-turned-oddly determined young adult, he tried his hands at all kinds of sports to earn himself a place in United Kingdom’s Team, only to be shunned and rejected more times than one can count. While his coming home a hero can easily be attributed to Great Britain’s lack of a ski jumper representative to the 1988 Calgary Winter Olympics, the world has Eddie’s perseverance and never-say-die attitude to thank. A story about conquering greater heights and just taking flight, Eddie the Eagle shows the world how winning doesn’t always mean taking home the crown.

In the movie Brazil, our hero Sam Lowery (Jonathan Pryce) lives in a dystopian world that relies on the cold productivity grind of machines. He’s in a constant battle between the high-level dominating powers that be and the low-level beatdown scums of society. Saving him from complete misery is a recurring dream he has of a beautiful woman. There, nothing else matters but love, which fills his draining soul and makes his life seem worthwhile. 

The way director Terry Gilliam handles a serious matter in such a comedic way is fantastic, and the amount of thought and effort he puts into creating every single bit of existence in this film is mind-boggling. With Brazil, he succeeds in establishing his own style, making a mark for himself in an age when plenty of auteurs compete for mere recognition.

This is a very nice movie about a lovely older couple named Tom and Gerri. It follows their lives for an entire year, as they work at their jobs, invite friends over for dinner, and work in their garden. They live modest but fulfilling lives, and they seem mostly happy and very much in love, a rarity in the movies. This probably sounds horribly boring to most people, but since Mike Leigh is the director, the film is instead a touching and realistic portrayal of love and how people spend their time together. We should all be so lucky as to live a life as charmed as the central couple in this film.

A recent holiday classic you likely haven’t seen, Arthur Christmas uses its premise of the North Pole as a massive spy organization to touch on how commercialization tears people apart. It’s a surprisingly smart film with a fascinating dynamic among its family of Santas, with an incredibly funny script full of dry, British wit. And while the animation may already look dated at first glance, Arthur Christmas more than makes up for its looks with truly imaginative art direction and director Sarah Smith’s fast-paced set pieces. This is that rare Chirstmas movie that doesn’t just surrender to schmaltz; the lessons learned by the characters here are unique, complex, and timeless.

Equal parts touching and comical, this portrait of a working-class family in a suburb just north of London features twin daughters who couldn’t be more different—the brainy and good-natured Natalie, and her sneering, layabout sister Nicola. Written and directed by Mike Leigh (Another Year, Happy-Go-Lucky) expect the slow, dreamy representation of British society from one of the country’s best and most renowned directors.

If you’re a fan of musical theater of any kind, Topsy-Turvy pays tribute to that notoriously tricky art form with a stunning attention to detail and a dedication to telling its story without any unnecessary drama whatsoever. It’s hard not to get swept up in the humor, entertainment, and simple joy found in the writing process and in rehearsals of entire scenes. Come for the Oscar-winning costumes and makeup, stay for the wonderfully old-timey musical numbers, the brilliantly grounded performance from Jim Broadbent, and the sense of satisfaction of just watching everything finally come together to thunderous applause.

One of the many good movies from director Edgar Wright – if you loved Shaun of the Dead, then this Buddy-Cop Homage will make you double over (and question humanity – or lack, thereof) just as much. Sandford is a small English village with the lowest crime and murder rates, so when overachieving police Nicholas Angel (Simon Pegg) gets sent there because he was so good he intimidated those around him, he just about loses it. From car-chasing, bone-thrilling, head-blowing action, he graduates to swan-calling, thrill-seeking, sleep-inducing madness. But all that’s about to change – for the worse? For the better? You decide. An obscenely funny flick that has an intriguing plot and an even greater set of characters, Hot Fuzz wasn’t named the best film of the Cornetto trilogy for nothing, clearly cementing Pegg and Nick Frost as the ultimate action duo of the genre.