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© Press Association Of all the stories post 9/11, one of the most cautionary concerns Shamina Begum. The Londoner was just 15 when she and two friends from Bethnal Green Academy hit global headlines for running away to ISIS controlled territory in Syria. The schoolgirls became news fodder as they willingly made their way to the caliphate. However Begum's subsequent efforts to return after fleeing the caliphate and being stripped of her British citizenship have raised awkward questions about her and also how the state should treat those who are radicalised and then publicly recant. © BBC Begum's story has been brought to the small screen by the documentary filmmaker Josh Baker. 'The Shamina Begum Story' enables audiences in Britain to hear directly from the 23 year old herself and give her account of how she ended up being stripped of her UK citizenship and stuck in a refugee camp in northern Syria. It's a grim tale compellingly told not just by her in Baker's ex

© Universal Pictures If you go down to the woods in Georgia, you're in for a big surprise. Or at least, that's what Elizabeth Banks would have you believe with her supremely silly, black comedy horror flick 'Cocaine Bear'. A social media sensation when its trailer dropped last November, it's one of those movies like ' Snakes On A Plane ' that trades off its kitschy title and does exactly what it says on the tin. However unlike David R Ellis' 2006 hit, it mostly delivers. © Universal Pictures Executive produced by ' The Lego Movie ' team of Phil Lord and Christopher Miller and written by Jimmy Warden, Elizabeth Banks approaches her film with her tongue firmly lodged in her cheek. 'Cocaine Bear' is a B Movie and knows it. Its director, crew and cast are simply content to enjoy the ride. Very loosely based on a true story, it reimagines a real life incident in 1985 where a Kentucky drug smuggler Andrew C Thornton dumped duffel bags of cocain

© Netflix Sometimes you can tell from the off when a film just isn't going to click. Unfortunately, that's what happens to Nathaniel Martello-White's 'The Strays'. Elaborating a story he heard from his mum , the actor has pulled off a remarkable feat getting Netflix to acquire his debut feature film as a director. However from the opening moments, something doesn't quite ring true about the film despite its origins. © Netflix The opening dialogue sounds too stagey. It feels too written and regrettably that is a problem it struggles with throughout. Martello-White, who also wrote the screenplay, tells the story of Ashley Madekwe's Neve, a mother of two teenagers living a nice suburban life. She has become the deputy headmistress of the school that her son, Samuel Small's Sebastian and Maria Almeida's Mary attend. © Netflix Her husband, Justin Salinger's Ian is a successful insurance broker. They have a nice suburban house, white friends who appear

© BBC It's probably a bit of a blessing after ' Happy Valley ' that BBC1 did not give its coveted Sunday night primetime slot to another Yorkshire crime drama. Sam Vincent and Jonathan Brackley's five part show 'Better' was always going to be measured against Sally Wainwright's show. However giving it the same slot would have made that assessment a whole lot worse. Wisely given a Monday night slot, they have come up with a cop show which feels like it might go places but somehow doesn't quite deliver. © BBC 'Better' is basically the story of a corrupt cop who risks exposure in Leeds. Leila Farzad, who some viewers will know as the former agent in Sky's ' I Hate Suzie ,' is DI Lou Slack, a maverick detective (what else?) whose bosses are impressed by her exemplary record. However Lou has secretly feathered her own nest by collaborating with a crime gang headed by a former informant, Andrew Buchan's Northern Irish charmer Col McHugh

"The British are coming," a euphoric Colin Welland declared at the 1982 Oscars. And in some senses he was right because Hugh Hudson's Best Picture winning 'Chariots of Fire' marked a moment that the country's film industry has really built on. British talent had won every year at the Academy Awards since 1955 - an achievement that has continued to this day. However 'Chariots of Fire' was a turning point for the profile of British film, coming just before the birth of Channel 4 whose support for indigenous filmmaking talent would kickstart other investment in the nation's film industry, with other broadcasters like the BBC, ITV and Sky following suit. © 20th Century Fox/Allied Stars/Enigma/Kobal/REX/Shutterstock Richard Attenborough's 'Gandhi,' Bernardo Bertolucci's 'The Last Emperor,' Anthony Minghella's 'The English Patient,' John Madden's 'Shakespeare In Love,' Danny Boyle's 'Slumdog Million