Dan Jolin

Partly the story of a music scene, but mostly the story of a man who realises that living the dream isn’t always the best thing for your life. Vivid, immersive and blessed with a perfectly nostalgic soundtrack.

Arrival is a beautifully polished puzzle box of a story whose emotional and cerebral heft should enable it to withstand nit-picky scrutiny. And like all the best sci-fi, it has something pertinent to say about today’s world; particularly about the importance of communication, and how we need to transcend cultural divides and misconceptions if we’re to survive as a species.

The concept is a doozy, ripe with comedic juice and packed with visual thrills.

Another dramatic triumph for Bennett Miller, though it is his toughest and least glamorous outing yet. A sad and horrible story, expertly and compellingly told.

Another strong, sparky and bloody entry in the QT canon. Although, creaking under its running time, it's not quite as uproariously entertaining as his last pseudo-historical adventure, "Inglourious Basterds."

Part body-swap comedy, part long-distance romance, part... something else. If you only see one Japanese animated feature this year, see this one, and see it more than once.

A bit "Up," a bit "Moonrise Kingdom," a bit "Midnight Run," even… Taika Waititi’s latest is an oddball treat of a mismatched-buddy pursuit move.

Unlike its newly trim director, Kong does boast some flab around the middle but by the final reel there’s little doubt that what could have been Jackson’s folly is a triumph, the kind of romantic action spectacle that makes the big screen silver and provides box-office gold. Puts the prime in primate.

An emotional smackdown. Rourke's never been better, and the change of pace and texture suits Aronofsky perfectly. "The Raging Bull" of wrestling movies? Oh, go on then.

A beautifully crafted, intimate adventure movie and - presented in hand-drawn 2D - one of the most visually arresting you'll enjoy all year.

Ambitiously constructed, deeply compelling, thrilling and in no way only for those who like watching cars drive in circles. A worthy paean to a true talent.

An honest, affection-hooking, coming-of-age drama which proves that there is life beyond Hogwarts for Emma Watson.

Less a ‘civil rights drama’ than a tender portrait of a marriage suffering unimaginable stress, Loving soars thanks to its narrative approach and career-best performances from Negga and Edgerton.

The film is let down by an approach that goes for impact over insight, but Last Breath is a worthy entry to the ‘hostile environment’ documentary subgenre.

The Coens take another crazy concept and make it work with a series of stories that will amuse, shock, and even bring tears to your eyes.

It's not sure where to go once the final Iron Man suit is constructed, and seems in a rush to get there, but Downey Jr and the supporting cast are so perfectly placed we're already looking forward to the bound-to-be-better sequel.

It might look like a quirky take on the sports movie, but Puzzle is in fact an astutely crafted character drama, featuring a superb central performance from Kelly Macdonald.

An impressive sift through one of the UK’s weirdest pop-cult phenomena, even if it doesn’t manage to unpick the strange relationship between Sievey and Sidebottom.

Solid and stately, a ’70s-feeling jungle adventure film that’s more of a thought-provoker than an excitement-inducer. But there’s nothing wrong with that.

Stylish, elegant, tense, cerebral, satirical and creepy. Garland’s directorial debut is his best work yet, while Vikander’s bold performance will short your circuits.

A difficult film and one that's likely to offend in some ways. But as an elliptical, dream-logic infused visual poem, it certainly leaves a searing impression.

When it comes to playing a properly magnetic anti-hero with a gruff ’70s-cinema exterior and a dark reservoir of inner depth, Jackman really is the best at what he does.

As much as Guardians largely thrives through its lovably scuzzy style, it cannot avoid the immense tractor-beam pull of The Big Marvel Studios Final Act.

Despite Fischbach’s arguably admirable intent and exertion, this low-budget sci-fi horror makes Event Horizon look like 2001: A Space Odyssey.

A teenie "To Die For" whose flaws are superceded by a complex, compelling turn from Evan Rachel Wood.

Part fairy tale/creature feature/domestic melodrama, this adds up to far more than a ‘one boy and his monster’ story — and is a tougher emotional journey as a result.

Nichols mounts impressive visual effects and frantic bursts of action.... But the film’s strength is in its humanity rather than its super-humanity.

Sounds rather soapy and melodramatic, but director Susanne Bier, assisted by an able cast, ensures the traumas are painfully realistic and subtly observed.