David Hughes

Recalling Harvey Keitel’s tortured cop in Ferrara’s Bad Lieutenant, Devereaux is an unreconstructed, unrepentant monster with no hope of, or interest in, redemption. It’s a fearless, heroic performance in a provocative, important film. [Unrated Version]

A musical with almost 100% sung verse is not for everyone but Kendrick is as bewitching as ever.

A brittle black comedy that has plenty to say about modern manhood and the human survival instinct.

Julianne Moore gives the performance of her career (no mean feat, given the strength of her previous work) in this heartbreaking yet life-affirming tale of a woman determined to hold onto her identity while under attack from a debilitating mental disease.

Your opinion of this unasked-for but likable comedy sequel depends entirely on whether your reaction to the statement “It’s better than the first one” is 1) “Dear God, it could hardly be worse” or 2) “Awesome!”

If TV had a Saga Channel, this intriguing, if never quite gripping, serial killer thriller would play on a loop, in between reruns of Matlock and NCIS.

Pawlikowski has a photographer’s eye for composition, and every crisp, monochrome frame could be a postcard from Poland’s tragic, turbulent past.

Reinforcing the very rom-com tropes it's sending up, this is a little too postmodern for its own good. Happily, Poehler and Rudd are as irresistible as ever.

Mainstream audiences may find this too oddball to appreciate as a straight thriller. But tune into its strange frequency and there is much to enjoy — perhaps even adore.

Even Oedipus would be left scratching his head by this bonkers but drily funny tale of one family's forlorn search for normality.

An understated Nicolas Cage — there’s a phrase you don’t get to write too often these days — anchors a superbly realised film, which, like its eponymous hero, has a brittle outer shell concealing a surprisingly warm heart.

Polanski’s unavoidably stagy adaptation of David Ives’ celebrated Broadway play is an enjoyably witty two-hander, confined to its theatre setting, yet with much to say about gender roles in the world beyond.

Intermittently funny but erratically structured, it's a rare disappointment from Shelton.

Often funny, outrageously vulgar in places and very, very French.

Chilean writer-director Sebastián Silva’s neither-fish-nor-fowl narrative plays tricks on our minds, without fully engaging our senses.

Newcomers will be puzzled by the clumsy contextualisation and muddled motivation of characters who, robbed of their inner lives by a clunky script, are left floundering amid the melodrama and speak-the-plot dialogue.

Powerful, moving and melancholy. A low-key treat.

Given the obvious influences on The Double, it could have felt like a facsimile of other films. Instead, it has enough individuality, imagination and idiosyncratic invention to identify it as a true original.

A documentary of two halves, Gibney's character study of Armstrong is tough and forensic. But whether through a lingering admiration or the film's origins as a straightforward celebration of the cyclist's talents, there are moments when its powder remains a little dryer than perhaps it should.

Another shake-and-bake Stath special, boasting the requisite punchy-fighty action and some pleasing sleaziness from Franco and Bosworth, but it's ponderously handled by director Fleder.

While it doesn’t defy genre conventions like "Cabin In The Woods," Wingard’s tale of a dysfunctional family under siege is an outrageously entertaining crowd-pleaser — if you have the stomach for it.

Although the monochrome photography will invite comparisons with Manhattan, Frances Ha is closer in spirit to Godard than Woody Allen. Anchored by a charming performance from Greta Gerwig, it’s as light and breezy as a walk in Central Park, and just as refreshing.

With a debut film, Katalin Varga, shot entirely in Hungarian, Strickland isn't one for the easy option. This excellent follow-up plunges into equally unusual terrain with similarly pleasing results

Whether or not the metaphorical aspects excite you, an unshakeable tolerance for high camp and lowbrow humour may be required to fully appreciate Almodóvar’s broad, bawdy comedy — even for fans of his early, funny films.

It's hard to imagine that the prodigiously gifted Dolan is still in his early twenties. This is another work of marvellous maturity and assurance.

Beautifully performed and tough as nails, Vinterberg's social drama could not be any more timely.

Insightful, revelatory and profound, Moreh's Oscar-nominated documentary combines riveting interviews, archive footage and - yes - state-of-the-art photographic effects to offer a unique perspective on the Israel-Palestine issue.

Far from the giant mess you’d expect from the delayed release, late title change and a production history as muddled as the source material, Singer’s tall tale is snatched from disaster by an all-hell-breaks-loose third act.