Helen O'Hara

Gripping, humane and lighter than it sounds, Stewart’s first foray into directing suggests that he was right to quit the day job. We can’t wait to see what he does next.

This may not quite be the biopic of two women whose achievements decidedly merit one, but it’s an extraordinary story about a man who endured danger, ridicule and desperation to create the circumstances for them to thrive.

There are few filmmakers as consistently, burningly passionate as Spike Lee. This is vital and timely work that’s up there with his best, with a gut-wrenching sting in the tail.

Robbie and Janney are flawless in a compelling and corrective account of a misunderstood figure; one of the more darkly funny biopics you’ll ever see.

Denzel Washington’s unshakeable gravitas anchors a dazzling, jazzy riff on the crime drama that somehow feels wildly uplifting for all its grit.

Witty, absurd and far more entertaining than it has any right to be, this could finally shed light on the financial crisis for those of us who found it all too boring to contemplate.

Easily the third-best Terminator film, which is more of a compliment than it sounds. It’s great to have Hamilton back in this role, but she’s ably matched by Reyes and Davis.

Smart and stupid in equal measure, this is a palate cleanser after the doom and gloom of Justice League. The Titans could make you fall back in love with the entire DC Universe.

Loveable - especially if you're as fond of a pun as we are - and extremely silly.

A worthy farewell that packs in as much action as its seven predecessors combined and manages not to stint on the emotional beats. Harry Potter leaves us as a quiet, bespectacled, corduroy-wearing hero for the ages.

A nuanced and intelligent legal drama that neatly combines big characters and big ideas. By focusing on wider issues of race and injustice, Betts finds continuing resonance in a case nearly 30 years old.

Flashes of bleak humour makes this wry portrait a compelling experience.

Rather than a simple story of underdogs vs The Man, director Craig Gillespie (I, Tonya) has made a complicated, sometimes funny story that is not a comedy, and sometimes feels like a horror.

Brimming with compassion and punctuated by humour, this is a moving look at prison and prisoners. It’s both infuriating and inspirational to see so much beauty in such a harsh environment.

A strong directorial debut from Winslet with — as you’d expect — stellar performances from her cast. It might be the perfect antidote to other, overly saccharine Christmas films.

At times terrifying and too tough for tinies, this is nevertheless a triumphant sequel that puts its faith in Hiccup and Toothless to find a way through dark times for man and dragon. Until we all get our own dragon to go flying with, the result is a story sufficiently thrilling to have us all airborne.

It might not have the overwhelming impact of an Endgame or even a Guardians 3, but this is the MCU back on fast, funny form.

Hargrave, a stuntman turned director, knows where to put his camera for maximum impact, and genuinely disturbing foley work showcases sounds of crunching bones and splattering blood. You feel every punch land.

A fiery condemnation of the police state and government overreach, this is both timely and timeless. Sorkin and a superb cast make legal proceedings compelling, and then show that the law is an ass.

A history lesson with more fire in the belly than most. It turns out that a feminist angle really can revive the same old Tudor psychodramas, thanks in large part to Ronan and Robbie’s authoritative performance.

The whole thing reads as an indictment of the sort of upper class upbringing that Milne's children's books idealised, with only paid employees offering worthwhile parental affection.

Peter Parker’s second Spider-verse adventure suggests that the concept just works – brilliantly.

Somewhere between the pop-culture deconstruction of "Zombieland" and the skewed romance of "(500) Days Of Summer," this manages to make the apocalypse seem charming. Warm is the right word.

Like Mickey himself, it’s goofy and a little inconsistent, but it’s also funny, thoughtful and more plausible than we might like. A charming space oddity for these unusual times.

An idiosyncratic, thematically dense twist on the vampire myth that’s oddly paced but beautifully played. One to sink your teeth into.

Thanks to some judicious plot tweaks and a full-bodied commitment to action, director Martin Bourboulon (Eiffel) has succeeded in making the best Alexandre Dumas adaptation in decades.

It glides romantically along on the surface while political turmoil boils away underneath. Its plea for tolerance isn’t subtle, but it’s a story that deserves to be told.

Quiet, thoughtful and deeply human, this is one of Jarmusch’s finest and features Adam Driver’s best performance yet — although you do risk coming out with a new affection for modernist poetry.