Ian Nathan

A 50s horror classic that remains a gem of allegorical paranoia.

Amadeus skewers the period finery - stunning costumes, production design, sublime music - with piercing intelligence and thematic gravitas.

Really smart people on a really smart person: Fassbender, Winslet, Sorkin and Boyle await Oscar nominations. But for all its relevance and grandeur, Steve Jobs is ridiculously entertaining. You might say, user-friendly.

A diabolical treat with Rourke and De Niro in fine form.

Jonze has made a sweet, smart, silly, serious film for our times, only set in the future.

For sheer old-fashioned, childhood rekindling adventure you really can't go past it - just don't take the rose-tinted glasses off.

Genuinely creepy, satirical and occasionally daft horror tales with a distinctly moral bent.

A well-rigged whodunit based on the bestseller by Scott Turrow, that pretends to investigate the various political manipulations that haunt your average district attorney’s office but is in truth about the wages of sin.

This gritty sci-fi is undeservedly neglected and underrated.

Well-paced and stunningly shot.

The Canadian horror maestro scrapes away the surface of Hollywood to discover a magnificently Cronenbergian outbreak of tortured families, reprehensible behaviour and extreme violence.

Technology, as ever, is examined through a pessimistic prism, but the script is equipped with enough jargon and detail to expose the work and responsibility of the filmmakers.

A fulsome, fascinating piece of 20th century Irish folklore.

A stunner of unrelenting tension interrupted by action, violence and gore.

If director Chuck Workman maps a familiar rise and fall of rule-breaking brilliance it is vindicated by the great raconteur and in-depth praise from an impressive roster.

Perfectly tense atmosphere and performances, with the sparks flying between Bogart and Bacall.

As a direct tribute to the dignity of the solider facing attacks on both their bodies and their souls it puts things in a salutary context.

By smuggling canvasses out of Nazi Paris, she was “midwife” to Pollock and Rothko. “Art,” the doc claims, “was a mirror of her own strangeness.”

Stories about love in a world gone mad don't come any more gorgeous, or any more sweepingly epic, than this.

A modernised Bond is dragged kicking and screaming into the 70s.

At times it feels as if five different films are going on at once, but Schumer’s whip-smart delivery and no-holds perkiness keeps it all in place. Just as her director wilfully mines his own life for laughs, there is a whole lot of Amy in Amy.

No less lovely than former films, in many ways lovelier, but Brave is boutique Pixar: less ambitious, more succinct, excellence at a lower ebb.

Brutal story-line which is about as close to an explicit allegory as the western has ever come.

Action-packed, gorgeous, and faithfully whimsical: Hergé thought Spielberg the only director capable of filming Tintin. He was onto something.

Great performances and an innovative approach to a tired old story make this one to watch out for.

Huston revels in he opportunity for old-fashioned splendour, granting the film the sunset glow of Lawrence Of Arabia and the swashbuckling cadence worthy of the Errol Flynn days. It’s the artful mix of Kipling’s own writing, flights of fantasy with a political core.

Haunting and idiosyncratic, Jarmusch’s vampire marriage preaches to the converted, but he’s in fine voice nonetheless.

Old-fashioned comedy with superb performances and insightful glimpses into the world of newspaper journalism.