James Mottram

Assayas and his team have created an indelible portrait of contemporary Russia, “a prison the size of a country” as it's called, one that perhaps only an outsider could ever get away with.

Adapted by director François Ozon, the script makes subtle adjustments to Camus's work without ever demystifying its more enigmatic elements.

While the Bride’s relationship with Frank isn’t exactly a tear-jerker, Gyllenhaal has made something unique and singular. An outlier in the Frankenstein canon, it’s both a thought-provoking re-assessment of Shelley’s work and a bonkers feminist call-to-arms. They don’t come much wilder and weirder.

A tender, decade-spanning love story, exquisitely told by director Oliver Hermanus, The History of Sound is yet another wonderful showcase for the considerable talents of Josh O’Connor and Paul Mescal.

If spending time in the bio-luminescent forests and turquoise oceans of an alien planet is your thing, then Fire and Ash does everything you’d hope. It’s a marvel of CG craftsmanship and of Cameron’s pursuit of perfection.

It’s a tender – and sometimes affecting – portrait of the artist, one that hopefully will allow modern audiences to remember the contributions Lorenz Hart made to popular culture.

Once again, Nathan Crowley’s production design is wondrous, a multi-colour extravaganza that truly brings Oz to life. Simply spending time there – with its fields of tulips and fireworks in the sky – is one of the great pleasures of this movie. A film that will surely satisfy Wicked’s extensive army of devotees.

Two actors, among the very best of their respective generations, come together for Dragonfly, a bleak but captivating study of loneliness and social care set in contemporary Britain.

This pleasingly madcap comedy-drama will no doubt satisfy fans of Lanthimos’s off-kilter take on the world around us.

A tender, thoughtful film that finally brings the legendary singer-songwriter’s story, or at least a snatch of it, to the big screen.

Writer-director Rian Johnson’s script isn’t quite the perfect box of tricks. It’s fairly tenuous that Blanc would turn up for this puzzler – apparently at the behest of Mila Kunis’ local cop. But it’s hard to punch down on a movie with such a riotously entertaining cast.

Perhaps it's hyperbole to call the film del Toro’s masterpiece – especially a story that has been told countless times. But this is a work that is the accumulation of three-and-a-half decades of filmmaking knowledge. Gory and grim it may be, but it is a tragic tale told in a captivating manner.

For sure, Bigelow has crafted a film that works both as nerve-shredding entertainment and as a thought-provoking anti-nuclear statement.

Operatic in its intensity and lush in its visuals (Anderson shot with old-school film format VistaVision), it’s a sometimes ragged, unwieldy experience.

Somehow Johnson’s sophisticated turn – the best of her career – will keep you on side. As romantic as Materialists is, it’s also realistic which makes it so watchable.

The Final Reckoning brings both the Dead Reckoning storyline and the franchise as a whole to a satisfying close. As ever, Cruise is in peak condition, front and centre amid some looney stuntwork. If only his antagonist Gabriel was a more worthy opponent.

Sinners really comes to life via the musical numbers.

Opus is as off-kilter as they come. Perfectly suited, then, to a man like Malkovich.

A road movie that really makes you think about the stops it makes, there is real pain inside this film; Eisenberg and his cast do well to ensure you’ll feel every moment of it.

True, Becoming Led Zeppelin is never going to do anything but celebrate, given it’s an authorised take on the band. But there’s warmth and good humour here.

A fresh spin on a difficult topic, it’s a high-wire walk that balances sensitivity and sensationalism. You won’t find a more compelling film this winter.

You’d be hard-pressed to call it moving, but at least there’s an emotional narrative that drags us through the grisly bits. Sick, dark and laugh-out-loud nuts.

What results is a film that both works as a finely-tuned thriller and a meditation on the Church’s place in today’s society.

Neville’s film is so forward-thinking, it’s easy to forgive the more superficial aspects of the production.

A Different Man is in essence a meta-movie, one that cunningly examines issues surrounding beauty and artistic creation.

Mielants, who brilliantly conjures a dank, oppressive mood (even a shot of childhood fave Danger Mouse on TV fails to lift the spirits) skilfully avoids any overwrought confrontations; the film’s understated power only grows as it goes on.

All the cast play their parts, but an off-the-leash McAvoy is a joy to behold, channeling the same twisted energy he mined for his addict-cop in Irvine Welsh adaptation Filth. Touching on issues of class and the rich-poor divide, the result is a top-notch British thriller that’ll scare the bejesus out of you.

Kravitz, making her directorial debut, knows exactly how to drip-feed information, until it dawns on you that it’s all about to get very bad indeed.

Crafting a thriller that is tense and taut, Álvarez truly understands what makes an Alien movie breathe, while also expanding on the mythology of the series.

Schoenbrun’s film never feels derivative; instead, there’s something fresh and exciting about it, despite the almost deliberate slow-burn feel to its pacing.

Sharply observed with a top-notch cast and a pleasing old-school vibe, The Instigators is tremendously entertaining.

Perkins ensures everything services a story that comes armed with at least one almighty twist. Measured in pacing and tone, his film also feels extremely moody thanks to the overcast skies captured by cinematographer Andrés Arochi.

A rigorous and handsome drama, finely hewn by Costner and his cast, this is an absorbing ride into the Old West.

Linklater is a master of pacing and he times this story to perfection; you’ll be aching with laughter by the end.

Baker controls the narrative with real aplomb, crafting a time-bomb mix of physical comedy and high drama. Better still, the final third alights on real pathos.

This is an assured, blackly funny, and outrageous horror that will leave you roaring with approval.

With stellar songs by French singer Camille, a highly original score by Clément Ducol, and striking choreography by Damien Jalet, Emilia Pérez shifts effortlessly from musical extravagances to a gritty underworld milieu.

Delivering her first narrative feature since 2016’s American Honey, Arnold initially seems to be retreading familiar social-realist ground, delving into poverty-stricken working-class lives. But in its second half Bird crosses into fable-like territory, with impressive results.

You’re left with the feeling that the film could have been made under another title, with no brand recognition, and be no less successful. Still, that’s Hollywood for you; at least the result emerges as a fine tribute to the unsung heroes of the movie business.

Despite the slightly uneven pacing, Wright’s sturdy performance keeps things on an even keel. The result is a fiendishly sharp poke at questionable notions of Black representation in the modern world.

While its oddball nature won’t be to all tastes, the championing of female guile over insufferable male idiocy will surely leave many with a big smile on their faces.

Blending OTT gore, devilish humor and on-the-nose satire, this is sick, twisted and hugely enjoyable.

For a while, the film seems unsure which direction to take. But a darker third act sees Paul’s benign personality begin to warp in people’s dreams, impacting his entire life. Meanwhile, echoing the work of Charlie Kaufman (Being John Malkovich in particular), Dream Scenario morphs into a wickedly funny satire on the pernicious nature of social media.

Eschewing melodrama for a more low-key register, it may not satisfy those looking for quick thrills. But this slow-burner is a stylish look at a bygone era, when all that mattered was having enough money to put petrol in your tank.

With a quality cast (which also includes Lena Olin as Winton’s wife and Jonathan Pryce as his friend), this is a finely crafted film that unfolds with great care, building towards a cathartic climax.

Admittedly, the film’s oddly paced, elliptical middle section may leave you scratching your head. But then the twisty third act pulls it all together, sending shivers down the spine.

Even in a crowded AI-movie market, Edwards’s stellar sci-fi is a terrific achievement. See it on the largest, loudest screen possible.

Director Craig Gillespie (I, Tonya) tells this pandemic-era David-and-Goliath story energetically.

As ever with Anderson, the design is meticulous. Some can find this style cloying, but it suits this glorified short perfectly, never outstaying its welcome.

Anderson and co-writer Roman Coppola have great fun with the idea, channeling 1950s B-movie vibes. Like all of Anderson’s work, it’s very affectionate, even if every camera move appears to have been calculated with the precision of a mathematical equation.

A terrific thrill ride. With Ford in fine form, Indy’s last stand is a highly satisfying blend of action, humour and emotion.


Smartly walking that line so that newcomers to this fantasy world and old hands who spent days playing the game can both enjoy, Honour Among Thieves is a satisfying romp. It’s a little formulaic in places, but on the flip side, it pulls some really weird moments out of its sack.

From hook to pay-off, this is Shyamalan doing what he does best. A clever story, thunderously acted, carried off with élan.

It’s not a film for everyone, especially if you’re craving fast-moving action. But for Poe fans, it’s a grisly treat.

Swapping out historical accuracy for crowd-pleasing scenes of blood-curdling female empowerment, The Woman King is somewhat conventional as it plots its emotional beats, but it’s power comes from its rousing performances, especially Davis, who can knock a man dead with her stare, let alone her machete.

It’s not a naive film, but rather a hopeful one. Despite a world where darkness lurks, there’s light at the end of this tunnel.

Superbly marshalled by Gray, the ensemble cast is excellent – though if you had to pick a stand-out, it’d be Hopkins, as the kindly-but-principled grandfather. He casts a huge shadow over the film, a moral compass for all to follow.

Aftersun may be small in scale, but it leaves a distinct and lasting impression. No question, it’s the best British movie this year.

The film finishes with a dedication to him – although maybe there was no need. Wakanda Forever is, itself, a fitting tribute to him.

The Banshees of Inisherin is that rare thing: a film that will have you chuckling one minute, gasping the next. A story about what matters more – your legacy or your life – McDonagh has created a work of feckin’ brilliance.

If you’re looking for a good-old fashioned romp, stylishly made and frequently hilarious, this ticks all the boxes.

Clever, violent, and wicked, with a fabulously unhinged turn from Goth, West’s period psycho tale truly does have the X Factor.

A thoroughbred origin story and rollicking good adventure in one, led by an excellent Ralph Fiennes. It’s a hoot.

True, it has a tendency to meander and lands Last Night in Soho’s Thomasin McKenzie with an underwritten role. But at its heart is a brooding Cumberbatch, offering one of the shrewdest performances of his career. The Road’s Smit-McPhee also impresses, especially as his character grows more important in the film’s final, unexpected third.

Violent, gripping, darkly funny and deeply human… everything, in other words, you’d expect from a Sopranos story.

Scott’s usual scope and scale meet unreliable narrators for a thought-provoking tale of systematic abuse. In a classy cast, Comer shines brightest.

An astounding spectacle, vast in scale and ambition. Prepare to have your breath snatched away.

Another work that could really only come from Anderson’s relentless imagination: exquisite detail, eclectic storylines, superb cast.

An exquisitely rendered period tale, The World To Come is a slow-burning but ultimately rewarding drama of the heart.

Led by a trio of Oscar winners knocking it out of the park, The Little Things is a murky must-see.

Enola Holmes falls into the ‘something for everyone’ category.

Jamie Foxx is on awards-worthy form.

Riotously told and enthusiastically performed, Hustlers is hugely entertaining. Edgy, provocative and full of ker-ching

Powered by the magnetic Aaron Taylor-Johnson, it’s rough around the edges, but still intoxicating.

Sublime and stupendous. Beautiful, bold and remarkably executed, this is Gray’s masterpiece, driven by a career-best turn from Pitt.

If your humour skews towards the sick and twisted, then this box-fresh Child’s Play will give you one almighty kick.

Led by some fine performances, this is an impressive and intense example of how to adapt Stephen King.

Rowling’s universe just got bigger and more complex, but Yates never forgets to sprinkle stardust on top.

If the film isn’t quite as inventive as the game-changing horror that was Cabin in the Woods (which boasted Joss Whedon as co-scripter), it’s infused with affection and craft.

Chazelle broadens his horizons with this superbly detailed account of the Moon landing. Gosling and especially Foy are out of this world.

True, Cooper’s film could do with a tighter edit, especially in the second act, where it has a tendency to drag. But all told, A Star is Born is a big achievement: raw, romantic, tragic, and tumultuous.

Macdonald leaves no stone unturned in this tremendous look at Houston, one that sheds real light on the singer’s psychology.

A robust follow-up, which carries the same brooding atmosphere and tension of the original. The young cast additions are also excellent.

Foster and McKenzie thoroughly convince in the hands of Granik, who moulds a subtle, assured, and often powerful tale.

Alongside Sheehan’s charms, it’s Belleville’s intoxicating visuals that truly fire the imagination. India has rarely seemed so seductive.

Confident, assured and athletic filmmaking. And with Boseman on such dignified, dynamic form, his Infinity War return can’t come soon enough.

A salty road trip tinged with sadness, sensitively handled by Linklater and his cast. Unfocused in places, but never less than diverting.

Cooper’s western may be too meditative for some, but its grit, beauty and honesty are too potent to ignore.

The cumulative effect is overwhelming. Poetically shot by a dozen DoPs, including Christopher Doyle, a powerful portrait of horror, hope and humanity emerges.

Stunning fights and creepy CG come wrapped inside a blade-sharp story, as the swordsman vows to hunt the killers of a young girl’s parents. Truly epic.

Whether or not you’re a fan of Wonder Woman, this tale of her creation is rich, evocative and enlightening.

A superb satirical swipe at the worst excesses of the social media generation.

An animated film like no other, Loving Vincent is a staggering visual achievement.

An engrossing biopic. More than just another author/creation story, Curtis’ film has things to say about celebrity, wartime and family.

Aronofsky’s maternal horror is the most out-there studio movie of the year. You won’t believe your eyes.

Crime, romance, fast cars, hot tunes... slicker than your chrome hubcaps, Baby Driver is the summer’s coolest movie.

Beautifully animated, scored and written, Barras’ little movie has a big heart. C’est fantastique.

The pacing is spot-on, the set-pieces memorable and all the characters are allowed to shine, without it ever becoming The Johnny Depp Show.