James Mottram

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.

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.

A stunning space saga that takes off for new technical frontiers without leaving its humanity behind.

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

It’s ambitious, artful and unique. As for Bowie… what a star, man.

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

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.

But it’s the precision-tooled plot fashioned by Wilder and I.A.L. Diamond that holds it together, creating the perfect farcical playground. Brilliant performances, wondrous comic timing and the greatest pay-off line ever written: this one’s still red hot.

Utterly gripping. Aided by two punchy lead turns, an Oscar-worthy script and stunning in-car footage, Howard’s race film delivers top-gear drama. A piston- and heart-pumping triumph.

Detractors may carp that Cronenberg is showing us nothing new, but Maps is so flawless in its execution, it vividly refreshes the subject matter. Never overcooking the setting, it’s a story right in his wheelhouse; a very human look at characters barely clinging to their humanity.

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

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

Astounding. With a director, DoP and cast at the top of their game, The Revenant is a filmmaking triumph.

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.

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

The best sci-fi movie since "Moon." The best time-travel yarn since "12 Monkeys." And one of the best films of 2012. You'll immediately want to see it again.

Jamie Foxx is on awards-worthy form.

Powerful drama, driven by a powerhouse performance, Selma is this year’s Lincoln. For Oyelowo and DuVernay, it’s a career changer.

Smartly executed, endlessly quotable and machine-gun quick, this is one of the funniest films of 2013. Accessible for Partridge novices and hugely rewarding for the faithful.

Tense and thought-provoking in equal measure, this is first-rate – a modern-day Dr. Strangelove played out on video screens.

Loud, intense, violent, relentless, Fury doesn’t stop until the credits roll, thanks to Ayer’s cracking direction and a committed cast. The best WW2 movie in some time.

While the film arguably lacks the rage-fuelled intensity of Joker, this is still a brooding tale that works hard to reinvent the comic book movie.

Beautiful and bold, rebellious and riotous, its sexual frankness puts E.L. James in the shade.

Injecting fun and fairground thrills back into the spy movie, Kingsman is a blast. Firth is sensational, Jackson rules and newcomer Egerton surprises. Mission accomplished for Matthew Vaughn.

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.

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

Kneel before shannon. His primal, powerhouse turn drives this criminal biopic. the film won’t win any prizes for originality, but its star proves he’s a real man of steel.

MacKay is marvellous, delivering lines with a Lear-like intensity, in what becomes a fascinating meditation on myth and madness.

Denis’ sparse story delivers details on a need-to-know basis, right up to the finale. Strong on atmos, thanks to Tindersticks’ score, it’ll chill you to the core.

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.

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.


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.

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

The finale, as Ai's Twitter tirades lead to a serious human-rights breach, will make your blood boil.

Even if it lacks a stand-out turn it's still a grippingly authentic slice of life.

If the Collette/Carell reunion suggests Little Miss Sunshine, it’s not quite that crowd-pleasing. But, crafted with much TLC and sympathy, it’s perfectly tailored to the tongue-tied teen in us all.

Capturing the essence of the source novel, this is a superior adult drama. Harrowing, heartbreaking but utterly compelling.

Loving and lavish, Kenneth Branagh’s take will please traditionalists more than revisionists, but there’s enough here to enchant both young and old.

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.

An impressive directorial debut – and acting turn – from Parker that deserves to be seen, despite the PR firestorm.

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.

Should be called ‘The Funny Guys’. The Crowe/Gosling partnership drives Black’s lurid comedy at top speed. Enormously entertaining.

Smart, literate and romantic, it's this year's (500) Days Of Summer, but with a few more shadows. Like Calvin, you'll find it hard to resist Ms Sparks.

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.

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.

A finely etched character study, with Cumberbatch on towering form. Set coordinates for the Oscars.

Jurassic World is a fiendishly crafted blockbuster: old-fashioned thrills, heroism and romance, locked inside a smart, self-aware shell.

Dolan never flinches across this bold, brassy piece; it’s confidently directed, stylishly shot, passionately acted and evocatively scored.

Maverick director James Toback (Fingers) and Alec Baldwin front this frequently hilarious insider doc.

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

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

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

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

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

Funny, foul-mouthed and frighteningly on-the-money, Top Five is relentlessly amusing even while it’s super-indulgent and selfabsorbed. Rock on.

With McAvoy acting as if his life depends on it, Filth is the Irvine Welsh film we’ve been waiting years for. Tastier than a deep-fried Mars Bar.

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

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.

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

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.

Loud, ripe, violent, bloody and blackly funny, Free Fire cocks its gun right in your face. See it – and bring earplugs.

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.

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

Amalric jigsaws the pieces, conjuring a taut, tense air of Chabrol as he does.

Not as groundbreaking as the original, nor as expansive as all the best sequels are. But with some excellent cast additions, and Miller on murky form, this still sizzles to the touch.

The result? An accomplished, bittersweet drama that's more bitter than sweet.

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.

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.

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

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

It’s a thoroughly enjoyable reunion – like being reacquainted with old friends.

This is a fine, fitting finale for the movies’ greatest mutant.

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

Full of ear-pleasing lines and obscure R&B tunes, it’s colourful, casual and full of flavour. An unexpected treat.

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.

Seydoux again offers a frank turn, while Rahim and Ménochet add real class.

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.

Loud, lewd, inventive and outrageous, Deadpool is a delight. All credit to Reynolds and co. for having the steel balls to go this far.

A rich, rewarding crime film, shot with real skill. Riz Ahmed confirms his status as one of the most exciting Brit actors of his generation.

Bleak but beautiful, this terrific chamber drama confirms Ceylan as one of world cinema’s leading lights. The bum-numbing length may intimidate, but there’s more than enough quality to offset it.

On form as both director and actor, Jones crafts a mournful but moving hymn to the western. The feminist subtext, meanwhile, brings a fresh slant to the old genre.

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

It’s a smart gen-gap tale with loveable characters.

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

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

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

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

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

If not quite on a par with PTA’s best, this is still a richly intoxicating brew of humour, violence and melancholy.

Boasting a fantastic turn from Ethan Hawke, this is bold indie filmmaking. Budreau and his stars deserve a fanfare.

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

The resulting drama offers a great showcase for Dyrholm, whose slide towards instability is the film’s core.

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.

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

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.

A superior thriller, with Cruise and McQuarrie slotting together like a bullet in a clip. Like Reacher on the firing range, the aim isn't always true – but the misses are fractional.

Sinners really comes to life via the musical numbers.

Not the deepest western you’ll ever see, but it sure knows how to pack a punch (and fire off a round). Fans of the genre will get their kicks.