James Mottram

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.