James Mottram

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.

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.

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.

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.

Say what you like about director Justin Lin’s lack of subtlety (or understanding of the laws of physics), but he knows how to kick-start an action movie.

With recriminations turning to compassion, the film sings when these French titans share the screen, Deneuve’s loose cannon a mixture of hedonism and terror. If only the other scenes were as compelling.

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

Uplifting it isn’t, but there’s poetry to be found in these desperate lives, and Riccobono never judges or sensationalises his subjects. Sensitive, if slightly unfocused.

It would be unfair to claim this closing film concludes on a whimper. But neither is it quite the grand finale the title would have us believe. More like a pleasant stroll with characters you know and love.

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

Both revealing and good-natured, its a very inviting exploration of one of the 20th Centurys major artists.

All of this is watchable enough, but Strange World does rather lack dynamism in the final third, especially after such a hallucinatory set-up. As the story heads towards resolution, it becomes more likely to elicit shrugs not shrieks.

With A+ acting, a solid script and sensitive handling, there’s enough here to move even the hardest of souls.

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

Johnson, looking radically different under a cropped black wig, takes this opportunity and wrestles with it. Not since his work for Michael Bay in Pain & Gain has he done anything this out of his comfort zone.

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.

The final act loses its way, but in the main West wraps his slasher trilogy in satisfying style, putting a blood-soaked, Hollywood-branded bow on his eras-spanning saga.

Not subtle (and might put you off getting hitched), but hits its mark with baseball-bat force.

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

Meandering like a jazz riff, Miles Ahead is a curio that doesn't quite come off. But credit Cheadle, both in front and behind camera, for refusing to play the easy notes.

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.

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.

The home stretch is drenched in sticky-sweet sentiment, but Murray’s fans will rejoice at the chance to see their idol in full-on grouch mode.

A valiant effort that never quite scales the dizzy emotional heights required, running out of oxygen in the final act. Visually, though, it’s stunning.

It’s entertaining to a point. ... But whether the filmmakers truly get under Trump’s skin is debatable. Do we learn much new about him? Perhaps not, but it’s an absorbing journey all the same.

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.

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.

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