Jamie Graham

“YOU RIPPED MY FAVOURITE SHIRT!” Cage loses it in a bloody, druggy, superbly crafted revenge thriller. Astonishing.

A World Cinema Dramatic prize winner at Sundance, Hogg’s best film yet is an instant British classic.

Strikingly original, brilliantly acted, this serio-comic masterpiece constantly swerves expectations.

The stalk ‘n’ slash sequences, though decent, can’t match Craven’s mastery of mood and mechanics, but the new guys understand that Scream movies are sick as well as slick.

The breakneck pace leaves little room for meaningful character development... But there’s imagination, spectacle and thrills to spare.

Awkwafina and Zhao shine in a deft comedy-drama with a higher US per-screen take than Avengers: Endgame.

Good enough to survive evoking "Bicycle Thieves" and "The 400 Blows," this small story contains universal truths, told with irresistible force.

The best horror remakes are not afraid to push the source material in new directions – exhibit a) The Thing; exhibit b) The Fly – and while Watkins’ movie is nowhere near the level of those masterpieces (few are), it’s shrewd, engrossing and pleasingly nasty.

Not in the Bridesmaids league but a very funny female-centric comedy with big laughs and spot-on attitudes.

2012 is the year of the Muppet, and we don't mean Ashton Kutcher. After Jason Segel's fur-filled revival, rejoice in a documentary to make you laugh and, yes, cry.

Director Garth Davis’ debut is a touch over-stretched but impossible to resist – a classy crowd-pleaser with an especially magical first half.

Not quite as good as Infinity War, but wears its three-hour running time with ease and rewards the fans. Part of the journey is the end, and this goes out with a bang that’ll make you whimper.

Charlie Kaufman shows us what it is to be human. Plus the best use of Cyndi Lauper’s ‘Girls Just Want To Have Fun’ in the movies.

No small achievement. Alexander Payne re-confirms his position as one of US cinema’s premier filmmakers.

Tries to fit in so much it threatens to tear apart at the seams, but ultimately rises to the impossible occasion.

Robert Eggers’ measured, meticulous debut builds into one of the most genuinely scary horror movies of recent years.

Imagine all of D-Fens’ fury in Falling Down squeezed into one short, then times it by six. A gloriously crazed compendium that fizzes with OMG and OTT moments.

Ambiguity is The Falling’s currency, and it’s all the richer for it.

We’ve all been waiting for Gadot, and it was worth it. A much-needed blockbuster full of humour, spectacle and optimism.

While it hardly stays with you like The Invisible Man, Renfield is a fun Friday night at the movies.

Not up there with key US influences "Annie Hall," "When Harry Met Sally" and "Jerry Maguire," but a romcom Brits can be proud of. Make a date of it.

Scott operates on a suitably Biblical scale and grounds the spectacle with rock-solid turns from Bale and Edgerton.

Performances pop as Earth gets the chop, with US politics, big business and social media going up in flames.

It’s not iconic sci-fi to match Alien or Blade Runner but it is a topical, supremely crafted, intelligent, heartfelt spectacle with gallows humour to die for. Strap yourself in.

The one-liners are in evidence but this is more abrasive than you might expect. Blends rigour and vigour to join "Vicky Cristina Barcelona" and "Midnight In Paris" as the best of late-period Woody.

A low-budget, highconcept WTF thriller that might have been conceived by Rod Serling in the heyday of his Twilight Zone series. Spread the word.

Wan has fashioned a nitro-fuelled thrill-ride that forms a fitting tribute to its blue-eyed bro.

A rigorously detailed telling of an important story that never loses sight of the human devastation. Terrific turns from the ensemble cast.