Jamie Graham

An intergenerational family drama, a search for self, and a big, bouncy comedy sure to entertain.

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

Furious, relevant, and funny as hell.

I don’t want people to dislike me. I’m indifferent to if they dislike me,” says Jobs. Well, this won’t be for everyone but it dazzles. Markedly better than Ashton Kutcher’s Jobs…

OK, so the ‘Nam firefights are more routine than we’d expect from Lee and the treasure hunt element almost feels it belongs to a different film, but this is a frequently fierce, fascinating picture. The world needs it right now.

Certain Women won’t challenge Transformers 5 at the box office, but it’s a deeply affecting triumph.

One of the princes of arthouse cinema, Miguel Gomes here uses his status to push form and stretch boundaries. Very long but very much worth it.

Volumes one and two are especially captivating, as Gomes himself appears onscreen to tell of how he charged a team of researchers with scouring Portugal in search of tales.

Is Furiosa as magnificent as Fury Road? No, though not because it’s the first Mad Max movie without Max, whose absence barely registers. At 140 minutes minus credits, it’s a touch unwieldy, while its lament for the inevitability of war and the emptiness of revenge feels hollow given the giddy excitement it stirs from just these things. But what can’t be disputed is that Miller, the Mad genius, has done it again, once more refusing to simply repeat himself and instead choosing to kick up dust rather than gather it as he forges a new path through the Wasteland in often spectacular fashion.

It’s the filmic equivalent of a Penn and Teller magic trick: amaze, show the mechanics, amaze again.

This franchise is never happy to cruise - and M:I 7 goes all-out. It judders at times, but when it delivers, it delivers big time.

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.

Be sure to make family time for Bird’s flawed but dazzling sequel. “Superheroes suck,” says Violet. No, they most certainly don’t.

Star Wars: The Force Awakens is not perfect nor could it ever be. But for every niggle...there are 10 things that are exactly right, and it says much that no one will leave disappointed despite going in with hysterical levels of expectation.

Who let the dogs out? This is Homeward Bound: The Incredibly Harrowing Journey, with the feelgood payoff arriving after many feel-shit sequences. Well worth it, though.

Boasting great music cues, vivid 35mm lensing (by, of all people, Avatar actor Giovanni Ribisi, who here makes his classy debut as director of photography), and engaging gender politics that establish Mollner’s interest in more than just the thrill of the chase, Strange Darling is a slick game of cat and mouse.

Strickland’s nuanced, atmospheric, ambiguous movie transcends genre.

So damn charming it makes your heart twinkle like Redford's eyes.

The great thing about Arabian Nights is that if one story isn't to your liking, another pops up, so the decision to give this tale a feature-length running time is perplexing. But quibbles aside, this is daring, magical filmmaking.

After 30 years of gestation, Mank emerges one of the great films on the machinations of Hollywood

Doesn’t have the heft of Zodiac or the verve of Se7en but Gone Girl is a masterful adaptation and a superior crime-thriller. As for Fincher changing the ending… See for yourself.

Dear everyone – stop whatever you’re doing and go see Dear White People. One of the freshest, funniest and most vital films of the year.

Scorsese blends his twin religions of Catholicism and cinema to considerable effect.

Much mellowing and life-learning ensues in a plodding dramedy, though the glint in MacLaine’s eyes makes it almost worth your while. Almost.

No cynicism, just on-point sentiment and scintillating set-pieces. Top Gun: Maverick scores a direct hit on its twin targets of nostalgia and adrenaline.

It’s a triumph of design, offering a creepy twist on such classic monsters as living dolls, the mummy and, in particular, the golem of Jewish folklore, a large clay figure that can be brought to life to do its creator’s bidding...

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 couple of scenes are perhaps too on the nose, but the naturalistic performances are faultless, the righteous anger controlled, and the bleakness dotted with moments of humour and small acts of kindness. I, Daniel Blake is, first and foremost, a deeply humanistic film.