Jamie Graham

Peele is three for three. You’ll spill out into the night jawing with your friends and gazing at the stars.

Malcolm & Marie is a film of the moment, powered by Covid, BLM and #MeToo – but good enough to stand the test of time.

It’s a delight to watch Amy Adams do Jekyll and Hyde as she incrementally transforms from cheery Giselle to noxious stepmother, while Maya Rudolph is a whole heap of fun as the ultimate control-freak soccer mom who - of course - becomes queen when Monroeville turns into “one big fantasia”.

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.

"Dunkirk" has a rival in the intensity stakes. Expect Bigelow’s deep-cutting drama to be part of the conversation come awards season.

An emotionally tough watch – though an exhilarating one tahnks to Aaron Sorkin's reliably taught script and direction

Taken as a throwback to the thrillers of Carpenter and Spielberg’s cinema of wonder, it is special indeed. Not least because it honours its influences and yet remains, first and foremost, a Jeff Nichols film.

As unnerving as it is surprising.

Most alluring are the crumbling neon cityscapes, real world/cyberspace fusion and the musings on identity.

Gyllenhaal is sensational headlining a pitch-black satire with its finger on the pulse.

Isabella Rossellini’s singer Dorothy is a heart-rending open wound, Dennis Hopper’s Frank Booth one of cinema’s great nutjobs, and Lynch’s control a thing of nightmarish beauty.

Mission: Impossible – Rogue Nation might have its hi-tech gadgets, but it's a pleasingly old-fashioned affair.

Wiig and Hader give winning, finely nuanced turns in a film that deftly mixes light and dark. Also features the best use of ‘Nothing’s Gonna Stop Us Now’ since Mannequin…

Jackass Forever has laughs and thrills and will goose your nostalgia, but it’s like a modern-day Rolling Stones gig – the hits are replayed but satisfaction is elusive.

Hilariously infectious and full of hope, Spider-Man’s return to Marvel couldn’t be more welcome.

It’s flawed, yes – Frances is frustratingly underwritten, her psychological fault lines spoken of but never shown – but it’s also swaggeringly cinematic. And it has Tom Hardy vs Tom Hardy.

A super-entertaining, super-slick love/hate letter to horror with a final 20 minutes that's stunningly bonkers.

Hail, Caesar! is a love letter inked in arsenic, at once celebrating the artistry of Hollywood and cringing at the crass commercialism and rampant phoniness of it all.

Tiny Furniture announces Dunham as a talent to watch.

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

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.

Something of a companion piece to the superior Finding Nemo, this is one of Pixar’s weaker efforts but still worth catching.

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

As a portrait of a privileged, narcissistic sex addict, its magnificence and messiness are intertwined, while Gérard Depardieu’s (literally) naked performance offers a gurning, grunting bedfellow to Keitel’s Bad Lieutenant and Brando’s butterfat Last Tango In Paris protagonist.

Bigger and better – 22 Jump Street joins the exclusive list of sequels that out-gun their originals. We’re already knocking at the door of no.23.

The animation is spellbinding as Onward builds into a galloping adventure full of amusement, excitement and enchantment.

Informed, balanced and deeply humane.