Jamie Graham

Not quite magnificent but certainly Fuqua’s best since "Training Day" and a rare remake that actually delivers. Yee-haw!

As in director Alexandre Aja’s Horns, the action alternates reality/fantasy to middling effect.

Informed, balanced and deeply humane.

Starts off flavourful, turns rather bland. This Injustice League jaunt proves that DC is still a long way behind Marvel for on-screen action.

The Violators suffers from inevitable comparisons to Andrea Arnold’s Fish Tank, but is anchored by McQueen’s terrific performance in her feature debut.

A shallow, slow-burn horror that takes an age to get to the strong meat but looks good doing it.

This might have been titled ‘Independence Day: Submergence’. It’s certainly hard not to drown in the sea of CGI, with the exponential increase of pixels being to Independence Day what the Star Wars prequels were to the original trilogy.

Everybody in Everybody smashes it out the park, playing dreamers who exhibit a voracious lust for life as they quest for identity. Well, these actors might have found theirs – the next generation of leading men.

Sure, the core tale of personal redemption is standard stuff but Zak Hilditch’s breathless, batshit-crazy thriller tears through orgies, mass suicides and murderous rampages to conclude on a scene as moving and terrifying as the climax of Melancholia. Hold on tight.

With Streep on grandstanding form and Grant given a rare chance to show his range, this is an intelligent dramedy that moves and amuses.

This is Malick turning graceful, ever-decreasing circles, though there’s a thrill to seeing him traverse hotel rooms and studio lots, nightclubs and strip clubs, after a career wrapped up in the period and pastoral.

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.

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

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.

This is the anti-Heat: no sheen, no shimmer, no obsessing over highly grandiose themes and precise compositions; just grime and desperation.

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.

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

Not without glitches but an energetic study of one woman’s refusal to settle for anything less than her share of the American Dream.

The Hateful Eight brands the western with a big ‘QT’. All you’d expect from a Tarantino movie and more besides. Saddle up.

Defying all boundaries, Martyrs relentlessly dishes the visceral pain and emerges as a work of not just ceaseless terror but also gravity and beauty.

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.

Fun enough, but not the lightning-bolt-to-the-heart update we hoped for. For a far superior update of the Frankenstein myth, read Stephen King’s Revival.

Jarrold struggles to sweep things along with quite enough vigour – budget constraints crowd the edge of the frame – but Gadon is intoxicating as Elizabeth.

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…

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.

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.

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