Kim Newman

A truly great documentary.

Not all the plot developments ring true, but moments carry a real chill - even in a coma, McKellen can terrify a fellow patient almost to death - and it has more than enough thought-provoking material to command your interest.

Darker and more subtly complex than you'd expect from a 1950s crime caper.

It has few fireworks, but still sticks in the mind, and is a definite upgrade from Digimon: The Movie for director Mamoru Hosoda.

Punchy and confronting, with another terrific turn from Seimetz.

Lovingly designed in black and white, and played with a nice sense of irony, this offers the not unappealing spectacle of gorgeous, funny, clever women making fools of hard-boiled Mafia guys.

Wonderfully acted by a large cast of star bit-players who were obviously just keen on being in this particular movie - and with Edwards amply making up for his criminal appearances in Revenge of the Nerds and Top Gun.

This remains a compelling Hitchcock thriller but it's Tippi Hedron's remarkable central performance which steals the show.

It has a nice line in wry chatter and a pleasantly old-fashioned ‘lost posse’ plot with engaging, odd characters striving against the wilderness while swapping cynical frontier wisdom.

This pleasant 1940 comedy-drama hit on the successful double-act teaming of crooner Bing Crosby and patter comic Bob Hope, throwing in sarong-clad Dorothy Lamour for glamour and working through a trivial plot about fleeing responsibility for a South Seas idyll.

Bruno Ganz is excellent as the victim deceived into committing murder.

So many films address the premise because it’s always thought-provoking and affecting. This also has a bleached, depopulated, effectively catastrophe-struck feel and an intriguing adult-and-child road movie storyline.

William Eubank continues to work his particular mind-stretching mix of acute character interplay and cosmic conceptual breakthrough.

Ferrera successfully breathes life into an old franchise, with only a slight small change in the narrative but making the aliens significantly more frightening. Anwar is equally intuitive and sassy enough to make her a likeable and believable heroine and although the effects aren't up to much, there are still plenty of scary moments.

It’s an entertaining, engaging, colourful picture in its own right with decently-handled action-adventure set-pieces and sly comedy, detouring from the expected thrills and spills into body-hopping comedy drama.

This is a harsh, unsentimental science fiction film, though the performances suggest small surviving flames of empathy and yearning amid the tough, practical attitudes.

Though it rings ever so slightly hollow as cool shades into callousness, this exercise in sexy suspense and brain-scrambling mystery is a dazzling, absorbing entertainment which shows off Danny Boyle’s mastery of complex storytelling and black, black humour.

Some will find this impenetrable and irritating, but audiences willing to tune into Hosking’s off-kilter style will be moved by the ridiculous love stories and relish the hilarious eccentricity.

Even if this is less satisfying overall than Skyfall, there are sequences that rank with Bond’s best.

It stands as a hugely enjoyable, occasionally chilling, musical.

Though a little too languid at two hours, The Love Witch is appropriately seductive.

A rough, exhausting, exhilarating action picture with a payoff which would have delighted Sam Fuller or Howard Hawks. The Stath - an actual Olympian, remember - is on top form.

Strange, stylish and intelligent, this is a rare anime film that delivers on its Eastern promise.

Alternating gritty realism and red‑hued fantasy, this is one of those '70s films that wears well, universal in its heart while picking out specifics which are exactly of their time.

A lurid gothic gangster psychodrama from Roger Corman, this is Shelley Winters’ finest hour-and-a-half, cast as Arizona Clark ‘Ma’ Barker, a role it would be impossible to overplay.

Improv comedy at its best: subtle, hilarious, excruciating and affecting in equal measure.

More startling than an unexpected punch in the noggin, Na Hong-Jin's unusual thriller could have the highest knife count this side of Ramsay's Kitchen Nightmares. A violent thrill-ride to a dark new corner of Asian cinema.

A rich movie, seductive when abandoning people for falling snow or bleak nature and funny, painful and unflinching when it gets physical.