Kim Newman

It feels a little like ‘a very special episode of The Walking Dead’ and might be a tad low-key for its field, but Schwarzenegger and Breslin are good and the payoff is affecting.

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

A riotous, rough-hewn and rousing punk reinvention of ’70s-style grindhouse exploitation-with-a-brain-cinema.

Great performances lifts this movie above its stilted script and production.

A surprisingly yet successfully restrained lesson in how to haunt a house.

A chilling, intense character study.

This gripping character study becomes more agonisingly suspenseful as it gets closer to an answer that can't be confirmed.

Bigger action, more amazing deserted (and devastated) London sequences and biting contemporary relevance, if a touch less heart than the original.

Like it or not, Six has contributed something fresh and demented to pop culture.

Brilliantly terrible or terribly terrible depending on your viewpoint.

The fantastic action scenes featuring Chan in his pomp are slightly let down by comic overkill.

Full of character-based suspense, it’s dramatic and ramped-up with tension. Existing between a Sundance and a FrightFest film, this is a challenging, horribly plausible future vision.

If you thought the sweetness of The Straight Story was unprecedented in Lynch’s work, look again at this earlier true-life tale of odd, everyday heroism.

Among the most purely entertaining films of the year, which cuts its laughter with a dose of Celtic melancholy. It still delivers cop/action requirements - shoot-outs, revenges, daring deeds - and chances are, we'll be quoting lines from this forever.

A lean, tough, thoughtful thriller with depth, Blue Ruin establishes Jeremy Saulnier as a promising indie auteur and Macon Blair as an unusual leading man.

A highly effective merging of star power (both in front and behind the camera) and finely honed horror sensibilities.

The beginning of the super-successful franchise, this remains one of the most satisfying Bond films.

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 much-maligned and misunderstood classic, this is one of Kubrick's finest movies.

You have to be in the right mood for it, but this is one of the season’s finest films.

Creepy Price in all his gnarled splendour.

Thoroughly charming, and thoroughly deserving of its cult status.

Sugar Hill wants to be very different to the other Boyz in the Hood style films by using a second rate Spike Lee approach but sadly it doesn't make the film any better, only highlighting its failures. With the market heavily saturated with these 'hood' gangster films, this fails to stand out.

While not to everyone's tastes, this is without doubt one of the most exhilarating films of 1994.

On the strength of only two films, McDonagh and Gleeson are a director/star team on a par with Ford/Wayne, Fellini/Mastroianni or Scorsese/De Niro. Calvary is gripping, moving, funny and troubling, down to an uncompromising yet uncynical finish.

Gorgeous and seductive, if pitched at Almodóvar fans and perhaps a touch long. Those drawn by Cruz’s divadom will wonder why it takes so long to get to her -- though she is wholly dazzling when it does.

Fascinating history, very good movie -- but demanding, and its lack of easy answers will frustrate some. Lessons about 21st century terrorism are implicit, but not overly stressed.

It sets some sort of record for use of the expressions "nigga" and "muthafucka".