Oliver Lyttelton

Strickland' command of tone, aided by Oscar-winning "Slumdog Millionaire" editor Chris Dickens and, of course, sonic wizards Joakim Sundstrom and Steve Haywood, is masterful, jarring and discombobulating the viewer as Gilderoy's mind unravels.

Mr Turner, though not without flaws, is something of a twilight culmination of Leigh's work, and very much one in which the filmmaker turns his lens on himself, as is so often the case when directors make movies about artists.

It's a remarkably gorgeous piece of work.

Some might dismiss the film as minor Wheatley — made in just a couple of weeks, on a budget likely smaller than even many of Wheatley’s inexpensive earlier pictures. But there’s a lot going on in it, from the genuinely profound portrait of how families can bring out the most toxic sides of their members when they’re together, to a light sprinkling of state-of-the-nation, post-Brexit commentary.

This really is Audiard operating at the top of his game, mostly dropping the contrivances of "Rust & Bone" for incisive character studies and a deeply humane, almost warm, worldview.

Gunn’s careful to keep the focus on the central five, but certainly proves himself capable of the bigger canvas. The film really pops visually, with an admirably bright color palette (DP Ben Davis doing excellent work), and though there are occasionally some geography issues, the action is mostly satisfying.

It’s not exactly doing anything new, but it’s a muscular and textured piece of work that shifts assuredly through tones and genre, features a rich and rewarding performance from Cage, and another excellent turn from his young co-star Tye Sheridan.

It's certainly a crowd-pleaser...and something close to a triumph, if not an unqualified one.

As ever, Moretti creates a rich and incredibly detailed world, one where every character has a life that stretches far beyond their on-screen scenes.

Best of all is the bad guy. Javier Bardem was always a tantalizing choice to play a Bond villain, and his Silva is a terrific creation, and certainly the most memorable villain in the series in decades.

For all its abrasiveness, the film is also capable of real tenderness.

Wiseman's film is the most nourishing example of cinematic brain food you'll have all year.

It makes a deeply human experience, and one that’s frequently both educational (the film’s main purpose: a copy will be given to every school in Britain) and moving. In fact, it’s not so much individual faces or interviews that leave the most lasting impression so much as it’s the cumulative impact of all the faces.

Journey’s End is about as good an adaptation as you can imagine of the material, and a film with compassion and humanity that goes far beyond its perhaps uncompromisingly prestige-y exterior.

Though it has a few elements of its construction that might be questionable, it's mostly a powerful, thoughtful, and visually striking picture.

Mostly, the film's very funny, Sono displaying a sense of how to frame and time a visual gag that feels positively Zucker-ish. But there are real stakes, and bursts of real feeling too.

For the most part, the breadth of its examination of the subject is welcome, and by the end, it ends up feeling like as definitive a film on comedy and the Holocaust as you could ever want.

Most importantly of all: it’s funny. Really, really funny, consistently and constantly.

For most of the run-time, Welcome To The Punch is thrillingly cinematic, beautifully made, smarter and funnier than you'd expect, and a phenomenal showcase for Creevy and his team.

It’s dizzying stuff, and virtually everything that Gomes tries his hand to works: it’s a film that’s moving, sad, exciting, fiery, and funny.

22 Jump Street might not be quite as good as "21 Jump Street," but it's remarkably close, to the point where subsequent viewings could see it elevated above its predecessor.

A very impressive film, one that can only increase the esteem in which both Knight and Hardy are held.

Never, for one second, is Vikander anything less than entirely truthful.

The film is a sickly enjoyable wallow in the scandalous, fucked-up side of showbusiness, and a real return to form for the filmmaker.

Pulling off an ambitious mash-up of genres like Good Manners is no easy feat — that Dutra and Rojas pull it off so successfully suggests we’ll be hearing a lot more from them down the road.

Both fascinatingly theatrical and thrillingly cinematic, a picture that's lingered on our minds more than we expected.

The book is so counter to our contemporary narrative demands that liberties would need to be taken for a movie version, and for the most part Osborne takes the right liberties, ending up with an extremely beautiful, very charming, thematically rich take that’s sure to be one of the better animated movies this year.

It won't change the face of cinema history, and it won't win any awards (it's too downright dirty for that), but it's furiously entertaining, and a very strong piece of drama from a director who hasn't much luck in the last thirty-odd years.