Peter Bradshaw

Support the Girls is a shrewdly observed, day-in-the-life-style portrait of a woman under pressure. It’s way too early to be thinking about awards season, but Regina Hall could be in line for some silverware.

Shaunak Sen’s documentary is a complex, thoughtful, quietly beautiful film about the ecosystem and human community.

This gripping thriller, part of the BFI's Bogarde retrospective, daringly smashed through 1961's homosexual taboos, but has weathered best as a study of blackmail and paranoia.

It is a deeply intelligent, humane drama.

There is something visionary in this film.

There is charm and delicacy here and Magimel and Binoche perform impeccably, though I wasn’t entirely sure they go together as the ingredients of a love story.

Mudbound is absorbing: the language, performance and direction all have real sinew.

There is such sensitivity and intelligence in the performances from Thompson and Negga and the cinematography from Eduard Grau and production design by Nora Mendis are both ravishing. It’s a very stylish piece of work from Hall.

The Beasts is a strange film in many ways, difficult to pin down tonally or generically, but it leaves a trail of unease in the mind.

Weird and wonderful, rich and strange – barking mad, in fact. It is wayward, kaleidoscopic, black comic and bizarre; there is in it a batsqueak of genius, dishevelment and derangement; it is captivating and compelling.

This debut feature from Yorkshire-born actor and first-time director Francis Lee is tough, sensual, unsentimental, with excellent lead performances from Josh O’Connor and Alec Secareanu.

It is a very disturbing parable of the insidious micro-processes of tyranny.

It is an intricate and often brilliant drama, with restrained and intelligent performances; there is an elegantly patterned mosaic of detail, unexpected plot turns, suspenseful twists and revelations.

It is a real love story, and the movie amusingly and touchingly takes us through the final stages and out the other side.

Steven Soderbergh’s downbeat, affectless tongue-in-cheek spy comedy (“caper” isn’t quite right) is in this new mode, though taking itself to the edge of self-satire, with a few 007 refugees in the cast, efficiently scripted by David Koepp.

I would have liked (in a spirit of devil’s advocacy) to hear from an economist about the measurable benefits or otherwise of this brutal approach, and perhaps to ponder the climbing global population. These reservations hardly diminish the film’s force.

It is brilliant and audacious, with one of the most extraordinary final sequences in modern cinema, and all in a manner which Hollywood in the succeeding decade would learn to call "high concept".

At 37 minutes long, its brevity perhaps exposes or even creates a flimsiness in his signature style that in a longer film would have more space to breathe and parade itself.

This is visionary cinema on an unashamedly huge scale: cinema that's thinking big. Malick makes an awful lot of other film-makers look timid and negligible by comparison.

It’s a gorgeously and grippingly made picture and Tang Wei is magnificent.

The Fabelmans left me with a floating feeling of happiness.

This is a movie of virtuoso nihilism and scorn.

It’s an outstanding documentary.

It is wonderfully acted with unaffected naturalism by its cast of professionals and newcomers and plays an extravagant, almost shameless pizzicato on the audience’s heartstrings.

Like Solaris, his earlier meditation on the future, Tarkovsky's 1979 film Stalker is mysterious and compelling though in my view not, like Andrei Rublev, in the realms of greatness: a vast prose-poem on celluloid whose forms and ideas were to be borrowed by moviemakers like Lynch and Spielberg.

Beanpole is moving, disturbing, overwhelming.

The subtlety and dignity of Fernanda Torres’s Oscar-nominated performance in Walter Salles’s new film have been rightly praised.

I’m not sure this is my favourite Skolimowski film, but it is engaging in many ways: beautifully photographed, sentimental and surreal in equal measure; and also stubborn – as stubborn as its hero – in its symbolism and stark pessimism.