Peter Bradshaw

It’s an entertaining spectacle but the brilliant tonal balance in something like Jordan Peele’s satire Get Out leaves this looking a little exposed. Yet it responds fiercely, contemptuously to the crassness at the heart of the Trump regime and gleefully pays it back in its own coin.

It’s exciting, ingenious, funny and an unmissable Christmas treat.

The film has sympathy and charm, although I can’t exactly share all the praise that’s been lavished on it. It unfolds in an indulgent, dreamy summer haze, halfway between rapture and torpor; a murmuring indie-stonewash of good taste.

It sure as hell got under mine. Jonathan Glazer's sci-fi horror is loosely adapted, or atmospherically distilled, by Walter Campbell from the 2000 novel by Michel Faber. The result is visually stunning and deeply disturbing: very freaky, very scary, and very erotic. It also comes with a dog whistle of absurdist humour that I suspect has been inaudible for some American reviewers on the international festival circuit so far.

Tom Hanks and Meryl Streep give excellent performances, though not exactly a stretch in either case, and both with a tiny, tasty touch of cheese. Their characterisations are luxuriously upholstered, effortlessly fluent, busting with relatability.

The film punches out its warped drama with amazing gusto and Clark is lethally assured: not Saint Maud really, but Saint Joan, a spectacular horror heroine.

[A] richly enjoyable documentary.

It delivers some much-needed laughs.

There are fierce and overwhelmingly authentic performances here from first-timers in Julien Colonna’s terrific mob drama.

Mitchell brings off some sensational setpieces of fear and suspense. I can’t remember when I was last so royally freaked out in the cinema.

An absorbing and nourishing documentary.

It is a film of immense humanity and charm: the very best kind of date movie.

It’s a fascinating story but the resulting film insists on a kooky relatability that isn’t really there. A misfire.

It’s a film you have to feel your way into, like a ruined church or a haunted house.

Roman Polanski's sensational 1962 debut...is an example of how a superlative director makes a film from the simplest materials.

Memories of Murder is a great satire of official laxity and arrogance, and its final scene is very chilling.

Jennifer Lopez is radioactively humourless and Owen Wilson is robotically bland in this stinker.

The strangeness of this story will live in your bloodstream like a virus.

It is a passionate drama of fear and rage.

LA film-maker Anna Biller achieves an ecstasy of artificiality in this amazing retro fantasy horror, delivered with absolute conviction.

The sheer sustained silliness of this spoof silent comedy is what finally compels admiration. It’s like chancing across a bunch of eerily gifted kids by the roadside putting on a bizarrely accomplished, very extended series of magic tricks and circus acrobatic stunts.

Oprah Winfrey, Angela Davis and Morrison herself explore her work and legacy in this fascinating documentary completed shortly before the Nobel-winning author’s death.

Perhaps it is inevitably going to be of limited interest, and as intelligent as the two performances are, neither Whishaw nor Hall is tested very much. But it is an intriguing experiment in recovering the moment-by-moment reality of a lost time and place.

The Animal Kingdom seems squeamish about going for the jugular in the way a proper genre movie would.

Machoian, who is also the editor, composes each scene with studied care and Oscar Ignacio Jiménez’s clear, crisp cinematography and framing is beautifully achieved. This is a compelling portrait of a toxic marriage.

Trapero creates a cinematic eco-system that moment by moment, scene by subtle scene, completely enfolds you.

Eisenstein's film still has a hypnotic urgency.

Pro-choice activists won with a campaign that declined to go negative, and, indeed, may have benefited from the attraction of its exuberant “Yes” motif. Now they face decades of vigilance to defend their gains.