Peter Bradshaw

It is all entertainingly absurd and yet the pure conviction and deadpan focus that Fassbender and Fincher bring to this ballet of anonymous professionalism makes it very enjoyable. And there are moments when the veneer of realism is disquieting.

This is an utterly absorbing and outstandingly acted film.

What is still amazing is how brief an instant it was; in just a few years, the Beatles and their music would evolve into something completely different. A few years after that, they would break up, while still only in their 20s. An amazing split-second of cultural history.

It’s a glorious celebratory montage of archive material, live performance footage, Bowie’s own experimental video art and paintings, movie and stage work and interviews with various normcore TV personalities with whom Bowie is unfailingly polite, open and charming.

It is a brilliant film, but there is nothing sweet about it.

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

This is a film that carries you along and there is an added savour in seeing those cherubic faces which have since settled into middle age.

Pure evil is all around in this unnervingly subtle, sophisticated movie; an eerie oppression in the air.

Before Midnight is intimate and intelligent, and also undemanding in the best possible way,

It’s a compelling, visually exquisite piece of work.

There is such simplicity and clarity here, an honest apportioning of dignity and intelligence to everyone on screen: every scene and every character portrait is unforced and unembellished. The straightforward assertion of hope through giving help and asking for help is very powerful.

This film succeeds, not because it solves the mystery, but because it deepens it still further. It is contrived and speculative, but ingenious and impassioned at the same time.

Eisenstein's film still has a hypnotic urgency.

It comes from the age of Straw Dogs and A Clockwork Orange, but none of those movies can match the sheer hardcore shock of the Australian New Wave nightmare Wake in Fright from 1971.

It’s all so inventively bizarre that you could treat it simply as a black comedy, but in the final 15 minutes there is an amazing crescendo of emotion.

Reinvented by Wilder and co-screenwriter co-writer IAL Diamond, Some Like It Hot is effortlessly fluent, joyous and buoyant: a high-concept comedy that stays as high as a kite, while other comedies flag. "Nobody's perfect" is the last line. Wilder, Lemmon, Curtis and Monroe come pretty close.

The Wild Pear Tree is a gentle, humane, beautifully made and magnificently acted movie.

It is a creamily sensuous, richly observed piece of work, handsomely detailed and furnished: the clothes, the hair, the automobiles, the train carriages, the record players, the lipstick and the cigarettes are all superbly presented. The combination of all this is intoxicating in itself.

Lovely performances, and more superb gags in one minute than most movies manage in 90. It's like drinking champagne.

At times it feels novelistic, a densely realised, intimate drama giving us access to domestic lives developing in what feels like real time. In its engagingly episodic way, it is also at times like a soap opera or telenovela. And at other times it feels resoundingly like an epic.

It is about grief and about the shock of grief and the stabbing fear which, in its terrifying way, gives you a clarified view of your own existence. A film to wonder at.

This, the film says, is what it really feels like to be on the receiving end of the law in a case like this: a calm, professional, technocratic but relentless display of overwhelming power.

Get Out is very creepy, very funny and as pitiless as a surgeon’s scalpel.

For a film as over-the-top as this, it might be counterintuitive to talk about subtlety, but Stewart is genuinely that; her line readings are coolly calibrated, quizzical, restrained, sometimes infinitesimally double-taking at the bizarre or outrageous things happening in front of her.

This film is a gruelling experience and Dirk Bogarde’s coup de grâce is the most horrible effect of all.

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.

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

It had a miraculously literate script whose every line deservedly became a quotable classic and the film boasts a once-in-a-lifetime combination of perfect performances from Paul McGann and Richard E. Grant as the loafing actors heading for a terrible bucolic weekend, Ralph Brown as drug-dealing Danny and Richard Griffiths as predatory Uncle Monty.