Peter Bradshaw

The reggae soundtrack throbs and crunches and shudders in concert with the raw energy of Henzell’s storytelling and Cliff’s performance, but this doesn’t preclude a shrewdly self-aware debate about representation.

The combustion engine gave humanity the new experience of speed; now the movie camera gave us a dizzying new speed of perception and creation.

Youth is a great theme of Linklater’s, but presented without any great directional moralising or emotional narrative. Being young just is. This is a film of enormous charm.

Editors Terry Rawlings and Peter Weatherley cut the film so cleverly so that we never have a clear notion of what the alien actually looks like until the very last shots.

This superbly composed film comes as close to perfection as it gets.

This film is such a rush of vitality. It rocks.

It is strident, yes, and naive, too perhaps; but lyrical and passionate and visually dazzling.

The Fabelmans left me with a floating feeling of happiness.

I was utterly absorbed by this movie’s simple storytelling verve and the terrific lead performances from Ryan Gosling and Emma Stone who are both excellent – particularly Stone, who has never been better.

It’s a great piece of Hollywood confectionery, and you might well find yourself choking up a little at the end.

London Road was a mighty success on stage. Now it is a unique triumph on the movie screen.

A really absorbing and powerfully acted drama, guided with a distinctive kind of Zen wisdom by Sayles.

DiCaprio’s performance is excellent; his Romeo is transformed and astonished by the real thing; he has play-acted at love until now, and he hasn’t realised how vulnerable it would make him. Danes looks more mature than he does (though in fact six years younger) and she is such a smart, stylish player, even at this age. The Luhrmann R+J is a tonic and a delight.

Ingmar Bergman's dark masterpiece effortlessly sees off the revisionists and the satirists; it is a radical work of art that reaches back to scripture, to Cervantes and to Shakespeare to create a new dramatic idiom of its own.

I have to admit, in all its surreal grandiosity, in all its delirious absurdity, there is a huge sugar rush of excitement to this mighty finale, finally interchanging with euphoric emotion and allowing us to say poignant farewells.

The unmasking "reveal" at the beginning of the movie is a great coup, and the film continues to be very scary, helped by Carpenter's own theme: a trebly plinking of piano notes and that buzzy synth in low register.

With his two early features, "Distant" (2002) and "Climates" (2006), Ceylan has showed himself a superb film-maker. This is his greatest so far.

Boyega carries the film with a compelling authority of his own.

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.

The movie hits its stride immediately with a taut, athletic urgency and it contains some superb images – particularly the eerie miracle of Birnam Wood coming to Dunsinane, with Malcolm’s soldiers holding tree-branches over their heads in a restricted forest path and turning themselves into a spectacular river of boughs. This is a black-and-white world of violence and pain that scorches the retina.

Claire Ferguson’s documentary is a powerful, valuable addition to the Holocaust testimony genre.

This is a hothouse flower of pure orchidaceous strangeness, enclosed in the studio’s artificial universe, fusing cinema, opera and ballet.

This Superman alludes explicitly to its origins in the Depression-era comics, and Clark has a quaint 30s habit of using the phrase “Swell!” from his boyhood. Maybe now this movie looks quaint in the same way. But there’s still a surge of adventure and fun.

There is something quietly magnificent in it. Moments like these in life are poignantly brief – but many never have them at all. It’s a lovely film.

There is simply no other film which demonstrates so perfectly what it feels like to be young and in love.

This is a deadpan comedy which strides off down its own confident, eccentric path, and actually the whole heist trope is subverted from the outset by the purely un-tense way the robbery is shown.

La Chimera is a film that utterly occupies its own fictional space; it expresses its eccentric romance in its own fluent movie dialect. I was utterly captivated by this sad, lovelorn adventure.

West Side Story is contrived, certainly, a hothouse flower of musical theatre, and Spielberg quite rightly doesn’t try hiding any of those stage origins. His mastery of technique is thrilling; I gave my heart to this poignant American fairytale of doomed love.