Phil de Semlyen

A treat for cricket fans who'll thrill to this nostalgic look back at one of sport's greatest teams.

Sorrentino explores these heavyweight themes with his usual wit and high style – as well as a standout soundtrack of haunting classic cues and Eurodance bangers. Surreal, comedic touches also prick the pomposity of La Grazia’s cloistered world.

By keeping the camera in the vehicle, hauntingly lit with the blur of passing houses and the glow of the mobile phone, Hallow Road invites you to fill the scene at the other end of the line with a shadowy menace that the final stretch really delivers on.

It has a scrappy, throat-grabbing energy and a sincerity that never feels hectoring.

Christopher Nolan’s frosty espionage sci-fi delivers visual intensity but little heart.

An unapologetic, impassioned biopic, The Birth Of A Nation begins quietly but ends in a howl of rage. It might not be perfect, but it’s powerful enough to stay with you.

The third part of Berg’s unofficial Americans-in-crisis trilogy will play better for US audiences than overseas, but it’s still a pacy and often enthralling disaster movie.

Amirpour’s career to date offers a triptych of stories of women navigating men’s worlds, and needing all their nous and resources to survive in them – and this is her most straight-up enjoyable survivor tale yet. It’s a feminist parable that may not linger as long as in the mind as her more provocative debut, but it’s irresistible fun in the moment.

If this is the end of the road for a British filmmaking great, it’s a thoughtful, heart-filled finale. British cinema’s old oak still stands tall.

Still, if his doc is as toothless as Cookie Monster 2.0, it’s still a nostalgic treat to spend time with the man who gave us Kermit, Big Bird and the Goblin King.

Greengrass’s heart lies in exploring the ways a nation processes such a horrific, unexpected event, but Breivik’s odious ideas also get a comprehensive airing along the way. It makes for an uncomfortable, challenging watch.

Life in The Damned Don’t Cry is brutally unfair, and Boulifa offers no easy answers. But thanks to the compassionate filmmaker and his two impressive leads, it’s a compelling watch.

If a subplot showing Orwell writing ‘Animal Farm’ as he becomes persuaded by Jones’s evidence doesn’t entirely work, there’s plenty in this thoughtful journalism drama that does. And not a single scene in a car park.