Philip Kemp

An Oscar-aimed turn from Gary Oldman anchors this WW2 portrait of Churchill at his most beleaguered.

Alain Gomis’ film paints a lacerating picture of a raucous, dangerous city.

Marx, Tristan Tzara, André Breton, Werner Herzog; Constructivism, Dadaism, Futurism… on it goes. Impressive, sure, but ultimately stultifying.

From multi-talented Belgian/Canadian duo Dominique Abel and his partner Fiona Gordon comes a slice of light-hearted whimsy.

Disturbing and often distressing, but compulsively watchable.

There’s a neat final twist up [Attila Till’s] sleeve – and by casting paraplegics, he avoids the easy sentimentality that subjects such as this often invite.

The sense of angry desperation overwhelms.

Skvortsov gives a scarily grim-faced performance, with biology teacher Elena (Viktoriya Isakova) increasingly beleaguered as the only one resisting him.

A complex film that sidesteps every cliché. Paul Verhoeven and Isabelle Huppert are at the top of their game.

Skarsgård and Peña relish their roles, but this pitch-black action-com feels like 100 gags in search of a storyline.

Playing out in real time, Theo and Hugo offers a warm, frank, unexpectedly romantic view of relationships today.

Sully is a skilfully made reconstruction of a recent real-life feat of heroic professionalism. But narrative tension is sorely lacking.

Acutely acted, The Fencer strikes home.

A grandiose Western based on the Johnson County War of 1892, when cattle barons brought in mercenaries to massacre immigrant settlers, it suffers badly from narrative incoherence. But there’s a grand romantic sweep to the action (enacted by a solid cast including Kris Kristofferson, Christopher Walken and Isabelle Huppert), the set-pieces are majestic and its disenchanted view of the American frontier myth still rings ominously true.

The three leads are on outstanding form, while Jack Nitzsche's score shimmers with foreboding.

A worthy tribute to Bogdanovich's idols, Orson Welles and John Ford.

It’s packed with in-jokes and lightly disguised portraits of real-life Tinseltown figures; Douglas’ character is reckoned to be across between David O.Selznick and Vallewton. But even without a knowledge of the background, this is sharp, cynical fun.

A stellar performance from Geoffrey Rush centres this diverting glimpse into the chaotic life of a great artist.

Mellow and rich in ironic humour, the film carries an undertow of gentle melancholy; as so often with Ozu, its ultimate message is that loneliness is the human condition.