Tom Huddleston

The blend of humor, pathos and wall-crawling antics is perfectly judged. After a handful of overblown misfires, Marvel appears to have rediscovered its heart.

As a portrait of power gained and lost, of unchecked self-absorption and what drives people like Assange to do what they do, it’s absolutely fascinating. Watching it feels like history unfolding in close-up.

This is a provocative, intelligent movie for those with a strong emotional constitution.

Kore-eda’s insight is so unflinching, his affection for his characters so intimate and sure, that not a moment here feels wasted.

A messy, troubling and strangely enjoyable film.

But while she's thoroughly committed to serving both the rom and the com (the film is genuinely sweet, and at times very funny) Scherfig somehow never falls into any of the obvious traps.

This intimate documentary about the leftfield American filmmaker David Lynch is insightful and absorbing.

For lovers of old-fashioned horror, this is your bloody Christmas.

It doesn’t entirely hold together; the relentless din and repetition flips from thrilling to exhausting and back again more than once. But in those moments when everything clicks...this is absolutely joyous.

As an insight into the way families cope with adversity this is both razor-sharp and completely heartbreaking.

Overall, Logan is something rather special: a moving and mournful story of life at the end of the line, and the perfect blockbuster for these embittered times.

What a stupendously entertaining ride it is. Director and former stuntman Chad Stahelski is back in the director’s chair, and he knows his craft inside out: every punch lands hard, every gunshot roars like thunder.

A ferociously paced, wildly silly pastiche of those comic-book blockbusters we’re all getting a bit sick of.

Danny Says doesn’t break the rock-doc mould, but it’s a must for fans of noise and nostalgia.

These young women have already witnessed enough horror to last a lifetime, and in this unforgiving society their lot seems unlikely to improve. A grim but necessary watch.

Director Amber Fares strikes a perfect balance, telling a righteous, uplifting story of triumph against the odds without ever losing sight of the bigger political picture.

Packed with warmth and wit, this is a lovely lo-fi charmer.

Overall this is a terrifically watchable, heartfelt documentary and a valuable glimpse into a singular life.

Overall this is a stupendously entertaining movie, crammed with delights.

Director Alexandra-Therese Keining clearly loves the book and tries to squeeze a little too much of it into her overcrowded film. But it is visually lovely – the transformation scenes are magical – and the young cast are terrific.

Into the Inferno may be relatively minor Herzog — it’s sweet and rambling rather than laser-bolt intense like "Fitzcarraldo" or "Grizzly Man." But it is enormously satisfying, filled with wisdom, insight and molten lava.

It doesn’t all work: The pace can feel a little slow, and there are points where Park tries to have his tasty feminist cake and eat it too. But mostly, this is smart, sumptuous and wonderfully indulgent.

Smartly cutting off before the long decline, this is an epic story, beautifully told.

By the climax all concerns have gone out the window, as Vigalondo delivers an operatic finale that feels both earned and genuinely cathartic. For better and worse, you won't have seen a movie like Colossal before, and you won't again. And that, in itself, is a strong recommendation.

Certain Women moves, as all Reichardt’s films do, at a languid pace, and a handful of characters – notably Williams’s – could have been a little more developed. But it's hard to recall a movie with such a precise, immersive sense of place, and the very specific mood that comes with it.

Overall this is an absolute pleasure. There are times when Waititi’s script borders on genius.