Tom Huddleston

De Palma’s grasp on King’s material is never in doubt: this is a truly throat-grabbing horror movie, sporting a handful of pitch-perfect set-pieces, not to mention one of the few examples of effective split-screen.

An enormously satisfying film: carefully observed and consistently compelling, it feels like an instant American classic, if a minor one.

This isn’t just the best-looking film of the year, it’s one of the most awe-inspiring achievements in the history of special-effects cinema. So it’s a shame that – as is so often the case with groundbreaking effects movies – the emotional content can’t quite match up to the visual.

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.

In the closing act, the film sharpens and becomes something far more compelling.

We Are the Best! is a joyous celebration of youth, friendship and rebellion, and if there’s a nagging note of regret and bitterness it never manages to undermine the overwhelmingly compassionate tone.

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.

For this slick, beautifully paced documentary, director Marc Singer was given unprecedented access to everything from police tapes to trial recordings to Dunn’s own private phone conversations, and the result is a uniquely compelling real-life legal thriller.

This is all fun all the time, a dizzying carnival of wisecracks, fisticuffs, explosions, chases and truly eye-popping effects.

This is a forceful, initially uplifting, ultimately sobering illustration of how much protest matters, how far those in power will go to stifle it, and how ugly and criminal those efforts look in hindsight.

The action sequences are wild, the jokes relentlessly dumb-but-smart, and the sheer sense of anything-goes daftness...is glorious.

The Commune may veer towards sentimentality in the final act...but overall this is a warm, sharply characterised and absorbing melodrama.

The visuals are painstaking and horribly beautiful – shades of Hitchcock, Carpenter, even Spielberg – while the gore scenes are truly outrageous, knocking cheap imitators (hey, Nicolas Winding Refn, this is how it’s done) into a cocked hat.

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

This isn’t quite tense or funny enough to become the masterpiece some Hawks lovers claim. But it is smart, incisive and often very funny.

Bowie’s performance is riveting, drawing on his history of mime to play a man who is almost, but not quite, one of us.

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

Scorsese never digs too deeply under the skin of these reprehensible playboy douchebags, and there are times where the swooping photography, smash-and-grab editing and toe-tapping soundtrack conspire to almost – almost – make us like them. But when the film’s cylinders are firing, it’s impossible not to be dragged along.

Role Models isn’t trying to reinvent the wheel, just polish it up a little. What emerges is a memorable slice of modern slapstick, with charm to spare and just a touch of soul.

Focusing on the personalities rather than the historical context, directors Robert Gordon and Morgan Neville illustrate how both men’s lives were changed by the debates, and how neither could let it go even decades later. The result is perhaps better suited to TV than the big screen, but it’s a timely, thoughtful piece of work.

It’s a dour, at times glacial film that perhaps takes itself just a little too seriously, but it’s also grimly convincing and, in a remarkable final scene, shockingly effective.

This is a woman who has been through hell and come out kicking, and the result is as much a celebration of her life as it is a documentary.

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

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

Over the course of three wild sequels, Coscarelli expanded his bizarre universe in a variety of imaginative and deliriously entertaining ways – but the original set the standard. [Remastered]

There may be little here we haven’t seen before – glassy reflections of Michael Mann’s Heat pop up everywhere you look – but it’s all carried off with brashness and momentum by a director who genuinely seems to be having a blast.

Unique and intoxicating, an art movie that grips like a thriller.

Berberian Sound Studio is like nothing before – and whether or not it ‘works’ seems almost irrelevant. In this era of cookie-cutter cinema, Strickland’s deeply personal moral and stylistic vision deserves the highest praise.