Tom Huddleston

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

The plot is impossibly dense and the characters – perhaps appropriately – feel like little more than cyphers, but for sheer mind-expanding sci-fi strangeness this is hard to beat.

It’s most fascinating when dealing with the fallout from her divorce from first husband Petter Lindstrom and very public affair with director Roberto Rosselini – a reminder of how much gossip, scandal and public opinion were at the heart of Hollywood long before Twitter.

At times deeply insightful, at others wholly crass, Rolling Thunder is a fascinating curio, the meeting point between realism and exploitation.

The Landlord succeeds thanks to terrific performances, political nous, flawless photography from Gordon Willis, a handful of sublimely witty moments and an overall sense of rebellious fun.

Cameraman and director Michael Heineman has created a riveting story of how, with awful inevitability, power always corrupts.

With gorgeously crisp photography and pitch-perfect performances from the two leads, this is one of the most intriguing and thoughtful American films of the year.

This hugely entertaining oddity could never be mistaken for the work of any other filmmaker.

A startling examination of how artistic principles translate into real-world actions, and a moving portrait of a genuinely, unexpectedly brave man.

Any film that teams up gruffer-than-thou icons Shepard and Johnson is bound to go heavy on the testosterone, but Mickle undercuts all this strident manliness with a rich vein of self-mocking wit and paternal angst.

If self-aware, ultra-arch arthousery isn’t your bag, give it a miss. If you’re looking for a good, weird, often very funny time, don’t miss it.

A messy, troubling and strangely enjoyable film.

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.

This is a film built on sensation, misdirection and randomness. The result can be maddeningly obtuse, but it’s also breathtakingly lovely and genuinely unsettling.

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.

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.

The result is entertaining and insightful, balancing cold statistics with real-life stories of success and tragedy, presenting a broad, clear-eyed view of an increasingly complex issue.

It’s in contextualising Sands’s struggle that ‘66 Days’ is most effective.

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.

A jangling, lunatic sugar rush of a movie, in love with everything it satirises and bursting at the seams with psychotic energy

A lusty ballad of love and heartbreak sung with passion and power, and just a handful of off-key notes.

A title like that needs balls of brass to back it up. Luckily, this fiery college comedy from feature-debuting writer-director Justin Simien, loosely inspired by a series of scandalous black-face parties at all-white fraternities, is full of punchy intelligence and barely concealed anger.

An empathetic, often heartbreaking piece of work, at times tough to watch – one party scene is particularly grim and confrontational – at others calm and contemplative.

This is a brisk, well-oiled thriller with blistering performances and a crackling, memorable script.

This might be the most downbeat blockbuster in memory, a film that starts out pitiless and goes downhill from there, save for a fleeting glimmer of hope in the final moments. It’s a bold statement about the unforgiving nature of war, unashamedly political in its motives and quietly devastating in its emotional effect.

This is a tighter, smarter film than either Shaun of the Dead or Hot Fuzz, and buried beneath all the blue-goo aliens and terrible punning is a heartfelt meditation on the perils and pleasures of nostalgia.