The film's real superpowers are its endearing performances, and a screenplay by Chris McKenna and Erik Sommers that interweaves teen-angst soap opera and cosmic calamity with all the goofy logic and tonal nimbleness that make the best superhero comics so appealing.

It is universal and emotional enough to hypnotise anyone who has been alone in a city, or been spellbound by a film on the subject.

Withnail & I has an air of authenticity only reality could give, and Robinson could only tell MacKerrell's story once. There could never be another Withnail.

The script is so economical, and the acting so beautifully natural (especially by Dambrine, a remarkable discovery), that Close feels less like a drama than a tapestry of fragments from a candid documentary.

No Other Choice isn't just Park's funniest film, but his most humane, too – and that's quite something for a comedy as violent as this one.

Bedazzled is a biting, mischievous and witty satire of the highest order.

This comedy gem features some of [Chaplin's] funniest scenes, including him eating his boot.

Haigh and his cast, including Paul Mescal as Adam's new lover, give this film about loss, enduring love and hope for the future such truth and poignance that it is easily among the best of the year.

Shot with an eye for the grimy beauty of the underworld and utterly merciless to its characters, The Asphalt Jungle is a biting, bitter espresso of a movie.

Watching the film now, almost half a century after its first screening, it's easy to see why it upset so many people "Cairo Station" is a pressure cooker of lust, jealousy, and psychosis.

I’m Thinking of Ending Things draws constant attention to its own artifice, and to the things that can only happen in films. But it seems completely sincere in its concern about ageing, illness, pain, regret, and the connections we make to art and other people. Whichever universe it may be set in, it has a lot to say about our own.

In some ways, the film resembles an abyss-black absurdist comedy sketch or a video art installation. It could be said that its sole observation is the continual co-existence of grotesque cruelty and blithe workaday life, but it makes that observation with such rigorous formal control and unblinking dedication that its power to shock never diminishes.

In general No Time To Die does exactly what it was intended to do, which is to round off the Craig era with tremendous ambition and aplomb. Beyond that, it somehow succeeds in taking something from every single other Bond film, and sticking them all together.

The performances by the young cast, culminating in an exuberant pot-smoking session, followed by a genuinely touching denouement, is classic stuff. And such lines as: "The chick can't hold her smoke!" and "You wouldn't know her, she lives in Canada," are still spouted today.

A thrilling espionage adventure chock full of iconic characters, set pieces and one-liners.

Even before the panda-monium begins, the film is a hilarious, life-affirming treat.

Far from being a steamy nun-sploitation thriller about women with bad habits – well, it's partly that, to be honest – Benedetta is a substantial, sophisticated, yet briskly paced and always highly entertaining drama, which balances quiet scenes of shrewd backroom politicking with lurid scenes of wild religious madness.

There is no denying that The Creator is a major new sci-fi adventure. If you're partial to such things, Edwards' ambitious, immersive film should prompt the intoxicating awe that you might have got from The Matrix and Avatar – the feeling that you're seeing a rich vision of the future unlike any that has been on the big screen before.

It may be a comedy about a mass-produced plastic doll, but Barbie breaks the mould.

A landmark in the history of cinema that turns melodrama into high art with the story of a hard-up farmer (George O'Brien) whose affair with a city girl (Margaret Livingston) leads him to the brink of killing his doting wife (Janet Gaynor).

David Lean ably directed Noel Coward's script for this intensely passionate film in which almost nothing happens.

Uncorked in 1970, it's a shocking crime thriller, a time-capsule of Swinging 60s London and a fizzy intellectual headtrip all whisked into one astonishing film.

Each time it is shown, this extraordinary film embraces a new generation of children who succumb to its magic.

Hardly anything actually happens, and yet it's one of the most emotionally involving dramas ever made.

The new film improves on the old one in every respect. The story is cleverer and more gripping, the dialogue is sharper and funnier, the relationships are richer, the aerial stunts are more likely to make you queasy.

With its Gothic atmosphere and deeper themes, Wake Up Dead Man has a darker tone than the previous Knives Out films. Yet it is also the funniest and most playful so far.

Wayne and O'Hara create a fine rapport, with good performances that build to a truly satisfying climax.

The film takes place largely in two down and dirty rooms, the recording studio and a basement where the band rehearses, but it doesn’t feel stage bound. Wolfe finds the right balance between letting Wilson’s trademark monologues flow and shooting them in a cinematic way that keeps the film moving.