No other film this year will get more people talking, or more people crying.

Da 5 Bloods is Spike Lee at his mature best, made with his distinctive, passionate voice and kinetic artistry.

Originally shot in black and white, then switching to CinemaScope early in production, Rebel Without A Cause is a brilliant, iconic movie.

With Sutherland and Christie in fine form it all adds up to one of Roeg's finest films and an undeniably key work in British cinema.

Sadistically beautiful and viciously exciting, welcome to true terror with Dario Argento's shockingly relentless Tenebrae.

It's a film that deserves recognition as one of this country's finest horror movies, a sexually charged Gothic nightmare featuring standout performances from Hammer stalwarts Lee and Peter Cushing, who stars as vampire hunter Van Helsing.

Combining some wonderful song and dance routines with a cast of memorable characters, Meet Me in St Louis is certainly one the best Hollywood musicals ever. It's also one of the least ostentatious.

This may be Miyazaki's most expansive and magisterial film. If it is not the most instantly stunning, that might be because he takes the time to deliver worlds within worlds, layers under layers, to create an overwhelming experience by the end.

Klute still perhaps stands as Pakula's finest moment. Informed in part by the conventions of film noir - duplicitous female, ambitious private investigator, and murky goings on of the sexual variety - Klute manages to distill them all into something highly original and distinctly unsettling.

It's a film which shimmers with intelligence, and if the plot isn't clear until the very last scene, well, it's worth the wait. When that scene arrives, the purpose of every previous scene snaps into sharp focus, leaving you with the urge to go back to the beginning and watch the whole thing again.

The documentary style allows Spielberg to deliver his message without preaching. The clever use of light and shade also makes it visually stunning.

Gerwig’s smart, delightful film seems on its way to becoming a classic.

Together, Garland's virtuosity and Mendoza's first-hand experience create a masterful technical achievement that is, more important, emotionally harrowing.

A visually rich and morally ambiguous parable of our recent history, it is a paean to decency in an indecent age and a timelessly potent satire of class and nationalism.

If you see it as a lurid pulp fantasy rather than a penetrating satire, then Saltburn is deliriously enjoyable. It's the dialogue and the performances that clinch it.

At its best, Chazelle's film is a cinematic marvel, evidence enough that movies are magical, as it sweeps us into the beautiful, terrible world we recognise as Hollywood even now.

Chicken Run: Dawn of the Nugget doesn't just reach the standards of its high-flying predecessor, but it soars above them.

There are some fine gory moments in "Carrie", but the real shocks come from the slick emotional exploitation employed by director Brian De Palma.

Not so much a follow-up as a ruthless self-parody, Evil Dead II ranks as one of the most visually inventive, relentless, and truly original films ever made.

Its low-level strangeness jumps to surreal and gory heights – and it keeps going higher until it hits a peak of gonzo high-adrenaline fun that leaves you reeling and breathless. Many viewers will have had enough of the film long before then, but there is something heroic about Aster's uncompromising determination to go his own way.

Produced by David Selznick, Rebecca is a delirious Gothic melodrama, swimming with queer undercurrents

The sufferings were well worth it, and the Pythons delivered a classic comedy.

McDormand’s commanding, deeply empathetic performance holds the film together. She is so convincing and unaffected that it feels as if Fern is another non-actor whom Zhao magically gets to be natural on screen.

It is a small movie with steep odds against it, but it is also extraordinarily accomplished.

The more you think about it, the more of a muddle Soul seems to be. But what a gorgeous muddle it is. It may not be wholly satisfying, but it is exhilarating in its ambition, superbly animated, and brimming with affection for its characters and their milieu.

Mountainhead may seem to be an argument for fast-turnaround films, but few writers and directors could do it with Armstrong's sharp eye and intelligence, as he entertains us with these heartless, all-too-convincing megalomaniacs.

Intriguing, clever, and often surprisingly funny there's plenty to please in this thriller, that remains fresh and original.

For many of us, especially in the West, the film is likely to be confusing here and there. It would have been helpful, for example, if the subtitles had let us know who's speaking Russian and who's speaking Ukrainian. But it is worth a bit of confusion for a film so powerful and immediate, and made with such a lucid artistic vision.