Taking its artistic inspiration from African sculpture and Egyptian art, the distinctive pictorial style of Ocelet's award-winning feature is bolstered by an authentic soundtrack from Senegalese musician Youssou N'dour. Couple this with the film's pint-sized but big-mouthed hero, and you've got one of the most enchanting animated features in quite some time.

But it takes on a quieter, more psychological tone and becomes infinitely better when Fiennes arrives.

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

While not the most exhilarating 80 minutes, this is a movie that will find much identification with anyone whose teenage years were remotely angst ridden, with Hausner capturing the simmering tensions of suburban life with assured ease.

Stewart is such inspired casting that she makes all this eccentric nonsense watchable.

The Woman King leans toward fantasy in its heroic moments, but is rooted in truth about war, brutality and freedom. It is a splashy popcorn movie with a social conscience.

A film as epic and rich as Sergio Leone's imagination, Once Upon a Time in America sits at the head table of gangster movies. 

The Order is a sombre, steadily paced, conventional drama. It's superbly acted by its charismatic cast, the locations and the period are evoked beautifully, and, best of all, the violent robberies and shoot-outs are staged with a nerve-jangling ferocity that recalls Michael Mann's Heat. But it isn't quite as gripping as the events deserve.

At the heart of "A Cry in the Dark" lies a true story so incredible that to have it made into a film could have tempted a sensational outcome of the most ridiculous proportions.

His craftsmanship is so overwhelming that unless you're already allergic to his tics and trademarks, you should get a buzz from the film's many, many incidental pleasures. One thing's for sure: there is nothing quite like The French Dispatch – except Anderson's other films, of course.

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.

Polite Society is an action-packed, genre-blending delight that fires on all cylinders. Everything – from the writing to the cinematography, the performances, the choreography and the soundtrack – is on point, and it has all the requisite ingredients to be an exhilarating experience for audiences that come along for the ride.

Exploring this terrible framework, DuVernay's film unfolds with unpreaching clarity and fierce focus, full of heart and vibrant intent.

More riveting than most thrillers, and more terrifying than most horror films.

Ducournau's beautiful, dark, twisted fantasy is a nightmarish yet mischievously comic barrage of sex, violence, lurid lighting and pounding music. It's also impossible to predict where it's going to go next.

Fortunately, the script is brilliant enough to work even in this reduced form - with the captivating performances of Stephens and Blakely putting a hilariously camp spin on Wilder's overblown adventure.

Maybe because or in spite of this near psychedelic experience, Floyd at Pompeii has become my favourite concert film of all time. Maybe it's because the lack of an audience means you don't feel like you're having a second hand experience. Maybe it's because you're getting to see a legendary band playing sometimes genuinely transcendent music in a strange environment.

What's captivating about Bones & All is that it is so understated. The first few gory scenes suggest that Guadagnino has made an outrageous black comedy that gets its startled laughs and screams by contrasting the conventions of a coming-of-age romance with those of an X-rated monster movie. But soon Bones & All becomes entirely straight-faced. It isn't a horror film or a comedy, it's a sincere, sweet indie road movie that happens to feature bloodthirsty serial killers.

A film with this scope and richness is a splendid achievement, but it's easier to admire than to love. There is some humanity in there somewhere: at heart it's a coming-of-age story about a boy becoming tougher and more cynical on his way to becoming a leader. But will anyone care about the shallow, po-faced characters? They've got exotic names and elaborate costumes, but none of them has much warmth or personality compared to those in a certain other space opera which I won't mention.

This absorbing film is likely to stay with you. It's a compliment to say that you may walk away with the off-kilter feeling that you have been in another person's dream the whole time.

With some of the most famous tunes in all showbusiness, plenty of dancing cowboys, and an irrepressible feel good factor, expect a dose of good old-fashioned entertainment.

On the Rocks is practically a distillation of Coppola’s Lost in Translation style. Each scene is compact and feels lived in, without any urgent narrative drive. That elegant surface makes it seem like a trifle, but there are layers beneath.

The Iron Claw's shallowness and eventual treacliness are especially disappointing.

Directed by Kelsey Mann, Inside Out 2 glimmers with diamond-hard truths about the complex business of being a human being – especially a teenage human being – but it's still a fast-paced and playful comedy adventure with even more jokes and more puns than Inside Out.

As it is, I have a strong suspicion that Wicked will work much better as the first part of a double bill, with Wicked Part 2 being shown after an interval. But we'll have to wait another year to know for sure.

On one level, I realise, the dullness is the point. . . But I'm not sure that justifies the film's own efficiently plodding approach because it never seems as if Fincher is giving us the inside track on how assassins actually operate.

The racing sequences have enough energy and jeopardy to raise the pulse rate, but the rest of Ferrari... well, surely a film about high-speed cars shouldn't pootle along as slowly as this one does.

Although the individual episodes are gripping, the plot trajectory is obvious, especially when we arrive at an ending that's easy to see from the start. But it works because there is something quietly miraculous about the way Hanks embodies this character, making him the stirring and fresh emotional centre of a beautifully old-fashioned Western.