Away combines Zilbalodis’ signature minimalist style with the structure of a classic survival story.

Drily narrated by Udo Kier, Hitler’s Hollywood is not a film about the rise of Nazism, nor even a linear history of the era’s cinema. Rather, it seeks to capture its spirit, interrogate its aesthetics and finally, to try to understand the insidious power of its propaganda.

Logan Lucky is satisfying on the simplest of levels, but if you peel back the layers it becomes evermore rewarding.

What Denis’ film is concerned with is the visceral bodily experience and the claustrophobia of living in the middle of the infinite. If outer space is a cold and vast external of nothingness, then there is also an interior space of bodies, living, writhing, and fluid.

While Davies vividly captures the period's austerity and Dickinson's despair at being misunderstood, there are a few too many scenes of repressed emotion followed by wild outbursts of grief.

For prickly cynicism and choppy one-liners, Nothing Sacred is simply unbeatable.

Youssef himself with his crooked smile and exuberant enthusiasm comes across as someone who in a normal state of affairs would be just another amiably slick joker. But in this context he takes on the bravery and the bearing of a hero.

Visually striking and audibly arresting from its opening number until the curtain comes down, Crock of Gold: A Few Rounds with Shane MacGowan is an affectionate paean to its irascible, impudent frontman.

Despite its slightly televisual veneer and sporadic bouts of mawkishness, as far as British costume dramas go, The Personal History of David Copperfield is better than the majority.

Chinonye Chukwu’s Clemency is a sombre, layered study of the human cost of capital punishment. One of this era’s most powerful actors, Alfre Woodard, leads with one of her best, most understated performances yet.

A chilling expose of state-sponsored cyber warfare and the enemy within.

As far as film theory goes, it’s hardly revolutionary, but as science fiction, Nope is smart and entertaining as we’ve come to expect from an increasingly captivating filmmaker.

It’s a picture so precariously balanced on the edge of poetry and sentiment, of defiance and self-pity.

Finding Dory is as entertaining, soul enriching and bittersweet as any Pixar production to date.

Granted, the gratuitous nature of the hyper-violence is not for everyone’s stomach, including mine in moments. What is undeniable is the rigour to which Kubrick conducted his creative team, actors and himself to offer a new approach to filmmaking. As Burgess wrote in the novel “The colours of the real world only seem really real when you watch them on a screen” wholeheartedly matches Kubrick’s graphically engaging ninth feature.

With its epic scale and global reach, Human Flow is a powerful testament to a shameful crime against humanity.

The deft and highly emotive handling of his condition and the wider ramifications of his story make The Dark Horse a lot more than merely the against-the-odds chess story that it may initially appear to be.

The Gift might not smash the boundaries of genre filmmaking but therein lies its appeal; a smart, well-made thriller that balances high-minded cinema with genre thrills.

Schipper's script doesn't quite complement his technical prowess and once you peer behind the smoke and mirrors of the film's one-take gimmick the criminal-underworld lurking behind it feels trite and contrived.... Yet none of this can take away from its pure entertainment factor. An experience akin to a burst of pure adrenaline intravenously introduced to your bloodstream, Victoria remains one helluva ride.

It’s impossible not to be beguiled by the sweetness of the comedy, the skill of the performers and sheer craft of the film. But hopefully next time out Kore-eda will use it in the service of a plot which is more believable.

The performances of both Moss and Waterston are tremendous, filling the empty spaces of the frame with a suffocating mist of pain and suffering.

Devoid of cash-in cynicism, and full of belly-shaking humour, Paddington proves to be not just a wonderful contemporary rendition of the bear, but a polite hat-tip to the man who created him, paying homage in the best way possible: by bringing a gentle, slightly reserved, smile to audience faces.

Polley is not especially subtle in her allegory, and nor does she need to be: the exceptionally well-made Women Talking gets to the point in its sheer, righteous invective.

Wetlands can be an unusually intriguing, funny and entertaining visual experience.

Sidestepping the question of whether or not shamanic methods 'work' in a scientific sense, Caraballo and Norzi directly depict the psychedelic experience of Ayahuasca itself by seamlessly blending dream and reality into a single stunning whole.

As we pass from one story to another the relentless savagery does get a bit grinding. In addition, at two hours in length, Szifron's film is perhaps one skit too long. Regardless, Wild Tales is an inventive, occasionally hysterical ride.

There's a measured, almost clinical precision to how On Body and Soul is shot that, while in keeping with Mária's great fragility and terrible need for affection, prevents the film from really delivering.

As Personal Shopper progresses a rather predictable series of twists almost drain the story of interest.

Babyteeth is a funny, vibrant and deeply moving piece of work. Its flaws are the flaws of youth, overcompensating for boredom with frenetic hyperactivity.

While there is the odd bum note, The Jungle Book is an immersive, visually breathtaking family adventure and a welcome addition to their new spate of live-action reimaginings.

It was once said that Runyon’s prose had a ungrammatical purity about it (what with the refusal of the past tense), but likewise Guys And Dolls works because it shouldn’t work.

In seeking to understand both abuser and abused, Slalom offers a truly nuanced picture of abuse without sacrificing indictment.

Baumbach is never likely to make a film that doesn't engage with interesting issue, but on this occasion he's made something smart and relevant that really brings the funny, arguably making this his most widely appealing film to date.

It is a film about a personal grief which gradually, step by step, takes on a mythic resonance. This is a new and vibrant talent to be watched.

The Harder They Come‘s two defining traits – violence and style – inform almost all of Ivan’s behaviour as he adopts the fashions and nihilism of the heroes of American and European cinema. Yet the world around him remains dully ambivalent and cruel in ways more complex and unpredictable than the characters he replicates.

As the film drifts through dream sequences and diversions, the dramatic power of the chase fizzles in the damp of the woods.

Evolution more often chimes aesthetically with a European arthouse drama, but that is only until it voyages into more fantastical territory. Then this haunting and esoteric work manages to seduce and repulse in uncanny harmony.

Cooper’s performance is sublime, delicately balancing the problem of playing a ham while not becoming a ham.

Littered with keen observations about modern life and gentle moments of dark humour, this tale of how we live now masks a tender exploration of the human body as the last refuge in a world of binary oppression.

As with Kaufman's own stunts, it's difficult to know what to take seriously.

Re-framing more traditional genre choices for representing dementia, the Japanese-Australian filmmaker has crafted a chilling, mysterious horror to communicate the confusion and terror caused by diminishing intellectual acuity.

Remarkably, this is Cole's first time in front of the camera. He approaches Alex’s emotional journey as a teenager with a sure touch, switching effortlessly between innocence and a gradual hardening.

Olga’s final sequences suggest a hope for the future, but there is an underlying irony to the superficially-peaceful imagery, rendered horribly prophetic in the current moment.

By interchanging bawdy gaiety and a ponderous attitude to emphasise the film's spiritual message, Calvary feels extremely disjointed, struggling to balance its dualistic tone on top of its oversized ensemble cast.

For all its misdirection and confusion, Apples reaches a conclusion of unexpected emotional weight. An intelligent and clear-sighted piece of filmmaking, it is a highly accomplished first directorial outing by Nikou.

It's been some time since a drama has tackled the moral complexities of revenge quite so brutally - and so well - with each character offering a different perspective on China's crippling corruption and ethical decay that's depressingly common, yet rarely reported.

It has a powdery dryness, a sly wit which is indeed beguiling.

This deeply felt Paraguayan drama shines a light on the nation’s fractured identity by crossing numerous generational and class divides.

This is pop-punk filmmaking – vibrant, disposable, and shallow. Still, it’s difficult to care about the nutritional content of your confectionary when it tastes this sweet.

It is a demanding watch, but at the same time, Alonso's latest has a bizarre, beguiling quality which drifts towards the sublime even if it never quite gets to its destination.

Amongst the swearing, past gripes and resentments exhibited by wearying central players there is humour, compassion and a great deal more heart and soul than we have come to expect from the rote, by-the-numbers dialogue of Marvels past.

Close’s performance here surely must finally provide her with the Oscar she has deserved for so many years; the suppressed resentment which slowly builds up on her face steadily throughout the film is a masterclass in screen acting.

To follow-up a successful film is a daring achievement in itself, but to surpass it is something else, and that’s what DuBois does here.

A mix of Loachian social realism and Death Wish-style violent fantasy.

For Herzog it is people that matter and he's just as fascinated by Elon Musk's gazing at the stars as those battering their keyboards or avoiding them altogether.

All Light, Everywhere is, most importantly, a history of our technological attempts to offer objective views of the world. But instead of charting our striving to capture of reality, what is revealed is its fabrication.

Russell is the magnetic epicentre of a much broader contemplation on the nature of being, creation and self-truth at a time of peace and love.

It’s the committed turn from Day-Lewis and Hanif Kureishi’s socially-astute, Oscar-nominated screenplay that manages to compensate for the film’s technical shortcomings, alongside the (then) landmark casual representation of a gay relationship on screen.

Maggie's Plan is over-educated satirical skewering at its finest - to be enjoyed at leisure, between symposia perhaps, or other perambulatory Manhattan-style discussions of crypto-narratives in the modern family unit.

Kent, who gathers a cast of extremely bright young things, creates a drama that glides with sorrowful grace, pitching at a respectful and tear-inducing tone.

Sid and Nancy rages with a vitriolic fury which eventually becomes tiresome.

Oldroyd has made a film here that's incredibly tied to its nineteenth century setting, yet modern at the same time in the way it addresses femininity - more importantly, the power women have no matter how they're viewed by society or expected to behave by their male counterparts.

Guardians of the Galaxy is undoubtedly a flashy space opera, but if you are on board with that, it's a resounding success that takes a seat at Marvel's top table and suggests there could still be life after The Avengers.

John Frankenheimer’s 1962 film is a stately and moving depiction of the man’s capacity for dignity and improvement.

Kreutzer employs a variety of subtle anachronisms – servants wearing modern glasses, a concrete wall here and there – to allow herself and Krieps the freedom to introduce a modern sensibility that sticks a middle finger up at the polished production design of most films of this genre as casually as Elisabeth does at the decorum of her courtly life.

The rage that fuels Singleton's film is harnessed to great effect, he shows the reality, and while it builds to a melodramatic conclusion, it depicts life at its most raw.

Most importantly, Red Rocket is a humane comedy, a portrait of romantic douchebaggery and an America of flailing last chances.

Their Finest by no means reinvents the wheel but in the hands of Scherfig - who previously directed An Education - it looks wonderful, has enough substance to back up its gleaming charm and is a very enjoyable period piece that wears its heart and intentions firmly on its well starched sleeve.

Uneven, convoluted and laden with far too many twists and turns Creepy sadly struggles to balance both terror and suspense, with any intrigue dissipating long before the film's secrets are eventually unravelled.

[Bahrani's] created a complex and thoughtful political drama with the speed and tension of a good thriller.

Not only does it represent some of Sorkin’s best work for years, but in this time of civil unrest and with the dark clouds of November nearly upon is, this reminder of the right to resist the state could not be timelier.

In all this, there is an implicit if undeveloped criticism of the way that power and capital are so often the spoils of posturing masculine insecurity.

The period atmosphere isn't alive with bold ideas as much as decay.

This western-tinged, visceral Icelandic drama deserves as large an audience as possible.

Nathaniel Kahn’s The Price of Everything certainly doesn’t hold back in its skewering of a contemporary art world defined far more by financial gain and status seeking than a genuine love of beauty.

Calibre is a thriller, but one that’s rooted in reality rather than the fantastical or absurd; edgy and tragic.

The Temple’s antics are a hilarious middle finger to the establishment, while, their stand against hypocrisy and the Evangelical Right’s blatantly theocratic mission to take control of the levers of power feels vital.

A dark and slightly hysterical portrait of fundamentalist fever.

A stylish and fitfully engaging crime thriller with a great concept, let down by incoherent plotting and impenetrable characterisation.

The slow burn lead-up may not be to all tastes, but if you can tune in to its broadcast frequency Midnight Special will shine its light on you too.

Stevens is excellent both as the cordial house guest and the brooding time- bomb ever present beneath his earnest veneer.

The editing might be unexpected, unconventional, a bit annoying, but it is also very smart. Creating as it does a vital tension between plot and theme, pushing the two characters unrelentingly towards an event horizon and black hole denouement.

The Wonders is a complex and nuanced illustration of a family trying to live by their own standards - whilst only partly failing. Rohrwacher's vision is tactful and restrained, with so much we don't ever know. The characters' histories are there to be guessed rather than spelled out.

Wonder Woman is not a great film, nor is it the feminist glass ceiling-smasher that many had hoped for. But after the offensively stupid Batman v Superman: Dawn of Justice and Suicide Squad, Wonder Woman feels nothing short of revelatory.

While not amongst the greater, more celebrated titles in Billy Wilder’s acclaimed filmography, his big screen adaptation of Agatha Christie’s Witness for the Prosecution boasts a fine, scenery-chewing performance by Charles Laughton, here playing a cantankerous barrister defending a murder suspect.

Exploring the powerlessness an exasperated Diana (Kristen Stewart) must confront when faced with Windsor tradition, expectation and hypocrisy, a single weekend in the country is the epicentre of a far broader story, the shockwaves of which ripple through space, time, mind and soul.

Everything seems designed to disturb or perhaps infuriate the viewer.

Though there's an awful lot to be admired - not least an enormously impressive soundscape - The Revenant ultimately lacks the nerve-jangling thrills or the spiritual resonance that it strives for.

With little action taking place for the majority of the film, this slow boiling story is more of an insightful character study than a heart pounding thriller.

What keeps Green's film just about on the right side of rote is a trio of solid performances, a sensitive, fair portrayal of Jeff's relationship with Erin with some standout scenes between the two, and a focus on the personal over the political.

The Dance of Reality is a rich and expressive new offering from a man who has always tried to sculpt something resembling cinematic poetry, whatever that might look like.

This is a film of ideas, but it's a comedy first, and its boldness is that it doesn't aim to address a pro-choice or pro-life stance - it's about Donna just getting on with it all the same.

This is a brilliantly contained and sublimely ridiculous send-up of competitive male egos from a refreshing female perspective.

One of the major successes of A Place in the Sun is the way it delicately obfuscates the distinction between romantic longing and personal ambition.

Though the slow, blurry-edged stupor of Shirley will not be to everyone’s tastes, it cannot be denied that it examines its subject, and a rather tired genre, with feverish, dreamlike fluidity rather than rigid biography. That, and Moss’ enthralling lead performance, are Shirley’s chief accomplishments.

Yes, it is pretentious. But pretension is also about ambition and this is cinema that is willing to kick out the lights.

With its surprising narrative twists and handsome visuals, Black Souls ends up being a far more original take on the Italian organised crime drama than first thought.

Serraille avoids every miserablist cul-de-sac and tries for something much more radical: optimism.