A vital and timely missive to a new generation that is as sobering as it is uplifting, all built around a performance of astounding accomplishment.

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.

A solid, stark, cheerless rendering of hard-boiled storytelling. It’s historical filmmaking at its most candid and its most pragmatic.

Benedetta has its cake and eats it, with gratuitous nudity and violence offered up to the audience as a base feast for the eyes. Yet in this indulgence, Benedetta eschews simplistic moralising in favour of a complex vision of female sexuality that is as problematic as it is compelling.

Vinterberg's Far From the Madding Crowd is a wondrous feat: at turns tender, dramatic, fragile and bold, it's the definitive adaptation.

Underground is bravura filmmaking at its most entrancing and its labyrinthine political context only serves to heighten its fascinating appeal.

Joseph L. Mankiewicz’s The Barefoot Contessa is at once a deeply satirical depiction of Hollywood and a sumptuous saga of the rise and fall of a star.

Gripping and sincerely moving from first to last, Mass is exceptional filmmaking all-round from Kranz and a stellar showcase for the talents of Plimpton, Isaacs, Dowd and Birney.

It’s all over in the blink of an eye, but Lovers Rock is a party you won’t ever forget.

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.

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.

A poignant study of gender politics enshrined within an anthropologically fascinating drama.

Border is a piece of modern gothic, a far out midnight movie which delivers on the WTF-ery while maintaining a surprisingly big and generous heart.

Riccobono neither condemns nor sympathises, maintaining a commendable neutrality, as his subjects frank testimony paves the way to jail cells.

A harrowing but necessary insight into what the first Allied troops met as they stumbled upon the nightmare of the Holocaust.

Sound of Metal is an astonishing accomplishment for both its long-nascent director and its British star, Riz Ahmed, for whom his turn as heavy metal drummer Ruben represents a career-best performance.c

The script is well-paced and packed with twists and turns that offers little in the way of respites to the beautiful mayhem. The characters, too, are wonderfully realised through the performances from the entire cast, each making a big impression no matter how long they're on screen.

I Love You, Daddy is a hilarious, awkward and boundary-pushing comedy about fatherhood, anxiety and the ethics of relationships.

For fans of samurai cinema, 13 Assassins ranks right up there with Yôji Yamada's The Twilight Samurai (2002) and Takeshi Kitano's The Blind Swordsman: Zatoichi (2003) as one of the finer additions to the sub-genre in recent years.

This is fan service elevated into an art form, transcending winking self-aggrandisement to become something of a reflection on the past eleven years, a chugging, tooting, spectacular train of a franchise, careering indefinitely forward.

It won't be for everyone by any means, but Captain Underpants: The First Movie would be easy to overlook as another kids-only waste of money. But that's not the case. The film subverts this every step of the way and constantly turns in new, unexpected directions in order to surprise and entertain its audience from the start to the end.

The human drama isn't always as compelling as it wants to be, but at its best Godzilla is a hugely entertaining blockbuster that starts strongly and finishes with a mighty roar. The king of the monsters has returned, and it appears he's here to stay.

Jason Lei Howden's directorial debut is primed for unalloyed genre thrills, making you laugh until your sides hurt and subverting the rom-zom-com format.

What Kore-eda wants to convey to his audience is that good and bad are never absolute, and that good and bad themselves have a reality above and beyond that of man-made laws.

Grander in scope than any of Villeneuve’s work yet, Dune is proper, ambitious blockbuster filmmaking for grown-ups.

The Duke of Burgundy lingers long in the mind and cements its director's much-deserved place as one of the most exhilarating currently at work.

Tracing ambivalent pasts and ambiguous futures, Monsoon grows into a brooding portrait of immigrant displacement – one marked by a ceaseless yearning.

Over 60 years since its initial release, On Moonlight Bay remains a fun and charming snapshot of classic Hollywood.