Urging us to grin in the face of impending death, Truman handles grim material with grace, humour and the honesty of two old friends who tell it like it is.

Bryan Fogel’s new documentary painstakingly – and painfully – traces the moments up to and following Khashoggi’s murder.

The individual tales meanings are obscured by wavering tone and formal gymnastics.

Godzilla Minus One is a monster movie of singular power, using horror-infused kaiju spectacle to deliver an emotionally compelling story of grief, wartime trauma, and hope. Most importantly, its genre-leading visual effects scenes are complemented by richly soulful performances and humane themes of reconciliation and redemption.

Austere, emotionally taciturn and with shades of Bergman, Dreyer and Jan Troell’s The New Land about it, Godland is the Icelandic director’s most accomplished work to date.

Even at a hefty 140 minutes, Bridge of Spies maintains a solid pace. Spielberg's mise-en-scène and the streamlined editing of long-time collaborator Michael Kahn are tremendous.

While Duarte and Stockler’s deeply-felt turns anchor the film from drifting into simplistic sentimentality, Hélène Louvart’s sumptuous cinematography elevates the script’s high-flung emotion with spaces that are often dreamlike; light is tangible like a haze, colours deep and tactile, and characters are glimpsed and doubled through screens, glass and mirrors, and Benedikt Schiefer’s classical score tenderly fills out and gives detail to the broader emotional brushstrokes.

The result is a formally loose, but dizzyingly dense and morally forthright examination of national attitudes and the myopia of nostalgia told through ranging meta-constructs and highfalutin debate.

Carell, in a rare but not unique departure into drama, proves himself as accomplished at tragedy as he is at comedy.

Arabian Nights may frustrate and enervate, but with hindsight these blemishes fade into a gleaming collage.

MLK/FBI is an insightful, adroitly constructed documentary which seeks to mine new truths from a recent, tangible past. Filmmaker Sam Pollard pits the aspirations, endeavours and character of a great, but flawed humanitarian against the racially-driven, underhand tactics of a tyrannical government organisation.

Larraín is as good at navigating the treacherous waters of internal White House politics as he is capturing the moments of intense, if numbed, private suffering.

As a purely aesthetic cinematic experience, Beginning will surely number among the best of the year.

The choice of casting Bowie as Newton is inspired - the androgynous star perfectly suiting the role of the space visitor. Bowie - in his first silver-screen appearance - excels, creating a perfectly suited sense of tragedy and melancholic ambiguity.

Andersson packs his film with thought-provoking deadpan humour.

In its depiction of a part of Europe struggling to keep up with neoliberalism, R.M.N. exposes the dark mirror of liberal, globalised western European metropolitanism.

A hilariously louche and ramshackle psychedelic noir, Inherent Vice is an audacious stylistic leap for Anderson, but his risks pay off beautifully. It's an amazing work, capturing the heady vibe of Thomas Pynchon's novel while stumbling into in the great cinematic lineage of California noir.

Tim Wardle engagingly recounts the fascinating story of a set of triplets who were separated at birth and reunited through coincidence when they were 19. The telling however slowly takes a darker turn as facts around the original separation are probed and frightening truths about science and human intent come to the surface.

An acutely observed and frequently heartbreaking documentary.

Testament to both the filmmakers and a great woman now seemingly at peace with her long and difficult past, Tina is a documentary well worthy of its star, an untamed, unparalleled force of nature.

An expertly handled plot, interweaving lives, coincidence, past trauma and circumstance, is concerned with far more than mere bloody vengeance. Five years since the delirious oddity that was Men & Chicken, Jensen gets members of the old band back together for a thrilling, poignant film which sees writer-director and cast on top form.

Taking its cues from the cinema of Dario Argento and Italian horror, In Fabric, gives audiences the best British horror film since Don’t Look Now.

Us is a true genre flick, polished to a fine degree, a pure distillation of the essence of horror cinema.

Not only is the film a compellingly told tale of suspense and terror, but it's crafted with such precision and sense of timing that one can cry "Masterpiece!" without being shamefaced or wondering if a hyperbole-induced crime against all good sense has just been committed.

Drawing from the style of Chinese ink brush paintings, and aided by the rain that pours constantly, the film has a watery, fluid look and texture, each exquisite frame a moving painting.

With Blood of My Blood, Bellochio has made a film about how resilient evil, corruption and human stupidity really are.

Skyfall drips in the legacy of Bond, standing tall as an action-packed swansong to Britain's best loved hero of recent years, whilst also showing a great deal of affection for the decades of movies that have come before.

It's how the film handles grief and alienation which makes Marina's story so compelling.