An adroit, and trashy thriller leached of all its significance by a plot that spirals uncontrollably into lunacy, Unsane takes the feverish temperature of a country enraged by sexual harassment and decides to turn up the heat.

The Green Fog is part city symphony, part playful tribute; but primarily an example of pure, unadulterated cinematic delirium.

Other than a sinking feeling, there’s not much else The Chamber is going to give you.

The film is packed with laugh-out-loud moments, full of deadpan observations – a quintessential Anderson touch – and exciting sequences.

Ryan Coogler’s Black Panther is the film that will change everything. When you see it, you know that from here on in, everything will be different. Whilst a Marvel story through and through, fitting perfectly into the MCU post-Captain America: Civil War, Black Panther stands alone as a masterpiece of filmmaking.

It’s an assuredly thought-provoking film that’s earnestness doesn’t drag it into the weeds, concluding with a wholly deserved, humanely warm resolution.

As moving and timely as The Final Year is, it doesn’t quite hit these marks.

Thankfully, some typically rich voice-acting and a plethora of visual gags help to gloss over a number of uncharacteristic stumbles.

A slow-burning drama about slavery in all its forms, this austere, visually striking film combines a harrowing period of Brazilian history with devastating accuracy of emotion.

Rian Johnson’s film is the real deal, a bold, risky venture unafraid to tell its own story, freed from the weight of nostalgia and formula.

Though Mudbound represent a period of injustice consigned to history, its examination of a toxic, racist masculinity stuck in the past could hardly be more relevant today.

Where Snyder’s previous film at least tried to consider the ramifications of Gods living among us, Justice League is about nothing other than the vapid, commercial need to make a Justice League film.

It is told with characteristic precision, compassion and determination by its prolific director.

It's triumph is its determined optimism, even if it admits that is probably a fantasy. It's a tale of the fallen who, like Moonee's favourite tree, keeps on growing regardless.

The pacing of Meyers' film sometimes drags a little but like a slow-moving training heading for the end of the line we can see the danger ahead and are powerless to prevent it. This frustration, and a gripping central performance, make My Friend Dahmer a film you can't pull your eyes away from.

The first Paddington was a joyful and somewhat unexpected treat, and the sequel is no different.

Delighting in the ancient tradition of storytelling as a means of education and understanding as well as entertainment, Nora Twomey's The Breadwinner is a richly animated jewel.

Di Giacomo doesn’t build sequences to heighten tension, although some is unavoidable. Often, the film follows the relatively mundane work of the Franciscan Father Cataldo Migliazzo, the film’s primary protagonist, and the otherwise everyday lives of those who come to him for help.

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

Impressively, Waititi manages to retain his unique brand of humour while fulfilling his obligations to the franchise with Thor: Ragnarok.

Blade Runner 2049 is not a perfect film. The pace occasionally puts the plod in the procedural and some story elements are introduced only to drift away to the land of possible sequels. But Villeneuve has created a genuinely thoughtful piece of sci-fi which escapes the gravitational pull of its inspiration to become something - to paraphrase Dr. Eldon Tyrrell - more Blade Runner than Blade Runner.

Though Day may remain silent behind his camera, an omnipotent narrative voice lends The Islands and the Whales a folkloric, ethereal quality that alludes to the importance of legend and tradition for the Faroese people who for 1000 years, since the time of the Vikings, have "relied on the seas for its livelihood."

There's a lot that's wonderful about Andrei Konchalovsky's Holocaust drama Paradise and yet there's something fundamentally wrong with the film.

Una is undoubtedly a difficult watch, and its moral ambivalence may be beyond the pale for some. But the sensitivity with which it treats its subjects and the nuance that the film brings to the most incendiary of debates is admirable.

A deeply felt, loving tribute to a truly remarkable woman.

The Leisure Seeker is dry-eyed even at its most moving and a celebration of love even as it reaches its end.

It is difficult to work out what to dislike most about Victoria and Abdul: the literal foot-licking or the cliché-ridden plot, but the greatest shame is the waste of a genuinely fascinating piece of history and a world-class Judi Dench performance.

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.