With his first big screen endeavour, Patrick, Peaky Blinders director Tim Mielants has crafted as unusual an exploration of grief and loss as you are ever likely to see.

We can all look forward to Hollywood completely dropping the ball with its inevitable remake, but until then, Train to Busan is the year's best genre offering by a zombie mile.

Despite a delicate handling of Kyle's internal struggles on home soil, deeper complexity appears to lie just out of frame throughout.

The haunting supernatural forces at work in Never Gonna Snow Again are elusive, inexplicable and yet perfectly in sync with reality.

Kline perfectly captures the out-of-jointness of our age, defined by a generation caught by social and economic decline in a state of permanent instability.

There is something of Scorsese to this rise and fall of a criminal family and Trapero crams The Clan with life.

The funniest Spider-Man film yet, Homecoming is a true teen flick, its visuals full of colour and exuberant movement.

It's a film that prompts an overwhelming emotional response as it weaves its dark magic.

Few American directors capture the contemporary urban nightscape as well as Fincher: a supreme genre filmmaker, which makes this perfectly fine film so disappointing.

The Ivory Game depicts humankind both at its deplorable worst and at its best. Its burning images will sear through conscience and consciousness but there is faint hope in the lasting hoof-print they leave.

Most importantly, Appropriate Behaviour is funny, and not just sporadically entertaining, the film is a riotous series of mishaps from start to finish.

For all the glib élan on display, there is very little being said, above and beyond the slickness of a well-tuned melodrama. The plot always risks revealing its essential silliness and there isn't much wit or humour to alleviate the mood.

This biopic is a well-mounted and handsomely shot study of men obsessed by their work, but never fully hits top gear.

Girl is an extraordinarily moving film.

There is much to enjoy here - especially at the beginning - and Östlund's ambition and vision are to be applauded. However, The Square would have been greatly improved had the director taken his scalpel and his demanding critical eye and applied it to the film itself.

The Club is an enthralling parable that's calibrated to shock and amuse in equal measure.

Journey’s End is a worthy adaptation, offering a sombre psychological depiction of innocence lost.

Louis Black and Karen Bernstein pay warm tribute to the filmmaker in what is a fitting ode to independent spirit more than a penetrating portrait.

Andrésen became an overnight worldwide sensation and, through the lens of documentarians Kristina Lindström and Kristian Petri, an object lesson in the exploitation of children by the entertainment industry.

Ghost Protocol is action fluff, and on that level alone it works well enough.

First-time writer-director Blerta Basholli’s feature is an expertly crafted, compassionate testament to the perseverance and defiance of its courageous female collective.

Though not without merit, Cold In July finds Mickle happily stalled in front of the drive-in cinema screens of his youth. Let's just hope he can find the exit.

Through this absorbing, sometimes disturbing documentary, Spender reveals much about Italy's underworld, as well as the people's passion for spectacle, their machismo, pride and their rivalry.

Zlotowski's Grand Central is a fascinating film on an urgent and seldom-explored situation.

Despite its bland paperback title, French writer-director Stéphane Demoustier proves hasty assumptions wrong with his gripping, thoughtful third feature, courtroom drama The Girl with a Bracelet.

Fire Will Come is of an enigmatic and poetic cinema, borne of fierce, barely-contained vision.

As you'd expect from an actor-director of Amalric's pedigree, the performances are brilliant throughout and Mathieu himself has a wonderful eye for the telling tick and/or the revealing gesture.

Chief in CODA’s achievements are the dynamics of the very close unit at its core. Coming away from the film, there is the sense that this could very well be a real family.