Ferrara's Welcome to New York is a savage work that's easily one of the best films of the year. [Unrated Version]

A rollicking masterclass in escalating tension.

22 Jump Street is hugely successful in retaining - and in many instances, improving upon - the qualities of it predecessor and pitching some jokes that will still have people chuckling for days afterwards.

Amid the allusions and collisions, jump scares and very close calls, the thrills and spills of A Quiet Place Part II are elevated by its strong performances and a director with a keen eye for this intelligent genre piece whose broad appeal makes for another sure-fire hit. Take a deep breath, and enjoy.

The film’s doggedly chronological structure – at odds with its ostensible privileging of psychology over history – sometimes leaves its personal observations feeling superficial.

This version of Emma. is unlikely to win any accolades for invention. Indeed the 1996 film Clueless arguably remains the most exciting version of Austen’s novel. Nevertheless, de Wilde’s version is a confident and lively translation of Austen’s wit on to the screen.

Artfully, his films tracks the tragic decline of a good man gone bad, who finds murder too insignificant not to do again and again, a worthy addition to William Shakespeare's ever growing filmography.

Though it is clearly a work of great empathy and respect, Bobby Sands: 66 Days takes pains to offer alternative perspectives and as such makes for a richly textured and complex portrait of man, myth and movement.

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

What we’re left with is a sort of Blairite middle-ground where punches are pulled and no one really comes in for too much flack. Where’s the fun in that?

Eternal Beauty, whilst it is not entirely devoid of cliché, provides a much-needed, deeply human alternative to the noisy and tragic narratives about hallucinatory derangement, terror, and victimisation that we may have come to expect from films about madness.

Teemu Nikki's Euthanizer reveals itself to be an affecting examination of cruelty.

It is evident that her art is what she has used to plough through the attendant difficulties – lack of success and recognition, mental health issues – of the life she chose for herself. And as the documentary confirms, she has indeed been rewarded for it at long last.

With Sorkin's signature whip-crack dialogue driving an astonishingly assured directorial debut, Molly's Game is an exhilarating, superbly crafted crime drama.

Makala examines the tribulations of desolation and solitude with such respect that it’s impossible not to feel compassion.

One feels its subject would have admired the boldness of its conception, if perhaps not its overly slick execution.

Tender, charming and made with substantial care, Next Goal Wins celebrates the cliché that it's not about winning, but the taking part.

Francofonia is a chatty and occasionally brilliant rumination on art, history and death.

Although Mavis! doesn't quite have the same scope as the extraordinary vocal range of its magnetic, all-round wonderful subject, her zest for life, exuberance and good nature have clearly rubbed off on Edwards and it's likely they will on audiences too.

With so many elements working on such a high plain, it is ultimately a shame that The Theory of Everything remains a formulaic biopic with a scope far narrower than its subject. Still, it broaches universal themes through the story of a man who studies the universe, and succeeds in being a life and love-affirming along the way.

Involving and well made, rather than something flat-out great and essential.

The pacing and lack of incident may detract from the overall emotional investment we have for Horvát’s latest, but in its construction of a murky intrigue, composed visual style and Stork’s exceptional performance, there’s enough to make the journey home to Budapest a worthwhile visit.

A delight; a silly B-movie with a smart script and an amusing anti-authoritarian undercurrent.

The film is a compelling, concerning artefact which shows demagoguery in action, without coming across as heavy-handed.

Shazam!’s candy-floss sweetness rarely fails to hit the spot.

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

There is a vitality and a quiet defiance to this kind of filmmaking that is difficult to resist.

Vesper is throughout a gripping post-apocalypse fable. Despite its mythological derivations, Buozyte and Samper’s world, grounded in blood, mud and viscera, is often uncomfortably close to our own.