Uncut Gems is not only one of the tightest, tensest American thrillers of recent years but also a fine addition to the New York-set movie canon.

Structured in parts like a thriller, Sweat is truly most successful as a character study, while its representation of social media gives rise to a nuanced understanding of contemporary anxieties over isolation and intimacy.

With The Homesman, Jones has produced an original and cantankerously offbeat western which becomes increasingly beguiling as the road stretches on.

Evolution more often chimes aesthetically with a European arthouse drama, but that is only until it voyages into more fantastical territory. Then this haunting and esoteric work manages to seduce and repulse in uncanny harmony.

It's a banana flambé with extra rum that brazenly throws together folksy storytelling, arch soap opera melodrama and a typically eccentric cast into a golden Hollywood crack at the American Dream.

Their Finest by no means reinvents the wheel but in the hands of Scherfig - who previously directed An Education - it looks wonderful, has enough substance to back up its gleaming charm and is a very enjoyable period piece that wears its heart and intentions firmly on its well starched sleeve.

With wit, grace and a sincere affection for the town of his birth, the writer-director explores the people and stories that populated his childhood.

In the genuinely shocking and surprising third act, it wades deep into the moral shades of grey at the story's core and comes out the other side with no easy solution.

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.

Diaz's From What Is Before is an enthralling, thought-provoking, elegant and tragic wonder.

Told with tenderness and honesty, Cicada is a treatment of trauma that does not judge or preach or take sides, but, in building to its breathless crescendo, goes to show just how much courage it takes to confront the past in order to look to the future.

Hers delivers a hard lesson about the healing power of love and acceptance with simple and unsentimental eloquence.

Morgen presents a sense of Bowie as a man who is in search of himself and who, through philosophy and a bold commitment to art, finds his wisdom.

Pleasure is not a morally proscriptive film and seeks neither to venerate nor condemn pornography, but to depict its hollowing effect on those who make it. The film’s title is not accidental; at a time when porn is freely and ubiquitously available, the price of gratification may be cheap, but there is always a cost to be paid.

Skillfully mixing elements of horror while never alienating its core PG demographic, The 'Burbs also benefits from a wonderfully playful score by the late great Jerry Goldsmith. While the film bottles it slightly at the end with the obvious, neatly-tied-together resolution which would have benefited from maintaining an ambiguity, the enormous sense of fun established by Dante and his cast in the run-up more than makes up for any shortcomings.

The result is a beautifully entertaining film. It is witty and the scenes between Gerwig and Pacino fizz alternately with flirtation, humour and occasionally rage.

Finding Dory is as entertaining, soul enriching and bittersweet as any Pixar production to date.

Gere does a fantastic job of embodying this broken man... It's an incredibly moving performance that lends Time Out of Mind emotional weight and anchors this contemplation of a man adrift in a world that doesn't appear to care.

Polley is not especially subtle in her allegory, and nor does she need to be: the exceptionally well-made Women Talking gets to the point in its sheer, righteous invective.

One of Birds of Prey’s great pleasures is that it tells a Gotham story without having to tell the Gotham story: the adventures of Harley Quinn and associates are not at the centre of some grand narrative, and they are all the better for it.

System Crasher is the outstanding feature film debut of German director Nora Fingscheidt. A tremendous slice of life filled with light and energy, which doesn’t shy away from the tough realities of what social care is like for children with severe developmental issues.

Not only is The Voices uproariously funny throughout, but it's actually far cleverer than one might expect.

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.

As blades pierce flesh and Carpenter’s iconic theme swells, the film wrestles with provocative imagery it’s not entirely in possession of, but which is nevertheless rich and layered with meaning. Whether transcendental, idiotic or both, the effect is overwhelming, a catechism for a series that has defined modern horror.

If we allow ourselves - as Scorsese asks us - to place ourselves in the shoes of these priests, then we have a graceful film of stoic power, which wrestles with the very nature of faith.

Unveiling personality traits previously unknown, alongside footage that’s captivating to observe, this lovingly constructed documentary will leave you with a fresh appetite to revisit Bergman’s filmography in as much detail as presented throughout.

All of the film is handled in such a way: from the beautiful monochrome photography that only extends the disconnection Olga feels with the world, to the understated and haunting performances, particularly Olszanska's.

Black Coal, Thin Ice is a majestic neo-noir.