This is a brilliantly contained and sublimely ridiculous send-up of competitive male egos from a refreshing female perspective.

It's impossible not to be sucked into, but it's equally impossible not to imagine how much more significant No Home Movie might have been.

Sherpa tells of a contemporary act of defiance which would undoubtedly bring a characteristic grin to the face of the forefather of modern climbing.

Despite the best efforts of the filmmakers, In the Heart of the Sea is a few knots away from being the transformative cinema experience intended.

Both tender and hilarious, Sisters is a raucous romp and complete catnip for fans of Fey and Poehler.

Directed by Sean Anders, the film goes out of its way to contrive its central masculinity crises in ways that quickly settle for lame, lowest common denominator jokes.

The Force Awakens barrels back into Lucas' 'lived-in' universe with inextinguishable energy and boundless joie de vivre.

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

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

Gomes has created something truly unique and remarkable; a rally cry against the powers that have choked the fire out of his country and a love song to those he sees rekindling the flame. Its constituent parts may not be perfect, but what a stunning whole.

Hard to Be a God is a cinematic behemoth, an unshakable monochrome nightmare of squelching bodily discharges that inhabits a world so noxious you can almost smell the pungent deterioration of humanity as it spews forth from the screen.

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

Dark Horse is a relentlessly pleasing film that has all the satisfying hallmarks of a Rocky-like underdog tale with the added value of being true. While one suspects a feel-good studio adaptation won't be far off, the real story is a worthwhile bet.

Brilliant and moving stuff; another hit for Abrahamson.

Adopting a laid-back, effortlessly charming approach from the start, Moomins on the Riviera drifts through its short but sweet run time at a welcome pace.

The aesthetic, tone and performances result in a package that sits alongside similar Hollywood fare comfortably. However, in an industry that demands even the most famous spies to try something different, Nalluri's film never stands out.

The Good Dinosaur is up there with Toy Story in terms of its technical achievement and for providing an equally heart-touching, emotional tale.

With Catching Fire, director Lawrence certainly isn't afraid to bide his time and build anticipation for the truly spectacular (and tropical-tinged) Quarter Quell, patiently reestablishing crucial relationships for maximum dramatic pay-off.

The Hunger Games looks poised to usher in a brand new hit franchise and deserves all the credit it gets for its confrontational subject matter, delicately-orchestrated fight sequences and sci-fi sensibilities. For teen audiences, films don't get much darker - or smarter - than this.

The deft and highly emotive handling of his condition and the wider ramifications of his story make The Dark Horse a lot more than merely the against-the-odds chess story that it may initially appear to be.

Poetic realism for a digital age, Tangerine also shares a lot of qualities with the cinema of Mike Leigh and Ken Loach. There's no cheap manipulation here and Baker's characters never come across as victims.

The brutalisation of three female characters is horrific, but it would be a presumptuous leap to suggest the film itself flexes a misogynistic creed. Such assertions would woefully misconstrue Bakhia's thematic subtext, which is an examination and comment on the male mind warped by patriarchal thinking and a manipulative form of self-exculpation/cowardice.

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.

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.

Seidl is a filmmaker of both talent and merit, but the blatant manipulation of his subjects and the nakedness of his own intentions and dribbling fascination make In the Basement irrelevant as a comment on Austrian society as a whole, and only passingly interesting as an unsurprising picture of what some very odd people do in the privacy of their own homes.

You may have casually leafed through one of the photographer's books in the past, or even visited a gallery of this work, but this documentary is a must-see for anyone who has ever expressed an interest in this fascinating figure (and for those keen to witness what life is like on the other side of the lens).

Hotel Transylvania 2, much like its predecessor, never aims too high, so the fact that it comes as such a pleasant surprise makes it all the more entertaining.

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.