Lucy feels like the work of a filmmaker who has recovered his mojo.

Director James Wan has delivered what should rightfully be considered his masterpiece. There is a breadth and scale of ambition at work, which really tops anything he's tried in the genre before. Most importantly: it's a resounding success.

All Light, Everywhere is, most importantly, a history of our technological attempts to offer objective views of the world. But instead of charting our striving to capture of reality, what is revealed is its fabrication.

No film of Lee’s would be cut without portraits, cross cutting, dual images or his iconic double dolly shot. All featuring heavily, these practises of his style come to elevate the genre filmmaking to new heights.

Once Upon a Time in Hollywood is bold, beautiful and brutal. It’s Tarantino’s best film since Kill Bill, perhaps even since Pulp Fiction.

One of the major successes of A Place in the Sun is the way it delicately obfuscates the distinction between romantic longing and personal ambition.

Although 12 Angry Men dismays at human weakness, it is fundamentally an optimistic film, celebrating reason and basic human decency in equal measure. In an era when both seem in short supply, Lumet’s film is a reminder that there is never a bad time to stand up for what is right.

Carell, in a rare but not unique departure into drama, proves himself as accomplished at tragedy as he is at comedy.

Tati’s second film, Les Vacances de M. Hulot sees the birth of the everlasting character of Monsieur Hulot, he of the trademark pipe and umbrella.

This is Barbie on absinthe.

Nomadland, with its beautiful simplicity, and wonderful performances, manages to be an elegant, profoundly moving film which shows the real value of living, rather than just surviving.

With The Irishman, Scorsese offers us his first truly autumnal film – a picture about age’s slow, inevitable decline. There are the signature dolly shots, the period pop music, the bursts of brutality, but there is also a frail melancholy we have rarely glimpsed in even his statelier films.

An exercise in assigning valuable historical context to scenes of brutality, Concerning Violence is a lesson in understanding a continuing colonial condition, the roots and complexities of which are often concealed and simplified by news coverage of poverty and conflict.

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.

Apollo 11 exceeds all expectations of a seemingly rudimentary documentary on a well-trodden subject. Sitting at a neat 93 minutes, its balance of wonder towards our scientific achievements, whilst maintaining a present tense format, leaves one feeling you have witnessed it all in a wondrous experience.

At 82 minutes, this is a brisk but hugely powerful work that is cinema of the oppressed par excellence.

Sachs' extraordinarily humane knack for emotional restraint echoes throughout Little Men. And it is all the more profound for it.

Throughout, Ozu strikes a touchingly profound note whilst imbuing proceedings with his usual playfulness.

The Driver is a film of types and trends; a cinematic expression of our basest narrative impulses. Directed with remarkable economy, the seasoned Hill keeps everything as tight as possible.

Asbæk is towering as Claus, never less than believable as the leader of his platoon, and standout as he comes to terms with the cracks in his own story.

In his astonishingly assured debut feature, French playwright-turned-director Florian Zeller handles the mental decline of an elderly man with sensitivity and insight.

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

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.

Fox and Bogarde bounce sharp dialogue back and forth and are captivating as the psychosexual tension increases between them. Through subtle visual clues Losey artfully blurs sexual boundaries to create one of cinema’s most memorable relationships.

Wang's film is as bewildering and heartbreaking as it is insightful, in its depiction of the daily existence of the institution's residents.

An unmitigated masterpiece from start to finish, Carné’s epic love story through Parisian theatreland feels as fresh and effervescent today as it must have done on its initial release, brimming with perfectly-sculpted heroes, villains and wildly imaginative set-pieces.

Panahi’s courageousness as an agitator is matched only by his inventiveness as a filmmaker.

A joyous, hazy and nostalgia-inflected romantic drama.