A great deal of love, intelligence and effort have gone into crafting a more mature rendering of the Wizarding World, where pertinent themes of segregation, racism, international politics bubble in the narrative cauldron.

A unique and beautiful boxing movie.

A handsomely crafted, yet overacted revenge tale with a broken moral compass, Prisoners fails to build upon its taut atmosphere of suspense with anything of particular social value.

Zootropolis is a real delight - an entertaining and endlessly inventive comedy and something with more insight than anyone could have anticipated.

Biller is an eccentric talent - always a plus in the world of film - and The Love Witch is a triumph of form and style.

Nair gets the very finest from her cast and although like Phiona we can see a number of moves ahead, the director's graceful, heartfelt retelling of this miraculous story makes Queen of Katwe a wondrously uplifting film.

There's something deeply unsettling about the unstoppable, magma-like flow of Werner Herzog's Into the Inferno.

For Herzog it is people that matter and he's just as fascinated by Elon Musk's gazing at the stars as those battering their keyboards or avoiding them altogether.

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.

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.

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.

This is a timely and necessary reminder of Trump's practices, but like Michael Moore's Michael Moore in Trumpland, this seems like another missed opportunity, a wry exasperated sigh, when we desperately need some full on rage.

With 12 Years a Slave, McQueen has not only created his finest work to date, but also a potential modern masterpiece.

Once beyond the babble of the Mindfulness merchants, the latter half of the documentary, however, is far more interesting and compelling as Shen has his experts round on the noise pollution that so disrupts our lives.

Beneath the veneer of fake tan, rippling muscles and feigned ecstasy lies a striking amount of heart, soul and sincerity of emotion.

While it hardly pushes the envelope in terms of developing Marvel's homogenous narrative conveyor-belt, it does do so in other areas, suggesting that the MCU can see beyond the confines of its first two phases.

Rarely has China's explosive economic growth been captured with such grace and with such a heavy heart.

Uneven, convoluted and laden with far too many twists and turns Creepy sadly struggles to balance both terror and suspense, with any intrigue dissipating long before the film's secrets are eventually unravelled.

Greene seeks a deeper truth amidst the fragments of arch drama and investigatory reportage; artifice and reality bleed into one another with ease, the transitions smoothed by Sean Price Williams' photography.

Like The Da Vinci Code and Angels & Demons before it, Inferno stumbles into the same pitfalls of convoluted plotting, kindergarten art history and conspiracy theories of the daytime-slot-on-the-Discovery-Channel sort.

Hosting's film is not for everyone; it is unforgiving and it is relentless. But for those of a certain disposition, The Greasy Strangler offers a great deal of distressing pleasure.

Under the Shadow is not only perfectly paced, the storytelling and plotting is emotionally gripping. The director also uses setting and location, composition and framing like a master of horror.

The Girl on the Train engages more than it rivets and brings goosebumps to skin more than chilling to the bone.

For the most part Swiss Army Man is a visually unique gas and only feels bloated when it tries to hitch its wayward originality to some sort of real world application.

Southside with You doesn't leave a lasting impact because it plays all elements altogether too safe.

The two stars stay on their game but their relationship is largely sidetracked in favour of fending off ghouls. While the heart rate may increase the creepiness dissipates, though The Autopsy of Jane Doe remains good genre fun - if little more.

It's not just some science-fiction about rodents preying on humans; it's a documentary about it. "They will literally kill us," explains a lecturer early on in what the filmmakers frame as a fully-fledged horror complete with jump-scares, an ominous score, and all manner of squeamish moments.

Sticking to documentary form for the most part with key talking heads, a barrage of headlines and ample news broadcasts, the co-directors are not afraid to shock with gruesome crime scene footage.