Complex, poised and beguilingly earthy. Stephane Brizé’s decade-spanning epic is a sensitively performed, memorably fragmentary look at one woman undone by the feckless men in her life.

Funny, brutal and breathtakingly beautiful. Two exceptionally raw lead performances, supercharged by a bold script from Martin McDonagh, could make Three Billboards this year’s Awards-upsetter.

A droll and vigorous psychological study of an everyday egomaniac, but we’ve seen Stiller do this sort of thing before, and better.

It’s an intriguing look into a secret world and a great performance from Chastain, but Sorkin’s directorial debut never quite makes the leap from great poker movie to great movie.

A finely crafted Western which doesn’t flinch from portraying the horrors inflicted during that violent era, and which boasts an astounding performance from Christian Bale.

There are sparks of solid action amidst the confusion, but Max Landis’ script contains too much stilted dialogue to properly ignite.

A tired retread of better jokes in the first two movies, this drags along to an admittedly heartwarming conclusion. But it’s a good thing this caps the trilogy because it’s coasting on fumes.

A charming animation with funny — if samey — moments and a quality voice cast.

Sincere and sporadically funny, The Disaster Artist is an endearing tribute to failing in Hollywood. Anyway, how is your sex life?

Stylish, soaked in gore, and unconventional, it’s another winner from Miike. Here’s to the next hundred. At his current rate, that should be in 2025.

A deeply human and often brutally honest depiction of trauma and recovery, anchored by three superb performances — though it often falls victim to formula.

A film about a cult that might well attract a cult following itself. But it’s only moderately successful, with the early scenes hinting at a bolder, more satisfying tale that could have been.

Doubling as a fascinating look at a subculture that is normally sealed off from the rest of us and a gently amusing comedy of manners, this manages to say an awful lot by, paradoxically, saying it endearingly gently.

What promised so much, delivers so little thanks to a script that too often veers from the point. A missed opportunity.

Inoffensive fun, but unlike its paperback forbear, the cinematic Ferdinand is unlikely to stand the test of time.

If The Force Awakens raised a lot of questions, The Last Jedi tackles them head-on, delivering answers that will shock and awe in equal measure. Fun, funny but with emotional heft, this is a mouth-watering set-up for Episode IX and a fitting tribute to Carrie Fisher.

It has a decent story, Hanks and Streep are two compelling leads, and Spielberg is laughably over-qualified to direct it, but it’s neither as thrilling as All The President’s Men, nor does it have the emotional heft of Spotlight. But there’s no shame coming second best to those two titans of the genre. On its own considerable merits, The Post is first class.

It sometimes over-plays its hand but, anchored by a terrific Jacob Tremblay, Wonder is a warm persuasive argument for tolerance. And it’s always great to have Julia Roberts back on the big screen.

A lightweight, tinselly film with some nice touches and appealing performances, though it never lands its darker moments.

It is perhaps not top-notch Haneke but Happy End is an intermittently gripping film about loveless people in a joyless world. They could all do a lot worse than go on holiday with the characters from Paddington 2.

Churchill’s darkest hour is Gary Oldman’s finest. Gripping, touching, amusing and enlightening, his performance is the prime reason this film must be seen — but not the only one.

A fascinating life is reduced to a series of skittishly edited and visually stylised vignettes that do scant justice to Marie Curie's scientific achievements and Karolina Gruszka's laudably intense performance.

Double the dads, but half the laughter.

Suburbicon is a strange beast: a by-the-numbers ’40s film noir bolted to an unsatisfying ’60s racial drama wrapped up in a ’50s Americana satire. A strong cast and talented director never make the whole add up.

Powered by a taciturn, soulful performance by its young star, this meditation on fear, shame and sexual repression packs a wallop.

A light, funny, blissfully entertaining flick about heavy, sadly still relevant themes.

With great performances across the board and a socially relevant story, Mudbound will resonate long after the credits roll.

An ordinary, if effective horror picture, is predictable fare with two big ticks to its benefit: a penchant for creep-out scares involving its looming spectre; and a committed, sympathetic performance from Macdonald.

It’s breezily fun at times, in a what-the-hey way. But, lumbered with a story that struggles to find resonance beyond its improbable plot devices and preposterous MacGuffinry, Justice League isn’t about to steal Avengers’ super-team crown.

It’s by no means good, but there are moments of effective emotion and comedy that make up for some of the dumber jokes, and sheer charisma largely carries it along.

Vibrant and brimming with vitality, this is empathic towards its subjects but fiercely critical of the system that victimises them. The performances of Vinaite, Dafoe and Prince will stay with you.

A salt-of-the-earth tale that’ll play well in red states, but offers little spark.

It’s a classy weepy with some killer dialogue, but Bening is the big sell here. Given one of the juiciest roles of her career, she makes every moment count.

A very smart take on the stalker movie, which resists easy laughs for harder truths, and might make you think twice the next time you’re lining up a photo for social media.

Psycho’s accepted greatness means we can leave it on the shelf as we look for newer sensations. This prompts an urgent desire to revisit it.

The lesser of 2017’s two Wonder Woman movies, this attempt to explore a complex three-sided relationship is let down by bland storytelling.

A high-concept idea with a low concept approach, Marjorie Prime is cerebral, talk-driven sci-fi lit up by a compelling exploration of big ideas and across-the-board strong performances from the small cast (especially Smith). A treat for the brain and soul.

Working as a profound meditation on karma, predestination and guilt and a proper scary movie, this is near career-best work from all involved. Be warned: this is tough stuff.

An enjoyable journey with a stellar cast, though the baggage we carry as modern viewers sees this ride derailed before its denouement.

Paddington 2 is every bit as enchanting as the first, perhaps even more so, but it feels arbitrary to pick a winner. The film is a pure delight, as sweet and sharp as, well, marmalade, really.

If you don’t like Saw, this isn’t going to change your mind – but it’s skilful, satisfying schlock and respectful of its fanbase. And the final death is a show-stopping coup de grace.

Sickles and Santini’s documentary is intimate, unvarnished and hugely touching, finding universal truths in its two subjects’ unconventional romance.

Yes, Geostorm is bad, but it’s not a stinker for the ages.

Daft as a badger sandwich and twice as funny, this is vintage Waititi, and the boldest, most outrageously fun film Marvel has yet produced.

Radcliffe menaced by a hostile bush is far more entertaining as innuendo than actual drama. What might have been Deliverance in the tropics is rather a Dan versus wilderness yarn.

Brawl In Cell Block 99 takes its time with its set-up, but that only makes the action that follows all the more effective. And Vaughn as an action hero works surprisingly well.

A case of a missed opportunity. It references all the right films, but The Snowman comes off as a pale imitation.

A film that’s at once light, joyful and emotionally devastating, with deeply affecting central performances. A full-hearted romantic masterpiece.

Three films in, and the Lego franchise remains hugely entertaining — though it could do with being less of a chip off the old block.

A triumph of painstaking technical prowess and stunning visuals over storytelling and dialogue. See it for its nuanced take on a huge cultural figure and to applaud its astounding audacity.

Baumbach’s drama of grown-up kids seeking emotional restitution sees Sandler and Stiller at their best. If it feels like familiar turf for the writer-director, the emotions here are rawer than ever.

Given the story is based on reality, it’s understandable why the makers of 6 Below didn’t want to throw in embellishments, but a bear attack really wouldn’t have gone amiss.

Two compelling leads and a mix of adventure and romance. It’s a pleasant experience, if not one that will linger long in the memory.

A familiar tale of a quirky childhood is delivered with little in the way of freshness or truth. Still, the performances by Larson, Harrelson and Watts rescue it.

Starts strong, finishes dull. The original Flatliners should have had a ‘Do Not Resuscitate’ order attached to it.

As bold as the original Blade Runner and even more beautiful (especially if you see it in IMAX). Visually immaculate, swirling with themes as heart-rending as they are mind-twisting, 2049 is, without doubt, a good year. And one of 2017’s best.

A witty and touching father-son tale. And at its centre: a startling debut from Will Tilston, whose compelling performance ensures its emotional moments land successfully.

Brutal in its depictions of violence, Brimstone is tough to watch at times, but never less than gripping, even as the clock creeps up to the 150-minute mark.

Friend Request keeps up the pace and throws in a few neat twists to keep the plot from stagnating.

As ultraviolent as the first film, and as ultrasmutty, The Golden Circle will leave the Kingsfans grinning, even if its characters have less growing to do this time around.

There's a hint of comforting, chocolate-box, Sunday-night TV here, but it's delivered via such quietly powerful performances and with such hope that it's hard to resist.

An uneven thriller that would have been better served aiming for a lighter tone.

Taylor Sheridan’s flair for creating heartland epics is undimmed, but it’s hard not to wonder what someone with more directing chops, and the will to hit the accelerator, would have done with it.

Though it could do with being weirder and wilder, this high-concept mash-up — what if crooks robbed a haunted bank? — features fine work from a brace of rising stars.

A sorta-sequel to Mrs Brown deals effectively with another of Queen Victoria’s unconventional friendships and reprises Judi Dench’s powerful and unparalleled portrayal.

Frenetic, kinetic action meets satisfyingly soapy drama. See it before everyone tries to copy the best bits.

A difficult film and one that's likely to offend in some ways. But as an elliptical, dream-logic infused visual poem, it certainly leaves a searing impression.

More successful as a coming-of-age movie than a horror, It still ranks among the better Stephen King adaptations — no small praise indeed.

Delivering knockout action and political punch, this blazing siren of a B movie imagines America at civil war with vicious force. Sequel, please.

A great cast is let down by a script that fails to provide a compelling mystery to solve. Never mind as a big-screen production, this would be disappointing as a BBC mini-series.

A story we’ve seen told a hundred times before feels fresh thanks to Danielle Macdonald’s brilliant performance, handling both the drama and the rapping in style.

It’s a film to see for the performances, which are faultless, but while it’s sometimes riveting this play has been awkwardly translated to screen.

The leads work hard and there’s an attempt to add fun via cheesy music and Salma Hayek, but hackneyed dynamics, half-baked action sequences and saying “m#th&rf$ck*r” does not a Shane Black make.

Coming off like a peculiar mash-up of The Host and Dr Strangelove, Shin Godzilla is weirdly paced but does add a new twist to the old formula.

Cruise is as compelling as ever with charm to spare, and this is a ceaselessly entertaining, sometimes tense romp. Although it doesn’t dig much below the surface.

Toy Story with a twist, this is better than it had any right to be. Hardcore horror buffs may laugh and scoff at the mechanics of some of the scares; the rest may never be able to walk past the window of a toy shop without crossing themselves.

A worthy — if chilly and difficult — addition to the sadly extensive filmography of American mass murder. The soundtrack from Canadian singer-songwriter Maica Armata adds some much-needed heart.

Like many sequels, Truth To Power is bigger but messier than its predecessor. While it doesn’t quite deliver the oomph of the original, it is still a timely, persuasive wake-up call.

Loud, silly and tired. Aside from an almost-fun Jackie Chan cameo, this is enough to give anyone a severe nut allergy.

Unapologetically aimed at the arthouse crowd, this is superior filmmaking. Superbly acted and well written, it stakes its claim in the pantheon of love-gone-wrong watches.

It demands patience and an open mind, but Lowery’s return to his indie roots after Pete’s Dragon is a highly unusual and, at times, emotionally shattering fable.

The only fireworks here are of the indoor kind, but this sensitive, beautifully acted film lingers long after the final frame. And the Newfoundland locations are breathtaking.

A fascinating topic is attenuated by conservative storytelling and sketchy characterisation. Nevertheless, the sense of place is as assured as the vigilant performances, while the defusing sequences are genuinely suspenseful.

It's loud, at times unwatchably gross and sometimes lingers on the verge of hysteria. But it's also a warm-hearted and optimistic celebration of black womanhood. Maybe friendship can save us all.

Elba is genuinely great as the tormented Roland, but the film does its best to suffocate him under a mountain of plot-heavy nonsense. Disappointing.

It’s cool and brutal, but with such impressive action credentials you almost wish there were fewer plot devices to distract you as Charlize gets up and at ’em.

A little reticent in gore gimmicks for the Final Destination crowd, but considered as a middle school between Goosebumps and Clive Barker, it’s just the haunted lottery ticket.

Silly and aimed squarely at the younger crowd, Captain Underpants has enough spirit to be entertaining. Just don’t expect it to work all the time.

A fiendishly effective holiday-gone-wrong thriller that's better at cranking up the agoraphobic action than fleshing out its characters. Still, it'll find few fans at the Mexican Tourist Board...

While it's tempting to sum up in thumbs down emoji, when they go low, we go high. So let's just say, abandon all hope, ye who enter here.

A gruelling, nightmarish, ferociously vivid riot epic that recreates one of the darkest chapters in American history. Unflinching, unmissable and terrifyingly pertinent.

Edgy and hilarious, Nanjiani and Gordon’s true story of cross-cultural love is a Trump-baiting marvel that’s worth the hype.

Deliberately uncomfortable viewing, this is nevertheless a compelling exercise in gritty psycho-noir with outstanding performances and real dramatic weight. Director Ben Young is a name to watch.

A wildly ambitious space opera, but also a self-indulgent narrative morass. Sometimes, it seems, creativity can benefit from a few limitations.

Even if it needed one last push to make it truly exceptional, there’s a lot to enjoy here. And Soderbergh once again attracts a cast it’s a pleasure to spend time with.

A spare, propulsive, ever-intensifying combat thriller, Nolan's history lesson is both a rousing celebration of solidarity and the tensest beach-set film since Jaws.

By driving back to the core homespun wisdom of Cars, the third film is a course correct from the second. But this is still not vintage Pixar.

Crucial for serious fans of Lynch, even if it may baffle newcomers. Since pretty much the only thing more interesting to lovers of his work is the enigmatic man behind it, there’s a lot for them to get their teeth into here.