Expertly executed example of a golden time in British cinema - one to savour.

Love is here in all of its many guises, brought together with a touch of subtitled sophistication.

Amped up for the big screen while maintaining its sense of heart and with lashings of charm and gentle comedy, Bob’s Burgers proves more than worthy of the feature treatment.

The best Rocky film since the original, honouring the Stallone legacy while setting it in a different direction. Feel the need. The need for Creed.

A low-key treat about rising above the slings and arrows of outrageous fortune, The Dog Who Wouldn’t Be Quiet is something to shout about.

This intelligently scripted and imposingly played costume noir revisits the conventions of Victorian melodrama to comment on modern attitudes to oppression, prejudice and morality.

This fourth Toy Story isn’t as essential as the previous films in the series, but there’s no denying the joy of seeing Woody and friends back in action, while once again it’ll likely leave you with a tear in your eye.

Silberling does a good job of introducing Snicket to the big screen in an impressive adaptation that’s always smart, even if it’s rarely spectacular.

Bird and Lindelof have thrown everything they have at this film and, aside from a pause for breath at the end, they’ve made something funny, surprising and packed full of wonder.

The sight of Brynner walking indestructibly toward the camera, all in black, his eyes cold and unerring like a couple of silver bullets, is as haunting as any screen bogeyman.

A little pretentious maybe, but then you've got to wonder at a woman who could sit motionless in a wooden chair, eight hours a day for three months.

Time may be shot in black and white but the world it captures is anything but clear-cut. By turns moving and angry, it’s a thought-provoking hymn to love, family and the power of Black female courage.

One too many jokes about Dick Van Dyke's dire Cawk-nee accent can drag a movie down.

A quartet of pitch-perfect performances from a cast uniformly at its career best, together with a director on shockingly mischievous top form, this is a shot of pure, exhilarating cinematic malice. And if nothing else, it contains the most surprising puking sequence since Monsieur Creosote.

A boxing drama with a difference, Journeyman packs a powerful punch — and reminds us not to take Paddy Considine for granted.

Shot in a grainy grey and white helps to give the film an amateurish and at the same time realistic feel, particularly as it's based on true events. With standout performances from Lo Bianco and Stoler, this is a forgotten gem that's waiting to be rediscovered.

Despite the almost caricatural Frenchness of the premise, this is a superbly acted and intricately directed drama that makes a virtue of its very human feelings and follies.

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.

The scenario may be overly familiar, but the low-key approach and engaging performances make this an unexpected delight.

Overall, a superior sequel. Some people will never get over the height discrepancy but character-wise, Never Goes Back brings Reacher closer to the books for the type of thriller that rarely gets made these days.

It’s a riveting, complex film that asks one simple question: what do you do when there’s no right answer?

The Town is that rare beast, a grown-up genre flick, chock-full of compelling character dynamics and a clutch of pitch-perfect performances.

It may have a tenuous relationship with nuance, but RRR is a bombastic delight. Making the Fast And Furious series look restrained by comparison, it hits the parts Hollywood actioners just can’t reach. Rise! Roar! Revelation!

Billie Piper’s ambitious, darkly funny directorial debut suggests the arrival of a new filmmaker with a vision, verve and a voice.

A film as sweet as it is sad, as pertinent as it is absurd, Limbo is an experience where not much seems to happen but where little things mean the world.

Quietly compelling, the cerebral slice of social realism is well worth hunting down.

Half mood-piece, half character study, The Last Black Man In San Francisco is a deeply moving lament on the effect of gentrification on the people on the Bay Area’s margins.

Feminist scholarship this ain’t; think Showgirls if it were directed by David Cronenberg. But give yourself permission to revel in the excess and be rewarded with an uproariously good time.

As a crowd-pleasing comedy it works. But it really could have been so much more.

An often overlooked fine entry in the Kurasawa canon, this shows a good many western 'epics' how it's done.

The technique used here to plonk Martin in classic movies seems out of place given the kind of sophisticated effects we have on tap today, but there is a real sense of fun at work nonetheless.

The very best kind of fan service from Edgar Wright, who has produced a documentary of granular detail and depth that showcases Sparks in all their glorious, indefatigable absurdity, while leaving a clear mark of mystery.

A deftly directed, superbly acted and occasionally witty biopic which is not afraid to engage with the complexities of its central character.

An audacious, farcically funny digest of where we are now, and how we got here: the cinematic equivalent of pandemic primal therapy, a mad scream into the void.

An ace in the hole from a filmmaker himself unafraid to gamble. The Card Counter’s pacing won’t be for everyone, but Schrader fans will be all-in on this gripping portrait of lament.

Part road trip, part revenge movie, this is a tentative tale of a man who's not going to take it anymore, sharp on the fallibility of human foibles and sometimes stingingly funny, too.

Fluff it may well be, but a more entertaining and engaging piece of fluff you'd be hard pushed to find.

No matter how good the performer you can’t escape Christie’s leisurely approach to characterisation — simple concoctions of quirk, guilt and red herring. But Lumet is having loads of credible fun with the formula, keeping up a genuine sense of claustrophobia in this isolated railway car surrounded by crisp white snow.

As thrilling and smart as it is terrifying. There have been a number of big-gun literary series brought to screen over the past decade. This slays them all.

Sensibly dramatising a few representative days rather than Giacometti’s whole life, this may seem slight, but there’s a lot to dig into here — and Rush hasn’t had a showcase this good in years.

Though it doesn’t ever make you really feel, Spencer is a bold, compassionate, poetic riposte to standard royal biopics. It 
also confirms Kristen Stewart as one of the most exciting actors working today.

Made Of Stone somewhat brilliantly sees the individual moments and faces in the crowds, making this the best, most immersive concert film since Jazz On A Summer’s Day.

It may be a tough watch, but, boasting a quartet of excellent performances, Fran Kranz’s directorial debut is a technically adept, emotionally exhausting yet deeply cathartic film that couldn’t be more timely.

An affecting, impressive debut from a filmmaker with an innate taste for modern America's clashes of conscience. An important document.

On a par with "Inglourious Basterds" and "Django Unchained," The Hateful Eight starts low-key but ultimately delivers big, bold, blood-soaked rewards. Roll on, QT Western number three.

Sweet, funny, simple, entertaining -- everything a good rom-com should be. Definitely...

A French comedy that pitches for wit over broad comedy, it's successful in salting what could be a over-sugary confection with healthy dose of wryness. The result is always entertaining and rarely mawkish.

It’s arguably every bit as good as Stanley Kubrick’s Lolita.

A playful and frantic science-fiction twister which mimics the best (Aliens, The Matrix, Groundhog Day) while offering something fresh and — most importantly — thrilling.

The final act has an inevitable wavering patch when the film is obliged to tut-tut about the shallowness of the stripping, drinking, bantering, carousing and whooping it has previously enjoyed, but this is terrific entertainment with a sideline in wry melancholia and testosterone-fuelled philosophy. Have 20 dollars.

If it’s a hard film to like, Monos is ridiculously impressive filmmaking, savage and surreal, immediate but timeless. If Hollywood wanted to do a darker, grittier take on The Goonies, Landes is their man.

An affectionate road-trip buddy-movie, featuring an unseen depth to Will Ferrell, this documentary is illuminating, timely, and gently funny.

A slicky edited, white knuckle ride to the depths of depravity.

Lavish pirate adventure that launched Errol Flynn onto 1930's screens and ensured that buckles would be swashed for a good few years to follow.

It’s delightful to see these characters again, particularly the long-suffering Gromit, and if the jokes don’t come quite as thick and fast as before, the beating heart beneath the clay remains intact.

Coogan and Reilly’s performances are among the best either has ever given. This film, which pays wonderfully funny tribute to two comic legends, richly deserves them.

Fraser on form, 3D dinosaurs, geology lessons, phosphorecent hummingbirds, killer flying fish, theme park rides, Icelandic babe - what's not to like? It skews young, but is everything an 8-12 year-old could want. Older siblings and parents will have nothing to complain about either.

Smart, honest, sickeningly funny and supremely well judged in the writing, direction and acting.

A final opportunity to see a master at work in this mischievously melancholic delight.

A sensitive, sincere and humbling profile which is truly inspirational.

The Chambermaid is a poignant portrait of one of life’s have-nots, sensitively played by Cartol as a woman slowly sinking into non-existence.

Grainger is a revelation and Shawkat a rebel in this delightfully defiant celebration of women’s imperfections. 
Stick with them through the chaos and you’ll be rewarded with an utterly electric tale of female friendship.

Almodóvar juggles comedy and drama to terrifically entertaining ends, aided by a tip-top Penélope Cruz. It’s hard to think of a more exciting actor-director partnership working today.

An explosion of garish colour, wacky detail and surreal complications, Almodovar’s very funny, urban comedy overflows with the unexpected. See it!

Musically sublime, gracefully directed, and filled with an inspiring optimism that couldn’t be more timely, this is another first-class exercise in capturing music on film from Dominik, Cave and Ellis.

A based-on-fact family drama whose truths may hit too hard for some, but are worth suffering if only to witness Timothée Chalamet’s performance.

Falling between the twin pillars of the art house and prestige period flick, 12 Years A Slave is history lesson as horror film, powerful, visceral and affecting. And after years of being great in everything, Chiwetel Ejiofor shines in a lead worthy of his immense talent.

Rough around the edges and too ambiguous for some tastes, this is grim but clever, insidiously creepy and affecting. And in Olsen and Durkin, it marks the arrival of two exciting talents to watch. It still should be called Mental Sex Cult.

Douglas' teeth-clenched, dimple-thrusting megalomaniac is among his best work, while the gossipy screenplay (another Oscar winner) is served wonderfully by Minnelli's lush melodramatics.

Fast, fun, and full of freaky creatures, Strange World shows that Disney can do all-out action-adventure just as well as fairytale fare – while, hopefully, nudging the studio further towards the future.

Misfit cameos, apparently random asides and an almost continuous onslaught of unsettling sex and violence mean there’s no mistaking David Lynch’s hand behind the camera -- but there’s enough of a narrative to make this work as a straightforward road movie, too.

A light and lively showcase for a very under-rated double act, Road To Morocco was also unusual for its time in constantly drawing attention to itself as a movie.

Enigmatic, absorbing and so much more alive than any pottery behind glass in a museum, this is an exquisitely crafted, grown-up Indiana Jones steeped in its own distinctive magic.

Anchored by a dazzling turn by Samara Weaving, Ready Or Not brilliantly fuses thrills, satire, laughs and horror. Don’t count to 100 — just go and see.

A sharp-witted and wide-reaching account of a bright political hope’s fall from grace, with an impressive ensemble cast and a great performance from Jackman.

Felicity Jones shines in Drake Doremus' deceptively simple romance, a refreshing take on an age-old dilemma.

Milk thoroughly deserves all of the press ink that will doubtless be spilt over it. Wear your 'Vote Penn' Oscar pin with pride.

It’s a short-film premise at a feature-film length, but few films take as many chances or go for broke as much as Jumbo. Wittock is an exciting new talent to watch, and Merlant spins something potentially laughable into a rollercoaster — or at least, waltzer — ride of emotions.

A spectacular documentary portrait of a great artist and extraordinary pop star. Despite a few omissions, it’s a triumph of Sound And Vision, and essential for every David Bowie fan.

Fleischer mastery of tension and attention to detail make this riveting story a great piece of cinema.

The ideas don’t always cohesively fall into place, but Diop’s nuanced performance and Jusu’s sublime direction make this a compelling entry in the horror genre.

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.

Both a vehicle for Awkwafina’s formidable talents and an incredibly charming ensemble piece. If there’s any justice, it’ll be remembered when it comes to award-scattering season.

Firmly establishing Aaron Pierre’s credentials as a thinking man’s Rambo, Rebel Ridge might not be particularly groundbreaking, but this Netflix-and-kill thriller is an undeniably fun night in.

The villainy is, perhaps unavoidably, somewhat signposted, but this is a tense, gripping thriller that combines real-world relevance with high-concept entertainment. In a superb ensemble, O’Connell is outstanding.

Audrey Hepburn is delicious as Holly and the Henry Mancini score is in the class of elite soundtracks. [Review of re-release]

It's a rare film that can simultaneously crack you up and send a chill down your spine. Worth seeing -- even for believers.

The Shrouds certainly fits neatly into Cronenberg’s filmography but stands apart as his most intimate work. It’s a hypnotic descent into the darkness of grief, punctuated by perverse Cronenbergian pleasures.

A classic horror that warms the heart and wets the pants.

Surely cinema's first Mexican social-realist cannibal horror drama, it's grimly funny and at times horribly effective stuff. Ickily excellent.

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

Photograph is decidedly old-fashioned and the outcome is never in doubt but the craft is impeccable, the performances low-key and likeable plus there is something persuasive about Batra’s gentle worldview, his faith in people and love restorative.

Star Wars really does begin here.

Wonderfully revealing and mythologistic.

Whilst paranoid in a very 1950's way and a little downbeat at times this is very enjoyable.

As simple and charming as you could wish for, this is a genuinely pioneering debut from a female Saudi filmmaker and a striking piece of work by any standards.

Its opening act may take some adjusting to, but succumb to the capable, captivating dynamic of these women and you won’t be disappointed.

A funny, filthy, iconoclastic riot. Paul Verhoeven’s latest erotic satire won’t be for all creeds, but it is bursting with enough ideas that even doubters can find something to believe in here.