Another dazzling Jennifer Lawrence performance anchors a blue-collar parable that boasts some inspired moments but never quite gels.

The Native American people have suffered any number of indignities over the years. But they haven't, until now, suffered Adam Sandler.

A work of beautiful rage.

A well-above-average ho-ho-ho-horror film with a shivery sense of winter weirdland and anarchic ultra-violence, it’s also a strong candidate to become a holiday favourite thanks to a perfectly judged punchline.

By smuggling canvasses out of Nazi Paris, she was “midwife” to Pollock and Rothko. “Art,” the doc claims, “was a mirror of her own strangeness.”

There are first-time filmmaker flaws — at times, the characters feel like pawns in a pre-ordained plot — but Bettany has a real gift for finding grace in the grimness.

Acerbic, unexpected and quietly heart-warming without ever approaching sappy, this takes a no-nonsense approach to big issues - life, love and ageing - and never feels heavy-handed. We should all be so lucky in our grandmothers.

Exquisitely designed, this cornucopia of melodramatic fragments and movie pastiches will enchant Guy Maddin fans.

DiCaprio's raw performance helps elevate what could have been just another man-versus-nature drama.

It's hard not to be seduced by this folky yarn.

The Moomins’ adventure is, despite its French joie de vivre, full of the knowing wit and wry Nordic wisdom which have ensured their popularity since 1945. A treat for the whole family.

Crackling with energy and fizzing with ideas, this fresh take on Frankenstein is a thrilling adaptation that reinvigorates a well-worn tale.

Deyn is a revelation in a difficult but rewarding take on Scottish rural life. The most English of directors has done a Scottish classic proud.

There’s too much going on and too little character development for this to become a Christmas classic.

It doesn’t all land, but The Night Before is largely a salty, sweet jingle ball.

A decent, mid-list spy thriller, suspended somewhere between le Carré and Bond but with a budgetary austerity in keeping with UK government spending cuts that keeps it out of the real high-stakes game.

Given the work lavished on every detail of the glorious backdrop, it’s a pity that the story happening in front of it is so familiar and safe.

A cheerful comedy-drama with charm to spare.

Has its moments of spectacle and danger, but offers too few genuine insights or rite-of-passage epiphanies.

Mara and Blanchett make for an unforgettable couple in a beautiful film about longing, loss and the confusion and wonder of love.

Compelling and powerfully acted, with just enough wrinkles to avoid the ghosts of gangster movies past. Depp's appearance might distract some, but it's good to see him back in the groove.

So godlike is Spielberg’s status that we often take his talents for granted. The strange, riveting mix of Bridge Of Spies is another sterling reminder that we shouldn’t.

The acting is wooden, but fans of the director’s more shocking work might enjoy its gentle self-referential comedy.

As it stands, it’s one of the worst films you won’t see in 2015.

Sands has his own personal link to the Holocaust, revealed over time, and My Nazi Legacy becomes horribly gripping.

One comes out of this fragmentary documentary about the King Of Cool’s passion for motor racing liking him much less than one did going in.

It’s still a giggle, largely thanks to Tilly’s cantankerous mother (Judy Davis) and the camp local cop (Hugo Weaving).

The heartfelt telling of a truly extraordinary true story with a mesmerising central performance.

A tasteless concoction - one gay character is particularly misjudged - that's instantly forgettable.

If anything, this is too faithful to the book, sometimes getting bogged down in detail as Katniss struggles to her goal. But its epic sweep, grand designs and unyielding central performance make this a compelling finale.

Really smart people on a really smart person: Fassbender, Winslet, Sorkin and Boyle await Oscar nominations. But for all its relevance and grandeur, Steve Jobs is ridiculously entertaining. You might say, user-friendly.

Nicholas Hoult does his best to bring Niven's weapons-grade scumbag to life, in a film hobbled by amateurish acting and absence of production value.

A fittingly poignant treatment of an inspiring subject.

Unshowy to a fault, Hytner delivers a fine, moving comedy of English manners between a writer and his eccentric tenant, which slowly deepens into an exploration of human bonds.

Unashamedly romantic and achieved with a beautifully subtle, old-fashioned elegance, it’s a graceful coming-of-age tale ripe for awards.

A likable horror-comedy with a satisfyingly high splatter count.

The tone is pseudo-Sopranos at times, but the oppressive ambience is grippingly sustained.

Even if this is less satisfying overall than Skyfall, there are sequences that rank with Bond’s best.

The inside track on one of sport’s biggest scandals, nimbly shot and sharply scripted, powered by an outstanding performance from Ben Foster and the quiet integrity of Chris O’Dowd.

It may be a little overwrought for some tastes, borderline camp at points, but if you're partial to a bit of Victorian romance with Hammer horror gloop and big, frilly night-gowns, GDT delivers an uncommon treat.

A bold portrayal of a boy soldier in a brutal, bloody conflict, anchored by commanding performances from Idris Elba and 14 year-old newcomer Abraham Attah.

There is delight and distress in equal measure: for his talent, mischief, waywardness, for the disillusionment and tragedy of his later years. Unique.

While strong on establishment prejudice, the coverage of clashing egos and agendas isn’t always incisive.

While it’s a bit of a slow burner, Mendelsohn is so compelling, there’s really no need for things to speed up.

Goldstein is enormously endearing, while Drever milks the mundanity for laughs and unexpected sweetness.

Jonny Owen’s winning doc appeals beyond football tribalism with a universal underdog story, boosted by a thumping disco score that gives a thud to the match footage.

While Ascher brings the experiences to life in a way that could conceivably induce nightmares in casual viewers, the potency of these scenes is ultimately diminished by repetition.

The film strains in two different directions, half trying to stay true to its based-on-fact roots, half wanting to ditch all that and become a ridiculous farce.

The interviews are as entertaining as the slick interplay on the ice.

Among the excellent principals, top-billed Turturro enlivens things wonderfully, but the real star, Buy, is magnificent.

It’s extremely antic for the most part, covering a lack of real story with a lot of distracting quirk. Yet when Petit’s foot slips out onto a wire thousands of metres from the ground, it’s quietly mesmerising.

A truly insightful art film that still manages to be easy-going and unpretentious.

While the storyline is a little underpowered, it's so packed with vinyl gems (Edwin Starr, The Salvadores, Frankie Valli) that Northern Soul fans will be doing backdrops in the aisles.

As you'd expect, Meyers handles the material with assurance and charm, and there's fun to be had in the odd-couple dynamic at her film's heart.

Silver remains exceptionally clear-eyed. The result is a powerful, gripping and deeply shocking film, and a contemptuous critique of Florida’s stand-your-ground law.

Inspired, innovative, stunning, with unforgettable performances and images, this is up there with the great screen Shakespeares. The playwright surely would be thrilled with it in its full-blooded vigour.

Big sci-fi ideas done on a budget doesn't quite translate into a compelling thriller.

This is not about where the Spicers end up, but how they get there, and you endure every stressful, exhausting and spectacularly tender moment of that voyage with them.

A beautifully murky, hard-edged thriller. Quite simply, one of the best films of the year.

Some plot developments are more convincing than others, but it’s still a compelling drama with an impressive turn from Garfield as well as Shannon and Dern as Garfield’s concerned mother.

A gripping and unheralded story that doesn't quite get the telling it deserves.

Tougher than a box of nails, this is a brassy revenge thriller that refuses to pull its punches.

It’s a sad, emotive, important subject but it deserves a more detailed, heartfelt film than this.

This slight, lightly charming comic adventure is most obviously appealing for the "Best Exotic Marigold Hotel" set — though Bryson himself was in his forties when he made his journey.

Visually striking, intellectually challenging and emotionally harrowing.

An exposition-heavy opening gives way to a modestly effective Australian mash-up of sci-fi/horror hybrids.

The film veers from quasi-real to cartoonily silly and scenes either drag or whirl by too fast.

Spectacular and well-acted, this suffers from much the same problem as the situation it depicts — too many people on the mountain and too many threads to follow so that affecting individual stories get lost in the snow.

Anchored by another great turn from Matt Damon, The Martian mixes smarts, laughs, weird character bits and tension on a huge canvas. The result is Scott’s most purely enjoyable film for ages.

This spends more time on the tensions between the dominant trio than their landmark campaigning.

A thriller in the key of Woody. The “same old, same old” but still entertaining.

Despite its sketchiness, this offers a vivid insight into the rejuvenation of a decaying city through fury, activism and music.

If only he had probed a bit deeper, and widened his scope beyond the predominantly white, male subjects (including our own Rob Brydon, Steve Coogan and Stephen Merchant), this could have been a fascinating film as well as a funny one.

Helgeland’s savvy new take on this well-known story proves that crime can pay, while Hardy is astonishing and magnetic in two truly towering performances.

While it’s a woefully incomplete middle chapter, at least it’s never boring.

Sadly, proof that they will make absolutely anything these days.

Delve into the story at your own risk, but embrace the unrepentant stupidity of it all and there’s a zen-like joy to be found in this screenvomit of adolescent violence.

Hardly groundbreaking but this high-school actioner ghosts by on its charm and sense of fun.

A smart riposte to the ’hood drama stereotype. Dope is funny, stylish and mostly exuberant fun.

A tough yet tender and beautifully crafted human drama that more than earns those Loach comparisons.

Full of restraint, from both its director and leads, this is a quiet gem with the power to move.

Zac Efron makes a convincing bid for movie stardom — and Ratajkowski proves she’s more than just a pretty face — in this flawed but fitfully entertaining film, even if it all goes a bit Pete Tong at the end.

While there are fun moments, the whole is an odd mix of grotesquerie and cutesiness.

Potent and visceral in its depiction of street life and blinged-up excess alike, Straight Outta Compton delivers big beats of both kinds.

While the Norman vistas are glorious, the storytelling lacks wit and charm.

An engaging, if familiar, mix of teen rites of passage, the fun of friendship and mooning over a cool girl. Still, Nat Wolff and Cara Delevingne make for a watchable duo.

Tom and Anna are so thinly sketched that by the time the painfully slow set-up starts to pay off, we no longer care who does what to whom, or why.

Less a reboot, more a hit-and-miss cover-version. The cast are game, Applegate especially, but the laughs flatten like a deflated tyre.

Cavill and Hammer are made for each other, but the film can’t always find the pyrotechnics to match their chemistry.

Noah Baumbach’s great run continues. Sharp, fast and witty, it’s old school screwball comedy with a cool modern twist. And Greta Gerwig is a bona fide genius.

At times it feels as if five different films are going on at once, but Schumer’s whip-smart delivery and no-holds perkiness keeps it all in place. Just as her director wilfully mines his own life for laughs, there is a whole lot of Amy in Amy.

Carol Morley’s film has a lot going for it, not least a thick, vaporous atmosphere, alive with unease and sexual anxiety, and an eye-catching debut from the casually charismatic Florence Pugh.

As an origin story that’s all origins and no story, there’s a hollow, stale feeling to this occasionally admirable attempt to Nolanise Marvel’s dysfunctional family.

The truly effective emotional arc is handed to the furry member of the cast.

A flawed yet fascinating Aussie indie.

Holly Hunter goes toe-to-toe nicely with the superbly understated Al Pacino loner obsessed with a long-lost love — one of his most rewarding outings in a very long time.

Minnie’s inner life, a fantasia of animations appearing Crumb-like around her, is dazzling, and there’s plenty of naked emotion amid the sex, drugs and hand-drawn penises.

Familiar formula yet Morgan Matthews’ feature debut adds up to a satisfying whole.