Handsomely done and beautifully acted, just slightly wanting in a screenplay that leaves questions unanswered about what's behind these unhappy people. And it's ultra-depressing...

Yippee-ki-yay! Willis still has the goods.

A psychedelic rabbit-hole-drop of a movie from one of the most exciting new directors working in horror today.

It has some of that episodic ‘compressed miniseries’ feel which a lot of King pictures get stuck with (the book was later redone as a TV serial with Anthony Michael Hall) but still manages a lot of powerful material.

It might not feel fresh but Palo Alto feels real, honest and moving. An impressive debut by an exciting new talent.

Once you get past the ridiculous story this is a fine example of De Palma's lush overkill style and certainly has a redeeming thread of silly sick humour.

With Pendleton inhabiting three different bodies in the course of 93 minutes, this was quite an intricate storyline for a Hollywood comedy. But Alexander Hall (an unsung journeyman whose credits included Shirley Temple's Little Miss Marker) kept the action briskly accessible, even where Death was involved.

An astonishing true story that’s treated with an admirably light and artistic touch, rather than an overly dramatic heavy hand. Despite a weaker second half, it is ultimately deeply moving.

A splendid study of the forces and passions behind the world’s biggest fashion magazine.

A daring, dark satire strewn with allusions to modern times.

Delivers old-fashioned, "Shawshank Redemption"-style entertainment.

While never scaling any great heights, there's lots of little points - and some bigger ones, like the pairing of the leads - to enjoy.

A coming-of-age story which thoughtfully and heartfully tackles the repellent practice of conversion therapy. Moretz is excellent, but this summer camp/institution drama cocktail could have done with a little more fizz.

A sequin-encrusted delight. On paper it reads like a by-the-book biopic; on screen it explodes with the kind of colour and energy that only Elton John himself could invoke.

Macy hasn’t had a role this good since Fargo, and demonstrates again his mastery of the droopy-eyed, apologetically desperate, borderline bitter shrug.

It shouldn't work, but it does.

With the potency of the central idea diminishing, Escape still manages the tricky move of carrying on a story that really should have ended with the last film, while setting up the series' mythology and paving the way for future chapters. But it's still a dilution.

Beautifully shot and subtly delivered, Monsoon offers a poignant picture of the emigrant experience as well as Vietnam’s post-war hangover, while cementing Henry Golding’s position as a leading man to watch.

The chemical combustion just isn't there between Julia and Clive, and you can't help wondering if Gilroy wrote this with George Clooney in mind. Still, a glamorous, diverting escapade that over-30s in particular can enjoy.

Handsomely crafted, with meticulous performances, yet it plays out drily and in monotone.

With a brilliantly unhinged performance from Alyssa Sutherland, and a note-perfect ending that unlocks more tales to come, Evil Dead Rise revives the dormant franchise more effectively than the ‘Necronomicon’ itself.

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

Saturday Night Live activist Murphy, capitalising on the promise he showed in "48 Hrs.," steals the show as the quick-witted Billy Ray Valentine in what is certainly more mainstream fare than the earlier SNL staffed capers.

It's a film you might argue with, but its sparing use of on-screen violence, some extraordinarily protracted scenes and sensitive handling of thorny subject matter make it also a film you ought to see.

While the tone may shift from satire to farce at times, this is a highly assured debut by Rizvi.

While it may prompt some to think again next time they're in Starbucks, this astute insight into the coffee business is better at lauding the good guys than taking the multinationals to task for the iniquities of the global economy.

Anchored by a great Giamatti performance, Cold Souls is built around a terrific idea and has serious fun with it. It also marks Barthes as a filmmaker to watch.

If it fails to mine the deeper themes in this story about a working-class writer fighting to find her footing in the music industry, How To Build A Girl is a resounding success as a showcase of Feldstein’s capabilities in a leading role.

This is probably not the film you would expect it to be. But its unexpectedness is its biggest asset, a moving and very eccentric feathered fantasy about life, death and everything in-between.

Powerhouse performance from Richard Burton but a little too old to play the angry young man stuff that is essential to this tale.

Featuring strong performances and excellent effects work, The Vigil is a genuinely creepy debut which explores the ways in which our psychological demons can get their claws into our entire lives.

Possibly a brave and interesting triumph for its director, but definitely a cold-eyed heartless bore for his audience.

Dedicated to Morris’ champion, Roger Ebert, who would be proud, this is a provocative, revelatory and disturbing film.

Whilst I Am Greta succeeds as a chronology of Thunberg’s meteoric rise from lone protestor to the voice of an international movement, a more nuanced, detailed and definitive exploration of this extraordinary teenager still feels needed.

A treat for cricket fans who'll thrill to this nostalgic look back at one of sport's greatest teams.

Bursting with insights and a droll sense of the absurd side of fashion, it's a fitting tribute to one of the industry's key figures.

Brutal story-line which is about as close to an explicit allegory as the western has ever come.

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

As both teen comedy and mid-life crisis comedy it’s terrific. It feels honest and modern in a genre that so very often uses dick jokes and gross-outs to cover old-fashioned morals.

A supremely likeable film. Its message might seem obvious and its template overcooked, but it boasts a warm heart, with two astoundingly good lead performances to guide it home.

A moving exploration of the realities of growing old, Maite Alberdi’s documentary effectively blends documentary with dramatic elements to charming, if not always transparent, effect.

Just as the film captures a world (Imperialism, hunting, colonialism) that has faded away, so this film feels like one of the last of it's kind.

Joel Edgerton once again proves himself a gifted filmmaker — but for all the craft, compelling performances and good intentions at work here, the drama itself falls somewhat short.

A comic take on Rear Window, Badham's latest has the acting talent to carry it over the sizeable gulfs in plot to an end product that brings laughs aplenty.

Elvis not only rocks the city of lights but also showed he could act.

The Avengers have been assembled and, for the most part, they fit together superbly. A joyous blend of heroism and humour that raises the stakes even as it maintains a firm grip on what makes the individual heroes tick.

Polanski’s unavoidably stagy adaptation of David Ives’ celebrated Broadway play is an enjoyably witty two-hander, confined to its theatre setting, yet with much to say about gender roles in the world beyond.

The allusions and illusions are just a treat until about two-thirds of the way in, when a genuinely shocking development takes the film off into psycho-horror that is almost as baffling as it is unsatisfying.

It’s silly and a little too slow, but the characters are enormously charming and the design is overwhelmingly sumptuous. It should give viewers, especially children, a welcome hit of Christmas magic.

Paced with steady assurance, this gentle bildungsroman is a impressive debut from director Daniel Patrick Carbone.

This is a wilder, bigger thing than just another farmyard sink drama. There may be little you haven’t seen elsewhere, but there’s no denying the skill here.

Tense when it needs to be and awfully good fun throughout. Stupidity reigns supreme for these rich kids, but the filmmakers are smart enough to make Bodies Bodies Bodies stick the landing.

This drama works best when it’s not taking its cues directly from its source material. It may not be always totally compelling, but Deadwyler elevates every scene she’s in.

Togo is in a slightly more sombre register than Call Of The Wild but delivers similar sturdy pleasures; exciting dog-in-peril action and striking landscapes, all anchored by Dafoe’s grounded performance.

The musical interludes in which Rapman narrates significant plot points offer a welcome change of pace, but the subject matter at play here is a little too common to truly stand out from the pack.

For sheer old-fashioned, childhood rekindling adventure you really can't go past it - just don't take the rose-tinted glasses off.

If you like your satire incisive you should perhaps look elsewhere, but the state of the world looks even more laughably absurd through Maddin and the Johnsons’ wickedly warped lens.

A stunning superhero/sci-fi that has appeared out of nowhere to demand your immediate attention.

A great, big joy. Even if you're a bit bah humbug, just delight in the supremely clever Aardman comedy.

Weird to the Gilliamth degree, Munchausen just might making being an 'uneven' movie a compliment.

There are brilliant, bewitching moments allied to hilarious and touching ones. Just not enough of them in what veers, at length, between the clever, the terrifying and the bit tiring.

A truly great Western from Clint that is bleakly atmospheric and charming in turns.

Stories about love in a world gone mad don't come any more gorgeous, or any more sweepingly epic, than this.

Drags in places and deosn't even try for a true-to-life portrait of the great theatre entrepeneur but it's shiny and big spectacle with impressive choreography.

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.

This Hallow Road is paved with brilliant performances, a smart, unpredictable script, and tight, precise direction from Anvari. An unsettling ride worth taking. 

A funny, affecting, twisted tale, which demands you pay close attention to every throwaway detail.

You can really tell that the people making this film had a lot of fun doing it. The plot is thinner than a compressed wafer, but who cares? It's fun and cheap laughs all the way, and that ain't no crime.

A bitter howl at the injustice of the modern world, intellectualised through one of literature’s shrewdest figures. Powerful and eye-opening, but Orwell himself might have preferred a less partisan approach.

It is a complex and at times infuriating structure — it often helps to conceive of the film as the book of short stories it stems from — but simultaneously vivid and disturbing.

An exhaustive yet still superficial and queasy look at the awful liberties the world took with one woman’s life and image — and is now doing all over again.

Beneath Garrel’s unassuming, subdued style lies a deceptively powerful study of fidelity, lensed in stark, moody monochrome and featuring a compelling screen debut from Louise Chevillotte.

Once again seizing control of the medium, Nolan attempts to alter the fabric of reality, or at least blow the roof off the multiplexes. Big, bold, baffling and bonkers.

For fans of Cassavetes, Opening night is a must see. As per usual it features a superb cast.

A little bit of going through the motions with this horror spoof but fans will enjoy.

This is often upsetting (though never to the levels of Irréversible) but as energetic and handsome as its cast. At times you’ll be watching in horror, but you’ll never look away.

Much more than a way to pass a rainy bank holiday afternoon, this is rocking good superleague disaster adventure.

Wendell & Wild marks the anarchic return of one of the most exciting directors in animation, retooling his idiosyncrasies in service of a boundary-pushing children’s horror with strong political messaging.

An impassioned, fly-on-the-wall look at a serious social issue.

This, the debut feature from acclaimed TV director Danny Boyle, is the best British thriller for years, a chilling and claustrophobic heart-stopper centring on a moral dilemma destined to fuel many a dinner party conversation.

There’s terrific chemistry between the leads, but an episodic structure set over 20 years is too sprawling to really allow for a connection.

An unapologetic, impassioned biopic, The Birth Of A Nation begins quietly but ends in a howl of rage. It might not be perfect, but it’s powerful enough to stay with you.

While Dudley's booze-sodden antics tire after a while, there's relief in the form of John Gielgud as the old-fashioned English butler with a nice line in four-letter words, and a return to the screen from Liza Minelli, who plays the waitress Arthur falls in love with.

George MacKay and Nathan Stewart-Jarrett utterly thrill in this sexually charged, suspense-filled watch. Don’t let this one pass you by.

It’s not quite the home-run of Homecoming, but Far From Home isn’t far from matching it, with heaps of humour, energetic action, and the answers Endgame left you craving.

A sometimes over-simplified but often affecting look at forbidden love.

It’s a small, lightweight picture but Good Posture is alive to the messy realities of becoming a grown-assed adult, becoming more charming and involving as it goes on. It also suggests a bright future for writer-director Dolly Wells.

A lurid gothic gangster psychodrama from Roger Corman, this is Shelley Winters’ finest hour-and-a-half, cast as Arizona Clark ‘Ma’ Barker, a role it would be impossible to overplay.

Despite some strong moments, Ginger and Rosa fails to really convince.

Hilarious, madcap comedy from the Coen brothers that demonstrates just why they are the kings of quirk.

The psychological study that is the author's trademark is reduced to superficial and negative motivation - lust, guilt, revenge, escape.

The third part of Berg’s unofficial Americans-in-crisis trilogy will play better for US audiences than overseas, but it’s still a pacy and often enthralling disaster movie.

This unconventional film will offend anyone looking for a plot, but Linklater's smart observations speak volumes.

25th Hour proves that big ideas and an indie sensibility can still flourish inside the studio system. One of the more entertaining and thought-provoking Spike Lee Joints in a long while.

Despite a few missteps this is a spirited, touching romance and Shailene Woodley’s best performance yet. Divergent fans after a weepie need look no further.

It’s a mesmerising turn from Wiig, but the script leaves her working overtime to carry a story that doesn’t delve much deeper than its initial premise.

The kind of film that starts off with a climax and builds to a plateau of surrealist delirium that, one way or another, will have you shrieking.

Labyrintine and hypnotic, there's undoubtedly more style than substance to the film, but Von Trier manages to blind and bewilder his audience in a truly masterful manner.