Taut, clever, and fronted with two excellent performances, this is a clever choice for Jackson's first step into mainstream filmmaking.

If your anti-Apartheid musical knowledge only goes as far as The Specials’ Free Nelson Mandela, this is a toe-tapping, thought-provoking education.

A rose-tinted look at American history, certainly, but still a very entertaining one.

Tying up his trilogy in style, Seidl's film unsettles and provokes with wit and composure.

Made with genuine affection and innately British whimsy, this is really just an odd-couple comedy about two lonely blokes — one of whom has a “washing machine for a tummy”.

Mid90s is funny, observant and true. If the Wu Tang Clan and Ren & Stimpy references don’t resonate, the portrait of finding your people and them schooling you in the world will. Swear-y and lovely in equal measures.

An anti-Bond, the closest Cooke’s movie comes to an action sequence is when someone breaks into a mild run. But there’s real drama, and even thrills, to be found in this story of a very unlikely friendship that changed the course of history.

Evocative and endearing - a worthy string to the Lean bow.

Unclassifiable odd masterpiece.

No frills are needed to tell this once-in-a-generation story. Any concerns for a film about the unglamorous world of journalism are avoided thanks to sharp performances, sensitive direction, and one irrefutable truth: these women won.

A true original: an impressionistic portrait of a lost life, recreated in multiple forms with a gorgeous soundtrack. Odd, but unique.

Criminally overlooked in the States, this is one of the best horror movies of the last few years.

This powerful film offers no excuses for Sandro’s actions, but his situation demands our empathy.

A tough but deeply rewarding watch. Search it out.

Laugh as you barf. This fun reboot is crammed with affectionate nods and grisly kills as it bids a fond farewell to Tony Todd. Might it have been called ‘Ultimate Destination’?

A modern French crime epic where the smudges and crossings out do not diminish the passages of great dreamlike power.

The great thing about Breakdown is simply that what you see is what you get. Want 90 minutes of edge of the seat tension? You got it. Want an unravelling nightmare that stays with you long after the movie? You got it.

What could have been little more than an acting showcase for a reliable ensemble fully sings: a sophisticated, seductive, slightly unwieldy and often very sad study of the instability and upsets of motherhood.

An ode to impossible expectations, pride, bravery and loyalty, Happiest Season wraps up everything you could want for Christmas in a neat, thoughtful little bow.

Contrary to pre-release nay-sayers, Daniel Craig has done more with James Bond in one film than some previous stars have in multiple reprises. This is terrific stuff, again positioning 007 as the action franchise to beat.

Combining beautiful aesthetics with winning performances from Thompson and Asomugha, Sylvie’s Love is the rare Black period drama that tells a sweet and satisfying love story without revolving around the racial adversity of the era.

A compassionate and tenderly performed love story, with a musical current coursing through it. British cinema is lucky to have Clio Barnard.

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.

Lesser Hitch, but still superb entertainment.

Anchored by excellent performances from its three intertwined leads, Passages is alternately tender and thorny in its close character study of a narcissist, and as a romantic drama with no winners.

Perhaps the riskiest mainstream movie in years, Vaughn’s love letter to spy movies may be uneven in places, but it’s ultra-violent, envelope-pushing, and fun enough to overcome the flaws.

As a thriller it's solid three-star tension. As a Samuel L. Jackson showcase it proves a man can only coast through so many motherfuckin' or milquetoastin' turns before having to display his full and overpowering talent.

An enchanting blend of Disney twinkle and Tim Burton’s dark whimsy that’s at its best when venturing off the beaten path. Come for the super-cute elephant, stay for Keaton and DeVito’s glorious reunion.

The sight of this elderly bunch hobbling around the table may well make you laugh, but the passion with which they play each game as if it might (and probably will) be their last will also make you cry.

This is the best bond movie since "On Her Majesty's Secret Service".

Exceptional near-future production design and a strong dual performance from Mahershala Ali as a man and his clone fuel Benjamin Cleary’s impressive, thoughtful sci-fi debut.

A highly effective merging of star power (both in front and behind the camera) and finely honed horror sensibilities.

The Spine Of Night is here to satiate the cravings of those who miss a particular brand of animated storytelling, updated with added psychedelic fervour and plenty of extra-gnarly bloodshed.

This will divide audiences as much as "The Tree Of Life," but it's a brave and beautiful calling card for both filmmaker and star. Drink it up, sit back and think of a very different Australia.

The Two Jakes is well-acted and looks fabulous, cinematographer Vilmos Zsigmond paints it eerily bright and shiny.

Iain Softley directs his feature debut with simplicity and feeling, and you don't have to have been a Beatles fan to get with the beat. Gives you hope for the British film industry.

A decidedly grown-up thriller boasting several compelling performances, The Order is as tense and visceral as it is timely.

A script with a streak of clever cynicism and poignancy, a soundtrack of tunes you thought had long since departed to the vinyl graveyard and one of the most adorable screen pairings in ages in Sandler and Barrymore and the result is a film which, while hardly high art, is simply irresistible.

Patricia Clarkson's standout performance as Joy is as honest as it gets, and writer-director Hodges treats her sickness not with pity but great understanding.

Nothing can make an agnostic squirm like full-on religion but by loading his central character with lay weaknesses as well as spiritual strengths, Duvall invests the near-documentary style film with an everyman appeal.

Much-maligned it may be, but the so-called mumblecore movement continues to turn out gems. Lena Dunham's lo-fi, witty treatment of a semi-autobiographical tale adds another dozy to the canon.

An absurd-sounding concept rendered wholly believable and thrilling by a fearless young actress and a director at the top of his game.

A smart, original approach makes this much more than just another Exorcist wannabe. You’ll sense that there are horrors coming, but you still won’t quite feel ready.

Lynne Ramsay’s raw and animalistic character study proves to be the perfect vehicle for Jennifer Lawrence. She’s never been better as a woman on the verge of a nervous breakdown.

A thoughtful and thought-provoking look at identity, aspiration and a precarious way of life, this is anchored by a stunning performance by Brady Jundreau and inspired direction by Chloé Zhao.

Edgar Wright’s biggest film yet feels like something out of both the future and the 1980s: a scathing satire that’s also a lot of fizzy blockbuster fun.

The ultimate Star Wars fan film, it’s short on whimsy but when it gets going there’s enough risk-taking and spectacle to bode well for future standalones.

Bette Davis is captivating in this epic study of Southern chivalry.

As a Nick Fury buddy comedy, it’s fun. As a feminist fable it’s essential. This takes a while to really get going, but when Carol Danvers takes off she is unstoppable.

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

A thoughtful, meditative thesis on humanity’s relationship with nature, filmed with the kind of cinematographic beauty most fiction filmmakers can only aspire towards.

For anyone who appreciates artistic integrity and is interested in genuinely independent films, the prolific and highly personal work of John Sayles is essential viewing.

A bulkier, slower beast than Evans’ first film. But when it enters combat mode, it’s more raucously bloodthirsty than anything you’ve ever seen. Unless you’re Ross Kemp.

Sophisticated, adult thrillers are few and far between, and Mothers’ Instinct fills the void admirably. With vivid, striking imagery and top-notch production design, the film paints an exciting, moreish portrait of psychological intrigue.

Slightly lacking in tension but with a striking performance from Marlon Brando.

Kieslowski plays all this for laughs, and the anti-capitalist satire which fuels Karol's rake's progress remains the most satisfying part of the film.

Certainly one of Hitchcock’s most satisfying thrillers, mostly thanks to Wright and Cotten’s believable relationship.

Kill lives up to its name, and then some: this is a breathless, ferociously gory action film, on a level rarely seen before in Indian cinema.

Almodóvar lets rip with a story of great emotional intensity, while retaining his signature stunning visual style and a central performance quite unlike anything previously seen in his work. A potent and strikingly well-delivered combination.

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.

With a slew of body swap films in the late 80's it was expected that this would be another one to fall by the way. Except with a promising script by newcomers Rene and Craig and strong performances from Ryan, Baldwin and Walker, it manages to be more memorable than most.

Controversial and contended it may be in France, but whatever your stance this is another thrilling and thoughtful slice of history from the "Days Of Glory" director.

Like Spinal Tap's more seriously older brother, Jay Bulger's fond but unsparingly honest film is a treat for fans and music lovers. A juicy slice of rock history.

Witty, wonderful and wildly imaginative, Burton’s first proper ‘family movie’ since "Pee-Wee’s Big Adventure" delivers a sugar rush that’ll last for days.

Peck's tired resignation, and the authentic atmosphere and building tension make for a compelling retribution drama of the West.

Kevin Smith's most enjoyable film since, well, Clerks lacks much of its predecessor's outsider edge, but you'll probably be laughing too hard to care.

A bold and tender story well told, and elevated by its personal nature. This is a strong debut from Gharoro-Akpojotor — she’s one to watch. 

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

This is intelligent, admirably unsentimental and utterly involving for its full three-hour running time.

Its pleasures lie in the dialogue, the twists, the reveals. It all leads to a delightful Agatha Christie-style drawing room denouement, in which the rat is exposed, their best-laid plans laid to waste. Like the film as a whole, it’s deliciously, lip-smackingly satisfying.

As Diana, Gadot is excellent, a rocking electric cello riff in human form.

A simple but effective study of a vital activist voice, this documentary is a powerful force for change.

A delightful animation for adults, its lack of sentiment makes it an anti-Marley.

Joanna Hogg paints a precise picture of a woman trying to develop her own artistic vision while caught in the slipstream of a toxic relationship. An understated, exquisite gem of a film.

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.

Excellent casting, a great storyline and a shrp script mean that this remains a classic of the genre and one of Katherine Hepburn's best roles.

We must salute screenwriter Budd Schulberg (his speech for priest Karl Malden in the loading bay is still stirring). Add the acting/writing heroics a restrained score by Leonard Bernstein and a striking, charcoal look by cinematographer Boris Kaufman, and you have an elegiac portrait of labour relations that feels like a kick in the slats.

The things Sorkin is criticised for — grand speeches, an earnest streak — are the things that make his work sing when the context is right. The drama of this legendary TV couple gives him plenty of material to do some of his best work.

Disney delivers a vibrant action-fantasy epic with another heroine who feels legitimately revolutionary.

A voluptuous slice of historical drama that will satisfy period fans and Mikkelsen admirers equally.

Part thriller, part character study, Cordelia is eerie and atmospheric, putting you in the fractured headspace of its desperate lead. An impressive dual achievement from co-writer/star Antonia Campbell-Hughes.

Sound silly? It is. Very. But it's also highly enjoyable, incredibly slick and a damn sight more entertaining than numerous other bombastic actioners. Bogosian makes for a splendidly deranged villain.

The sheer terror of Meru Peak, the mountain-climber’s ultimate nemesis, is confronted in a vertiginous, breath-stealing video diary. Book a back seat at the big screen, and don’t look down.

Charismatic performances push this into a higher bracket of political thriller.

With Better Call Saul about to come to an end, Odenkirk switches gears with admirable ease, anchoring one of the most purely enjoyable action movies in ages. It’s not quite a case of Nobody does it better, but it’ll do until somebody does.

While it can be a lot to take in, Occupied City is a poignant sociological portrait. Through the history of one space, it studies how fascism pushes people out of spaces  — but is also hopeful on resilience, solidarity and resistance.

The fear factor is back. This is a Jurassic sequel that plays it both adrenaline-pumpingly huge and thrillingly small. A summer ride that will drive kids out of their minds, and maybe even give the parents nightmares.

Bitterly funny with perfect set-piece after perfect set-piece.

Demanding, even confusing at times, this is required viewing that requires your full attention.

Although the broad comedy of the first half soon gives way to a tidal wave of entirely uncalled for sentimentality, this is still a laugh riot - the sight of our hero setting fire to his falsies never fails to amuse.

Lucky is a profound, wry, slip of a movie carried by Stanton’s moving performance. It is a fitting curtain call; one of America’s great character actors might just have saved his best for last.

What most people remember is the mix of the live-action tracing within the traditional animation and just how effectively creepy it managed to be, but for the time this did a pretty good job of adapting the dense novels.

A slight but consistently entertaining, thoroughly funny slice of life, this is Ben Wheatley untethered, letting off steam with a workout. It is a welcome carnival of misanthropy.

Flimsy plot (as usual for Argento) but stunning set pieces and camera work.

A beautifully realised adaptation of a profoundly affecting novel. Intelligent sci-fi provides the backdrop, while in the foreground is a trio of truly impressive performances from Mulligan, Knightley and Garfield.

Chinonye Chukwu’s restrained approach replaces dramatic fireworks with an absorbing, slow-burning study of a broken woman’s politicisation. She is superbly served by star Danielle Deadwyler, who transforms Till from a good film into a gripping one.

While less beguiling than "Capote," Infamous remains a soulful and searching portrayal of the writer, carried with immense charm and vivacity by its leading man.

Vanessa Kirby and Shia LaBeouf put in career-best performances in this crisp, fluent take on unimaginable trauma.