In the filmography of liberal-skewing, Bush-era true stories, this is a measured, persuasive item.

Odd, confident, challenging, and featuring a brilliant turn by Williams. If only there was just a little more to it.

Entertaining Sunday afternoon stuff.

A fitting — and frustrating — end to an extraordinary career. Ken Loach’s powerful, poignant storytelling is occasionally stymied by his less subtle impulses.

Despite its glaring obviousness, this is charming enough to captivate the viewer, producing unexpectedly strong female characters and faultless attention to detail.

Smart and stupid in equal measure, this is a palate cleanser after the doom and gloom of Justice League. The Titans could make you fall back in love with the entire DC Universe.

Charming but uneven, director Améris's film doesn't know whether to make us laugh or cry, and ends up doing neither. Still, a smart script offers plenty to keep incurable romantics happy.

The cute puppy almost steals the show but Hardy is ace and quite the watchable chameleon in his surprising switch from lovable dumb ox to cannier-than-we-thought.

Wells knows how to extract the goods from a great cast, but it's in service of a somewhat mundane story. Still, it'll make you think about the imbalance in the business world, even if the arguments and consequences are nothing all that revolutionary.

There is much to admire in Vol. 1, not least a performance from Uma Thurman as steely as the plate in her character’s head and a knowing soundtrack that effortlessly smears the boundaries between east and west.

Stone takes gritty subject matter and hacks it into a perilous ride based on Boyle's life in Salvador. Showing the true, upsetting and harsh realities of which most of us try not to think of. Pure Oliver Stone.

The over-familiar story-beats and safe execution stop this from reaching its full potential — but Hopkins and Flynn shine, providing a moving portrayal of Winton’s life.

It's heartfelt, hilarious and a highly satisfying adaptation of the book. You don't have to be a geek to adore it; you just have to remember being young. But one word of caution: Hollywood, don't try to make a hundred of these. It won't work.

It's a mostly winning combination of sassy humour and sentiment, enlivened by some fun "newsreel" recreations that catch the period flavour of a sport adopting showbiz tactics - flirty-skirted uniforms, cheesecake stunts and skin-scraping do-or-die game plays - to attract the crowds.

An uneven but appropriately rousing attack on Trump, which occasionally loses its focus as it makes its bigger, scarier points about the United States’ slide into despotism.

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.

Get Duked channels both Trainspotting and Deliverance to create a scattershot shotgun-blast of gags, gore and bedlam. Winningly performed by its young cast, it’s a (laminated) calling card for director Ninian Doff.

Ron Howard’s genial account of the legendary Muppeteer plays it safe, with a fairly traditional documentary-making approach — but it still manages to be adequately inspirational, celebrational and, yes, even Muppetational.

After Ned Kelly, Jagger needed a hit and Performance was it. Although playing a rock star probably wasn't the greatest challenge, he more than holds his own against Fox in a psychedelic classic.

In the grand pantheon of Sinbad movies, those pleasurable Arabesques of silly beasts, big swords and scantily clad maidens, this lower league Ray Harryhausen stop-motion thriller squeezes between the better Eye Of The Tiger and the worse Seventh Voyage.

The Outfit follows a pattern set by countless gangster flicks of the past, but its freshness is in the intelligence and surprise of the script. Like a well-made suit, it’s not old-fashioned — it’s classic.

Raiff’s assured and intelligent writing and direction, paired with the strength of its acting ensemble, make this an irresistibly charming, emotionally rich treat.

If it could decide whether it was a cute romcom or a dirty one, Man Up would be a real gem, but as charming as it is, it falls between two stools and never manages to, ahem, Man Up.

The lines between artist and muse are too clean cut to capture the visceral and intimate emotion of two lovers. Broomfield’s approach feels more intrusive than reflective, reducing the private story to public gossip.

22 July takes a helicopter view of a terrifying, unthinkable tragedy, perhaps flying too high to capture all the nuance, complexities and emotion. Still it has great stretches and a terrific performance by Anders Danielsen Lie.

A tangled narrative and damp-squib ending detract from an otherwise joyous Spaghetti Eastern.

Streep and Eastwood's chemistry makes the film.

Lushly photographed by Andrei Zhegalov and impeccably played, it’s a long-overdue corrective to the kind of wildly patriotic war film produced in the Soviet era.

Perhaps it was not intended to serve as a sequel to the fabulous "Dogtown And Z-Boys," but Helen Stickler's documentary does pick up where Stacey Peralta left off, following skateboarding into the '80s boom.

Working from her own story idea, producer Daisy Ridley shines in Magpie, an adultery thriller that’s a little too cool and calculated to truly ruffle viewers’ psychic feathers. 

Die Hard karaoke this may be, but it delivers — and eclipses at least two of John McClane’s outings in the process. Look forward to future eye-rolling debates as to whether it qualifies as a Christmas movie.

Without doubt, Jaa's a star — a man very possibly worthy of the 'new Bruce Lee' tag.

A uniquely British blend of excruciating comedy of embarrassment and outright grue, not quite as disorientating in its mood shifts as Kill List but just as impressive a film.

A rich and imaginative evocation of a family in turmoil.

Packed with style, charm and a barrel-full of shrapnel for good measure, The Harder They Fall will still be standing when the smoke clears. The Bullitts doesn’t miss.

A thumpingly didactic script, but Palcy has crafted a watchable - if not particularly important, given its competition - one.

The execution doesn't quite enliven the premise, but there's still enough enjoyably offbeat moments here to make this one worth digging up.

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.

A return to fun, and a return to form for the new version of the old Trek. The 13th Trek movie is also the second good odd-numbered instalment in a row. Lucky for some.

It starts off well enough but slowly sinks under the leaden weight of its worthiness.

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.”

The film's period settings and spectacular on-stage showbiz set-pieces are fabulous, its meandering script much less so. The thing feels like a movie with its heart ripped out.

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

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.

Once the political correctness is side-stepped, this contains classic chemistry from its two leads.

Of course it's hokey and silly, but Reiner really knows how to skirt potential schmaltz and there is a political backbone to the piece which gives it reassuring depth.

It'll never be remembered as a Hitchcock classic by any stretch, but that is far from saying it's the mess that some regard it as. It's entertaining, and the visuals speak volumes more than the over-cooked dialogue. Worth a look.

A compelling curio from Werner Herzog, who investigates a strange real-life phenomenon through a fictional lens. It's worth watching, especially if you enjoy Herzog's lateral take on life, but it's hard not to wish he'd just made it as a straight documentary.

Proceedings are further distinguished by Christie who is simply outstanding in a fiercely demanding role. It's an utterly absorbing performance and the keystone of a film which could, with some justification, be labelled a small masterpiece.

As befits a distillation of 1,318 pages of the story so far, Akira the film is teeming with incident and detail.

A wonderful comedy of romance, pain and getting it all wrong until somebody makes you do it right. The kind of film that makes you want to call someone the minute it's over, even if just to tell them to go see this movie.

An efficient and no-nonsense depiction of the worst disaster in US oil drilling history, buoyed by excellent performances.

Centred by a committed, affecting performance by Noomi Rapace, Lamb gets over its longueurs and missteps with interesting ideas, filmmaking craft and a unique tone of voice. Also includes some of the best animal acting of the year.

Packed with plenty of heart and relatability — and a powerhouse performance from Jack Lowden — it never fully resolves the tension between the grit and glamour of the wrestling worlds the Knight family inhabit.

Anchored by a steadfast James Norton, Mr. Jones doesn’t grip as it should, but is a timely, well-made reminder about the importance of reporting the truth when the world doesn’t believe you.

It's a collection of cop-movie clichés but presented with sufficient flair and strong performances that the ride is enough, even if it's on rails.

Eschewing the linear approach, this erratic documentary occasionally drifts a little too close to self-indulgence. But it’s also a frank, funny and disarmingly deep portrait of a true screen legend.

Dextrous with the action-adventure elements but clumsy in its handling of the central message, Apocalypto is a strange but largely entertaining mix of action, bloodletting, chin-rubbing and arthouse trimmings.

Steve Martin does his schtik to perfection and Michael Caine unveils some adroit comic timing in this charming but mediocre comedy.

Like a Gallic "Nine To Five," Ozon's comedy is a uniquely French skew on the gender politics of the home and the workplace. It's mostly funny, fast and fondly made although it drags a little towards the end.

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

Though it may be derivative, Smile still manages to be a scary, unsettling ride that’s powered by an impressively committed Sosie Bacon performance and some assured direction. Finn is one to watch.

As shocking as it is hilarious, as ridiculous as it is insightful, Borat Subsequent Moviefilm is the comedy we both need and deserve right now.

Action-packed, gorgeous, and faithfully whimsical: Hergé thought Spielberg the only director capable of filming Tintin. He was onto something.

For Freeman's first feature as director, the end result is enjoyable but given his strong roles over the years, somehow more was expected. The equally powerful Glover gives a memorable performance in an interesting film that will inspire and educate.

A wonderfully uplifting and charming biopic that's sure to win over all but the most mean-spirited. And the motorbike races really rocket, too.

The visuals are an animation student's wet dream, the dialogue an English student's nightmare - but for Japanimation fans it's a big-screen must-see.

Stylish enough, but the plodding story inhibits the smooth sophistication of the film's stars.

Another solid directorial effort from the occasional filmmaker.

And Then We Danced is a well-made love story, anchored by a mesmerizing Levan Gelbakhiani and enlivened by electrifying dance numbers.

[Hartley] has turned out a film that is the same as his impressive back catalogue - quirky talk-driven curiosities about people living on the fringes of society - yet somehow different, managing to imbue his usual obsessions with the freshness and vitality of a first-time director.

A triumph for Ramsay anchored by terrific performances. Guaranteed to haunt you for days, and possibly prompt a rethink on your position on parenthood.

It doesn’t always land, but it dares to be different, from the title to the team-up. Fresh and thoughtful in a way recent Marvel efforts haven’t always managed.

Beautiful to look at but lacking a strong point.

An often amusing reimagining of Bronze Age history 
that, while it doesn’t quite match the best of Aardman, is still solid family entertainment.

Well-acted and suspenseful, with a great deal of editorial content, this feels a little awkward and earnest, and perhaps not angry enough.

This is a bold, unusual and gorgeously realised take on the very familiar slasher template — even if it doesn’t quite live up to its innovative promise.

Burton continues to capture the essence of the Batman legend and more importantly his audiences imagination.

A scary, sharp, funny movie, this is the best kids’ flick of the year so far.

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.

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.

Angry, impassionate filmmaking that demands - and deserves - serious answers.

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.

As vehicles for fat comedians who were big in the States but never exported well go, this self-proclaimed slob comedy is nearly a masterpiece and certainly much better than the comparable Revenge of the Nerds films.

A splendidly detailed and rousing caper movie.

An absolute treat of an interview with a man who has told other people’s stories wonderfully for decades and tells his own just as well.

It’s very conventional in form and dances round his famous temper, but Never Give In touches on topics (class, identity) rare in a sports documentary, etching a moving portrait of a man reflecting on his past at a point when his memory is slipping away from him.

The most terrifying fashion film since The Devil Wears Prada, Deerskin is a deliciously ridiculous farce played largely straight. This is a jacket you will feel the benefit of.

This is lots of fun and the actors definitely look like they're having a good time.

Though low-stakes for an adventure film, this is nonetheless an engaging, found-family eco-fable that imparts an important conservationist message with considerable, at times impressionistic, style.

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

It's not on a gasp-inducing making-the-Statue-Of-Liberty-disappear level, but with its opulent presentation and confident storytelling, The Illusionist has the power to keep an audience rapt like a good old-fashioned card trick.

While not exactly reaching Ring-levels of terror, it's certainly one for connoisseurs of the weird.

Less vibrant than the original, but equally thoughtful and funny.

Cute and sweet, and if it lacks great wit or magic, at least it has the courage to remain faithful to the gentle sadness and 'realism' of the original material.

It says little that is new and lacks heat, but Wilson and Burke inhabit a compelling mismatched couple, with Wootliff finding cinematic ways to get under their skin. A flawed but admirable attempt to take the temperature of a dark, modern relationship.

Yes, Rick Baker won the Oscar a year down the line for his American Werewolf In London FX. And, yes, they are staggering. But it is Rob Bottin's work here (with inflatable air bags under a latex "skin" and a pioneering "hydraulic snout") that is — and ever shall be — the pinnacle of mutation effects. Amen.

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