Has something for everyone.

Joseph Kosinski has done it again. F1 combines unparalleled access, pioneering filmmaking and moving redemption arcs to deliver an exhilarating cinematic experience. What will he attach a camera to next?

Charming, delightful and amusing - just what you'd expect from the star-studded cast of veterans.

Narratives of the Northern Irish Troubles are a nightmare of bias and bullshit – this superior doc does better than most in cutting through both, and offers a lot to experts and noobs alike.

An outstanding thriller based on a stageplay (by Frederick Knott) that fits so much better on the screen because, as well as the expansive, cinema is really good at claustrophobia.

Stunning, if occasionally meandering, River provides waves of staggering visuals and a thought provoking, invigorating, environmental message.

Schlesinger, using slick camera angles and direction that bear a striking similarity to those of the old master himself, manages to pile on that tension in spades.

Pine supplies gravitas in the lead, but he’s almost a lone voice of moderation. Bloody and brash and as subtle as a trebuchet, this is gleefully entertaining — unless you’re English, anyway.

Buoyed by a trio of standout performances, this freshly resonant thriller brings urgent life to one of the Black Panther movement’s greatest tragedies.

It may not scale the heights of his Paddington duo, but Paul King’s Wonka is a beguiling way to spend 116 minutes, perfectly anchored by Chalamet’s benevolent dandy. All together now: Oompa Loompa, doompety doo…

Barrymore, among the most consistently admirable women in showbiz, can proudly add a Guides badge for Meritorious Directing to her many other achievements. Excellent emo chick coming-of-age drama plus broads in fetish gear battering each other on roller skates -- frankly, a film that offers something for everyone.

A vivid portrayal of life at society's margins with a compelling turn from newcomer Jarvis. Little wonder it scored at Cannes.

Funnier, filthier, and damn entertaining, Deadpool 2 leaves no stone un-deconstructed: the naughty man-child of the X-Men universe who manages to beat them at their own game.

The title Varda By Agnès is apt, a portrait that is both expansive and personal, intellectually sharp but full of fun and heart. A film that is both an entertaining gateway and fitting eulogy to a giant talent.

Boseman and Davis deliver superb performances in this timeless meditation on Black art, and those who would exploit it. Yet another fine adaptation of an August Wilson play.

A beautifully observed study of an American family coming apart at the seams, it not only establishes Dano as a director to watch, but features an extraordinary performance by Mulligan.

An exciting and thoroughly enjoyable, experience.

An outstanding cast savours performing a play that has stood the test of time. Avoiding sentimentality, this is a valuable rejoinder to those who would sugar-coat mass slaughter.

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

Genuinely original: a silly, hilarious and oddly profound adaptation for adult-sized children.

Beautifully monochrome rendering of a love that cannot be.

In outline it sounds trite - a disenfranchised kid is turned around by a kindly stranger - but the Dardennes' make it so much more. Raw but compassionate, naturalistic but compelling. If you're looking to get into the Dardennes, this is a great place to start.

Bullock is a delight, disarmingly kooky, pleasing to look at, and - as she has previously proved - a gifted comedic actress.

A disturbing and poignant anthology of Roman Polanski's favourite, oppressive themes.

Very physical, with intense performances and half-serious period talk, it’s an impressive, haunting picture — though the sort of thing you have to meet at least halfway to enjoy.

All modern life is here — the good, the bad, the insufferable — and it’s glorious. Non-Fiction is Olivier Assayas in a lighter register and he wears it well.

Abetted by Nicolaj Brüel's prowlingly ominous camerawork and Dimitri Capuani's soul-destroying interiors, Garrone proves once again that even the lowest-rung southern Italian gangster can't afford a shred of human decency.

Jim Jarmusch's first colour film is less understated and more inviting than those he made before, which may have as much to do with the constant presence of Elvis (in one form or another) as the rich seam of oddball humour and stylish cinematography.

Even by their high standards, the performances of Weaver and Kingsley here are impressive, and Polanski ratchetts up the tension nicely. A chilling and thought-provoking piece.

An absolute must-see for anyone who loved 2016’s Your Name. Even if it isn’t as surprising and narratively powerful as that film, Weathering With You once again exemplifies Makoto Shinkai’s visionary prowess as an animator.

Paul Thomas Anderson does gothic romance in prestige Brit picture style, eliciting a worthy final performance from Daniel Day-Lewis that’s admirably matched by newcomer Vicky Krieps.

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 typical older male mentore story...told with sensitivity and perceptiveness.

Its plot isn’t going to win any prizes for originality, but Nair tells the story with immense warmth and cheer. You can see just about every move coming, but it’s making all the right ones.

With the help of a staggering ensemble cast, Steve McQueen has made an intelligent, emotional thriller that contemplates contemporary American politics as confidently as it does blowing shit up.

A languid, quietly moving love triangle.

Some days a runaway train movie just hits the spot.

Riders Of Justice is an oddball delight. Taking a leaf from the Coens’ playbook, it’s by turns ultra-violent then drily funny and surprisingly wise. Come for Mikkelsen, stay for his winning band of lovable losers.

Kubrick's superb version of William Thackery's first novel is meticulous and philosophically stimulating but it can leave some audiences unmoved on an emotional level.

The start wobbles, but once boy and dragon connect, this becomes a thrilling flight.

Inventive and lyrical, A Very Long Engagement is a joyous contradiction in terms: a war-torn romantic comedy.

Lustrous photography and a fine cast make this dark drama a compelling one.

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

Avoiding the 80s staple of angsty adolescence, Crowe has constructed an intelligent, witty yet undeniably cute tale, showing the potential that would be realised in Singles and Jerry Maguire, and giving Cusack's warm-hearted Lloyd the perfect foil in Skye's prissy model of student perfection.

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

Moving and insightful. Not a classic by any means, but a fascinating glimpse of the way we live today.

Finnish him! Gore-soaked and unbelievably bloody, this will make you wince, gasp and cheer for the little guy. Another authoritarian regime is in for a bad day, and that’s a lovely thing to watch.

Making exceptional use of stillness and silence, this is a rather sad study of the passing of traditional concepts of American masculinity along with the landscape that forged them.

Orson Welles’ final film is an infuriating, brilliant, personal sign off, filled with stunning images, wit and bravura to spare. In short it’s everything you hoped it would be.

An ambitious and quite beautifully conceived fairy tale for the 90s.

Energising, stylish and engrossing, although its scattershot chronology and egocentric approach might not be to everyone;s taste. Still, Boseman is brilliant - it would be madness if he isn't among the Oscar runners this season.

La Diva Eterna lives in Jolie, with a performance as towering as it is understated: sad and soulful and heartbreaking. She has never been better. Brava!

Thrilling and often hilarious, it’s good to see one of Hollywood’s most inventive directors fully reinvigorated. On this form, Spider-Man 4 should be a belter.

The Vast Of Night is a modest film about small-town dreamers that delivers big-time rewards and announces a singular, exciting talent in director Andrew Patterson.

The Truffle Hunters is a low-key delight, a poignant lament for a fading art that doubles as foodie heaven. Go on a full stomach.

Fast, funny, very British and less militaristic than, say, The Peacemaker. On this evidence, we may be forced to say, Carry on, Bond.

Like a lot of human relationships Greenberg is complicated, infuriating, good-hearted, funny, often painful, and well worth the effort. A sad little movie but also a great one, lit by two astonishing central performances.

Mike Leigh sees a Britain everybody knows exists but would rather not think about, and this is a nightmare journey, at once horrific and funny, through a twilight London of the excluded and the rejected.

Loach scans the contemporary landscape, and instead of a firebrand approach of stereotype, delivers a film of immense sadness. Someone should project this on the walls of the Department for Work and Pensions.

Just lovely. Tourette syndrome has not been afforded its cinematic dues, but what an affable, funny character to explore it with in John Davidson — and what a performance from Robert Aramayo.

As hilarious as it is touching and tasteful at the same time, Tootsie will offend no one and uplift anyone who watches it.

A compassionate meditation on love, loss and family, Waves is hyper-stylish yet emotionally grounded. Despite some very high drama, it has a huge heart, and hits you where it hurts.

It’s drifty, dreamy quality that, contrary to the film’s indie-cool ingredients, makes it eminently watchable and modern.

It will test your concentration, resolve and butt cheeks to the limit but Winter Sleep will reward your staying power: a perfectly played, beautiful-looking, exquisitely nuanced picture. Would make a great, if gruelling, decaying-wedlock double bill with "Gone Girl."

Co-written and directed with sensitivity and visual flair by Anne Zohra Berrached, Copilot puts an intimate spin on the devastating events of 9/11.

A very clever, stylish story of friendship, loyalty and betrayal.

By keeping the pace quick, the explanation light and the characters strong, Nolfi achieves the near-impossible: a film puzzle you won't mind leaving unexplained.

Generic title, strong movie. Relic is smart (but never smart-arse) horror. What it lacks in incident it makes up for in a troika of top turns and tangible tension in service to an interesting parable about the gnawing effects of dementia.

Tempering its flights of fancy with moments of whimsical humour and kid’s-eye realism, this thoughtful treatise on growing pains reveals a realist side of Japanimation that’s all too rarely seen.

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

If you don’t like Malick’s movies, A Hidden Life won’t convert you. But this is the filmmaker on sublime form, putting his artistry and obsessions at the service of something frighteningly relevant.

Not quite as smart as it wants to be, and a better action movie than it is a political thriller, this is still a heart-pounding drama.

Payne’s lm is full of invention, wit, great scenes and big — if not fully realised — intentions. Downsizing may be about a small world, but it is an audacious, out-sized peach of a picture.

What could have been a simple retread or by-numbers continuation instead throws itself headfirst into time-twiddling absurdity. High art? No. A total blast? You bet.

You don’t have to be cray-cray for Tay-Tay to enjoy The Eras Tour. Taylor’s version of a concert flick might not reinvent the music movie wheel but, as a gift to the hardcore or a primer to her immense talent, it works a treat.

Surprisingly successful adaptation of J. M. Coetzee's superb novel.

Part film industry satire, part winning love story, Benjamin is low-key and shambling but emerges funny, bittersweet and affecting.

It's Newman's performance itself that really makes this film work and helps it truly get close to Lumet's own '12 Angry Men'.

Despite a hugely harrowing storyline, Close somehow musters the strength to take care of its audience and leave us with something beautiful and brave. There’s faith in a better future.

Another sparkling thriller from the "Anything For Her" director. See it, then wait for the inevitable US remake.

Smallfoot effectively weaves powerful messages into a fun, heart-warming animation that is sure to appeal to audiences both young and old.

An engaging melodrama whose less convincing plot points are superseded by some astonishingly affecting performances from the mostly unknown cast.

Play It Again, Eric... Ken Loach perfectly captures the feeling of football and the need for hope. Touching and hilarious — a blinder.

A perfect backstage musical.

Wheatley continues an unbroken run of quality, helped by a great cast and a startlingly effective premise. This is seriously cool, stuffed with great dialogue and riddled with bullets.

There’s slapstick and silliness to entertain small children and nefarious plots for the adult audience to untangle, making this a far more handsome prospect than any of its characters could imagine.

An ingenious, wildly stylish new take on the body-swap movie, this deserves to be a Gen-Z cult classic. 

Offbeat, stylish and packed with some wonderfully bizarro moments.

An unusual epic, the first half is a knockabout comedy, but thoroughly entertaining.

A perfect ensemble of cast, photography and screenplay are all subtly handled through Huston's direction, bringing out Bogart and Hepburn's performances beautifully.

One of the liveliest, wittiest, cleverest cheapies ever made.

Last Flag Flying is a thoughtful tally of the cost of war on ordinary lives that also manages to be a funny, moving men-on-a-road-trip movie. It’s that rare thing: a sequel, albeit 44 years late, that is worth catching up with.

A group more bulletproof than The Avengers, causing more mayhem than General Zod. Think Universal doesn’t have a superhero franchise? Think again.

Elegantly walking a line between absurdist satire and family drama, this is a clever send-up of how the broadness of Black culture gets reduced to cliché.

A mysterious and disorientating blend of giallo violence, cinematic experimentation and Lynchian psychohorror. Revel in its bonkers beauty.

There’s some quibbles to be had in an over-familiar setup, and an under-served villain, but overall this is a gloriously fun family parable, and as entertaining as any superhero movie you’ll see this year.

Costa-Gravas at his hypocrisy and oppression-fighting best.

A little reticent in gore gimmicks for the Final Destination crowd, but considered as a middle school between Goosebumps and Clive Barker, it’s just the haunted lottery ticket.