Arguably the best teen comedy since Clueless, it's easy to give this one an A. Well, A-.

Yayyyy, monsters!

A number of decent performances and a gritty realistic view of London makes this little sci-fi spin-off still worth a look.

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.

Regardless of its dense intellectual and autobiographical content, however, Mirror can still be appreciated as an attempt to capture the human soul and to show that, for all our diverse individual experiences, we still have much in common on an emotional and spiritual level.

With this touching story about a boy learning to play chess, Zaillian cuts an impressive debut, brining out strong performances from his cast most notably the young Pomeranc who is genuinely moving a the chess genius, even when he's not talking we are able to know what he's thinking, a rarity amongst child actors.

Another quiet delight from Koreeda.

Intelligent and witty ensemble rom-com for the grunge generation.

Ultimately this is a film about feelings, moments and things not said. Like "Lost In Translation," it’s about what happens when people living in their own little worlds collide.

What makes this such an affecting picture is the contrast between the wonderfully aloof camels and the interdependence of the extended family, whose smiling resilience only hints at the harshness of an existence that has changed little in centuries.

The sequel we needed is both the film you expect, and the one you don’t. There’s blood, but also real guts and brain and heart — visceral cinema soaked in viscera.

Beautifully performed and tough as nails, Vinterberg's social drama could not be any more timely.

It will require no conspiring to make you fall for this one; Whedon and Shakespeare are a perfect match.

All the actresses (including Tilda Swinton as ex number four) give wonderful performances in the short screen time each of them is allowed.

A character-driven thriller with more twists than an off-the-map dirt road, awards-quality performances from the three leads, a rare sensitivity to the after-effects of horror and a sure directorial hand. Mickle and Damici officially segue from ‘promising’ to ‘delivering’.

Essentially “Men will literally do stand-up rather than go to therapy”, in cinematic form. An appealing tragicomedy-drama, told with veracity and heart by Cooper, Arnett and Dern.

Occasionally, like its characters, ragged around the edges, this nevertheless rings with all the emotion and power of the source and provides a new model for the movie musical.

This is a sexually frank and arrestingly tender perspective of a young man in freefall. It occasionally leans too far into the horrors of street prostitution, but it’s mostly an open-minded view of its shiftless main character.

Bourne goes epic. A wham-bam actioner, but its pointed political subtext ensures Damon and Greengrass deliver their most provocative mission yet.

For the guys it's Rodriguez's best film by far and a treat for fans of good-looking girls in black-and-white, of classic film noir and of imaginative ultra-violence.

Director Stacie Passion doesn't try to ape Buñuel’s surrealist twist on ennui in Belle Du Jour, instead crafting an enthralling, modern tale in which intimacy is a goal rarely achieved.

It aches for more depth and warmth and humour, but this is spectacular sci-fi — huge, operatic, melodramatic, impressive. It feels the right Superman origin story for our era, and teases what would be a welcome new superfranchise.

Though the story occasionally stretches credibility, the warmth and wit so reminiscent of the original Bridget Jones's Diary propels you along, being due in large part to the return of one woman: director Sharon Maguire. You feel her filthy, funny thumbprints pressed on almost every scene.

We've never seen Pierce Brosnan so liberated - he’s a man reborn, and for what The Matador may lack in rounded plotting, it makes up for in funny, spiky, idiosyncratic glee.

Close gives a performance that demands the Oscar voters consider her for a seventh time, and with Pryce matching her barb for barb, this is a heavyweight piece of theatre that grips whenever they’re on screen.

If you can take the assault on your senses it’s worth sticking with for a core of genuine, affecting drama and dollops of sly, quotable humour.

Recalling the work of Jacques Tati, this is a grim but amusing and ultimately successful effort.

With remarkable performances, aggressive direction and a cracking pace, this is superb cinema, even if the historical accuracy leaves much to be desired.

With the whole of America as his backdrop, Penn pulls off his most ambitious movie yet. The result is a beautiful and thought-provoking road movie.

Effortlessly the best Predator movie since the original, Prey proves that, against all expectation, there’s life in the franchise yet, not to mention a thrilling new lead in Amber Midthunder.

Brad Dourif shows he was always great in one of John Huston's better later films.

A sci-fi thriller starring Robert Pattinson suggests that Claire Denis has gone all mainstream. But High Life is the filmmaker at her most dark, a mesmerising, patience-testing, violent exploration in the darkest reaches of outer and inner space.

A gruelling, nightmarish, ferociously vivid riot epic that recreates one of the darkest chapters in American history. Unflinching, unmissable and terrifyingly pertinent.

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.

Last-act let-down aside, this is a confident and creepy ghoul-in-the-pool horror that makes Bryce McGuire a filmmaker to watch. Wusses, bring armbands.

This is how action movies should be made.

Kidman, in particular, hasn't been this good since "To Die For" and maybe not even then.

Disjointed but it still rocks.

Hardly a barrel of laughs then, but this slowburn tale sears its way onto the synapses and then flat refuses to budge.

Cronenberg's best for a long time -- broad and entertaining enough for those unacquainted with the director's work, but layered with the themes of infection and mutation that have defined it.

Filmed over 13 days in Tuscany and based on genuine Balkan Route testimony, this is an innovative, immersive insight into the migration crisis that also reveals much about human depravity.

Truth or not, this is an exceptional piece of cinema, deeply provoking and audacious.

Jackie does what the very best biopics should: it makes you view someone you’ve seen countless times as if you were seeing them anew.

A riveting slice of Romanian new wave drama, haunted by shadows of the Ceausescu era and never less than thought-provoking.

Within Allen’s recent output, Vicky Cristina is the highlight. See it for beautiful locales, an ambivalent look at human relationships and a clutch of great performances, especially from Cruz.

Unpredictable and compelling, this draws parallels between Japanese and German cultures in interesting and moving ways.

An exciting, intellectually stimulating science-fiction thriller which also connects emotionally. Everyone involved earns a promotion to the premiership.

A hard film to love, but a hypnotic meditation on all the elements -- gossip, religion, bullying -- that can turn a parish and country bad.

Given the obvious influences on The Double, it could have felt like a facsimile of other films. Instead, it has enough individuality, imagination and idiosyncratic invention to identify it as a true original.

Bravely refusing to rigidly adhere to a formula that has been so successful, Wright, Pegg and Frost’s Cornetto Trilogy closer has tonal shifts you won’t expect, but the same beating heart you’ve been craving.

The Daytrippers is an assured debut which engages the brain as well as tweaking the laughter lines.

Ardent, accomplished, overwhelmingly emotional, with something to say and a dream cast saying it in song. Bravo.

A sharper account of the Iwo Jima conflict than Flags, this balances its unflinching handling of the horrors of war with its touching portrayal of those who face them.

A solid, enjoyable, beautifully animated Disney movie, but one not quite out of the top drawer.

An unassuming treat amid the noisy blockbuster season. It’ll melt your heart and any dietary resolve equally.

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.

Funny peculiar and funny ha ha, with a spontaneity and energy that gather up a powerful emotional head of steam as it chugs along.

Given it could be re-titled ‘Microaggressions: The Movie’, this is an unsurprisingly upsetting watch at times, but it’s made compelling by Vega’s dignified, heartfelt performance.

Original, sad, suspenseful and involving: the kind of work that helps independent American cinema retain its good name.

It’s not a perfect film by any means, but it’s incredibly powerful and often moving, anchored by an awards-worthy performance from Oyelowo.

An interesting piece from Hungary with much to enjoy, only slightly dampened by the occasional clunky device.

As horrifying and hard to watch as you'd expect a paedophile's-eye view of life to be. It's neither sensationalist nor trite, and the questions it asks are intelligent and thoughtful.

A stirring, lushly-constructed celebration of youthful spirit.

More than a fascinating misfire, it’s a rare and telling glimpse into a legendary filmmaker’s fiercely guarded soul.

Clever, original and terrifically witty.

By turns funny, vaguely creepy and too cool for school, A Girl Walks Home Alone At Night is certainly unusual — but also seductive and strange enough to stick in the memory like a fever dream.

Though a little messy and increasingly absurd in places, Titane is a brash body horror with intense central performances, certain to leave you wide-eyed and slack-jawed at such a risky cinematic endeavour.

A slick, satirical, insane thrill-ride. Come for the twisted concept and blood-soaked barminess, stay for Mia Goth drinking wine straight from the bottle while yelling, “Sucky baby!” at Alexander Skarsgård.

An intimate, illuminating doc that puts the focus on M.I.A.’s activism instead of her music and is, in some ways, all the more admirable for it.

No Martinis in sight, but this is still an extremely watchable look at a unique naming phenomenon — with surprisingly profound results.

This psycho-thriller showcases an awards-worthy performance from James McAvoy. Shyamalan papers over plot-holes with dry black humour and well-judged suspense, and — as always — holds back some surprises.

With its clever, whip-smart script and enthusiastic ensemble cast firing on all cylinders, crime comedy filmmakers John Francis Daley and Jonathan Goldstein score big with Game Night.

A charming family-friendly story about adventure and friendship — told with bar-raising artistic craft and technical skill. We’d expect nothing less from Laika.

A welcome surprise, containing more bona fide scares than Romero's vision, while paying grand lip service to the old master. Truly worthy of that famous title.

Despite being not officially a Bond film this is good solid, entertaining action.

It could easily have been a workaday music doc, but amid all the gigs, pit stops and sound checks emerges a funny and wry story of brothers at work.

Whether rediscovering La France périphérique or hurtling through the Louvre, Varda and JR make a surprisingly empathetic team and their collaboration is as provocative as it is poetic and poignant.

Belle is an exhilarating transformation of a classic tale, updating a story of alienation into something deeply resonant with our digital way of life. Though it misses a couple of notes in its final act, it’s an exhilarating sensory experience, with great emotional depths.

A hugely impressive debut. Personal and political, this is a tender and spellbinding depiction of family in fraught times.

Ramin Bahrani offers a kinetic and textured satirical commentary on caste friction in modern India with Adarsh Gourav serving up an immensely watchable leading performance.

A dark and darkly funny dissection of a couple’s ‘perfect’ relationship, examining how internal forces and exterior pressures can drive two people to their breaking point.

The script is structurally similar to "21 Grams," but restrained turns and perceptive direction make this honest rather than manipulative.

If you’re playing Wes Anderson bingo, you can tick off ‘droll whimsy’, ‘visual pizzazz’ and ‘Bill Murray’. Yet, thanks to the Far East setting and a rollicking story, this is a fun and fresh-feeling experience.

Once again Audiard articulates big themes within a mosaic of everyday struggles. A painful yet rewarding tale of social strife and uplifting resilience.

A tough, impactful film that offers a sometimes uncomfortable but always gripping examination of cause and effect.

Exquisitely shot, superbly acted and deftly written, this is easily one of the best arthouse films of the nineties.

Soppy and girlish in the extreme, this should keep even the tiniest viewer rapt, while all too many adults may fall victim to an inexplicable bout of eye-watering long before the closing credits.

Genuinely gripping, Demi makes an awesome femme fatale.

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.

Treating his seafood substantially better than Oldboy, Jiro is a miracle of perfectionism married to expertise. The same can said for Gelb's loving documentary.

Oscar heralds will no doubt dub it "The Hurt Locker" for snipers, but the fitting combo of Clint Eastwood and Bradley Cooper have created a thrilling Iraq war story that manages to both honour the necessities of heroism and ruminate on what heroism might cost a man.

Tenebrae is essential viewing for fans of the Italian stallion thanks to some of his most arterial gore to date.

Don’t let its commercial nosedive in the US tell the whole story. Cloud Atlas is a tough sell, but a rewarding journey all the same. It’s an adventure into the very concept of storytelling: magical, enthralling and thrilling as much as bewildering, pompous and potty. In other words, up in the clouds.

A full-on action flick, subversive rom-com and weapons-grade star vehicle that’s drenched in Tinseltown glitz, from a director who knows how to put the money on the screen while his tongue’s firmly in his cheek.

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

There are familiar moments in Vera Brittain’s stirring story, though the Kent's craft and Vikander’s exquisite talent will ensure that the author’s memories live in the minds of a fresh generation...

A Lower key than Wallace and Gromit or Pirates, but tightly packed with charm

A slight but mightily effective adrenaline rush of a movie, with powerful performances all round and precise direction from Kitty Green. Watch it on the big screen and allow it to properly get your heart pounding and palms sweating.