Shot in magisterial black-and-white, veteran director Trueba's drama is a welcome return from the Belle Epoque man.

Sweet, witty and exquisitely observed, In A World... sees the emergence of an exciting talent: any agents looking for a new triple threat should ring that Bell.

Lincoln meets Sudden Death: a corny but raucous throwback to when Planet Hollywood was hip. Gary Busey popping out of a rose bush wouldn’t feel out of place.

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

Charming, if disjointed, it’ll give you one hell of an appetite.

A deeply affecting glimpse of a man's quest to salvage beauty from tragedy.

Slightly jerry-built reconstructions detract from an intriguing film with a unique angle on the country legend.

It rarely deviates from formula, but Rush wins big, delivering the most exciting F1 footage created for film. Like Hunt, it is sexy, funny, full of thrills. Like Lauda, it is intelligent, a bit blunt, but ultimately touching.

Overlong and often overcooked, this is nevertheless a relative return to form for Diesel as the fiendish Furyan.

More than just a time-travel rom-com, this is a movie that asks you questions and doesn’t sugar-coat as many of the answers as you’d expect. Smart and sweet, funny and genuinely moving. Should probably come with a ‘there’s something in my eye’ warning.

Offers plenty of easy nostalgia and Duris charm.

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

This does a serviceable job homaging '80s actioners but not a whole lot more. Go for the explosions, zone out for the plot.

A bang-on soundtrack will make the hairs on ex-ravers' necks stand up. The plot will have the opposite effect.

A film for every age, whether you’re an awkward kid, former awkward kid or awkward kid-adjacent. Funny, real and uplifting. A film that reaffirms your belief in the human spirit.

How to sum up? You have to make synapse-spark connections, interpret events to your own satisfaction, pick up visual cues (a long stretch of the film is dialogue-free) and be happy with not knowing all the answers (you know, like in life — but not in most motion pictures). A perfectly judged, strikingly beautiful film, but also a lunatic enterprise which invites — even welcomes — befuddlement as much as wonder. A true original.

Michael Bay goes back to a Bad Boys budget and a big boys’ rating, for a true-life crime story that’s inconsistent and frenetic, but also funny and wilfully outrageous.

1D in 3D: the closest thing to a Shine A Light for Directioners.

While it doesn’t defy genre conventions like "Cabin In The Woods," Wingard’s tale of a dysfunctional family under siege is an outrageously entertaining crowd-pleaser — if you have the stomach for it.

It's good to see Harlin back in the mountains, and while this isn't on par with Cliffhanger's thrills and spills, it's a smartly-executed little whatdunnit.

Apparently unable to decide whether to take its own mythology seriously or not, this is a mess of sculpted cheekbones and incoherent romance.

As simple and charming as you could wish for, this is a genuinely pioneering debut from a female Saudi filmmaker and a striking piece of work by any standards.

A likeable comedy that uses its greatest asset, its talented, funny cast, to good effect.

The young Aprile is a standout in a moving, hard-hitting and surprising adaptation of the Henry James novel.

An entertaining, provocative biopic with good performances and many strong scenes — but it still doesn’t feel like the full Lovelace story.

Part two of Ulrich Seidl’s Paradise trilogy is a stark, morally complex study of blind belief, lightened by black laughs and Seidl’s static, deadpan compositions.

A Pixney misfire.

A more modest success than the first "Kick-Ass," but still of-a-piece with its scurrilous predecessor. Nobody flies a jet-pack up a skyscraper this time, but Kick-Ass 2 still has its share of over-the-top action, and the sweary laughs are just about intact.

Ruddy hilarious. Just what big-screen comedy needed.

The CG does its part of the bargain, but even more than the brighter, breezier original this is a pale imitation of Potter.

Not perfect, but a much more satisfying Earth-in-ruins film than Oblivion or After Earth. It is a little more conventional than District 9 (what isn’t?), but confirms Blomkamp as one of the potential science-fiction greats of this decade.

Talk about a pleasant surprise! Real storytelling, well thought-out and beautifully, at times insanely, executed, with excitement, laughs and fun to make you feel seven years old again.

With Cage as a harried cop, Cusack as a serial killer and 50 Cent as a pimp, we're assuming the casting department kicked off early on this one. Still, there's plenty in this taut thriller for you to stick around for, not least the reuniting of the Con Air duo.

Not on a par with Ghibli's greatest work like Totoro or Spirited Away but not without charms of its own. A solid second effort from Miyazaki Junior.

A fun, frothy return for Frank and his creaky commandos.

Experimental and uncompromising, Winding Refn and Gosling’s Drive follow-up is a tripped-out riff on the crime family movie in which The Grifters — literally — go to hell.

Although the monochrome photography will invite comparisons with Manhattan, Frances Ha is closer in spirit to Godard than Woody Allen. Anchored by a charming performance from Greta Gerwig, it’s as light and breezy as a walk in Central Park, and just as refreshing.

Impassioned and disturbing, this documentary matches "The Cove" for marrying cool intellect with real fire.

An improvement on the last outing for Jackman’s not-so-merry mutant. If only it trusted enough in its unique setting to forgo a descent into aggressively awful formula.

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.

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.

Made Of Stone somewhat brilliantly sees the individual moments and faces in the crowds, making this the best, most immersive concert film since Jazz On A Summer’s Day.

Alex Gibney adds to his forensic examinations of Enron and Abu Ghraib with another fine documentary. Undeterred by grey areas or the hostility of his subject, the filmmaker tackles one of the stories of our times with dynamism and smarts.

Dazzlingly clever and hugely funny, it succeeds both as a broadening of the Monsters universe and as a film in its own right. Monsters University had a tough task, and it’s passed with honours.

Del Toro is giving scope to a boyhood lust for mayhem, the multi-million-dollar equivalent of kicking over sandcastles and torturing insects. There is something infectiously juvenile in that.

Bold and beautiful, this is a mystery worth puzzling over.

Girls meets Ocean’s Eleven, The Bling Ring might be a film for right now rather than the ages, but Sofia Coppola’s heist movie is visually arresting, well acted, capricious fun.

It falters in the middle and hesitates unnecessarily in setting up the love story, but Gru still has charm and kids will adore the Minions.

An awkward mix of realist social drama and Statham actioner, this doesn’t quite convince as either.

Polley’s fearless personal journey is a huge achievement, a genuine revelation — but the less detail you know beforehand, the better. Go in cold, come out warmed.

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

A solid, straightforward biopic about a fascinating individual and his destructive relationships, with strong performances and a healthy sense of naffness.

Now practically an exile from his homeland, Kiarostami follows Certified Copy with another film-literate relationship drama with the enigmatic overtones of Hitchcock.

A bit tarter than its predecessors, but not skimping on their woozy, chatty charm, this perfectly played, gently incisive film is a welcome new chapter in one of cinema’s most beguiling ongoing romances. See it with someone you’ve loved for some time.

It’s no masterpiece, but this is a promising debut from Boone and a good showcase for his entire cast.

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.

Occasionally charming but mostly bland fare from Weitz, despite the reliable cast. About A Boy remains the best showcase of his talents.

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

A near-irresistible Friday-night-out monster picture in the tradition of Lake Placid or Tremors, with a boozy Irish charm that makes it a distinctive addition to the catalogue of alien invasions.

This solemn, blood-soaked thriller lacks the dynamism of its star, but is an impressive showcase for him nonetheless: it’s as hard to look away from Shannon’s performance as it is to look directly at it.

A stylistic departure from the shaky aesthetic of the first film. Sadly, most of its nervy shocks and creeping sense of unease go the same way.

Prepare to cringe and snicker whenever the characters are talking, but gasp when Shyamalan just shows amazing stuff.

This nightmarish travelogue is coy about gore, but it’s still an effective thrill-ride. If the sequel happens, let’s hope it delivers some actual combat.

As angry and unflinching a piece of documentary filmmaking as you'll see this year.

Dreadful.

Loopy, film-literate and full-bore, it's a sadistic '70s thriller in modern-day garb.

Ben Barnes as a Colombian? Really?

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.

It's a stark vision of humanity in a hellish world. Tough and thought-provoking.

There's plenty here to show why director Daniel Espinosa caught Hollywood's eye, even if this pre-Safe House crime drama holds few surprises.

Mortensen is on top form - twice over - but while the noir mood gathers like a black cloud, the story frustrates.

While it’s not a crossover classic, this has enough wit and charm to entertain both big and little people.

Tonally a complete departure from the rest of the series, which is at once laudably brave and disappointingly unfunny.

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.

Despite DiCaprio’s prize performance, purists will fume, but even as lit-crashing razzle-dazzle entertainment Luhrmann’s adaptation is a candelabrum too far.

The jokes are strong and delivered by a very talented cast, but the heart isn’t there. It’s easy to laugh, but hard to care.

No film that includes a Vin Diesel flying headbutt could remotely be called a write-off, and Furious 6, like its predecessors, is a big screen no-brainer that’s objectively terrible but undeniably pleasurable. A reversal from Fast 5, it’s still a gear above all the other sequels. And an end-credits teaser promises much for the future.

A mixture of tough and wistful and reflective and brutal, this is the ideal vampire movie for Twi-hards who’ve had their hearts broken for the first time and want to move on to a less cosy vision of eternal romance with a side order of addiction.

With a debut film, Katalin Varga, shot entirely in Hungarian, Strickland isn't one for the easy option. This excellent follow-up plunges into equally unusual terrain with similarly pleasing results

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

Ahmed excels and the set-up is compelling but ultimately this is middle rank stuff from the Monsoon Wedding director.

A slow burner; intense, utterly engrossing and believable.

A bold, intelligent, 21st century take on Mark Twain — with added occult tendencies.

Whether or not the metaphorical aspects excite you, an unshakeable tolerance for high camp and lowbrow humour may be required to fully appreciate Almodóvar’s broad, bawdy comedy — even for fans of his early, funny films.

In some sense, the title is misleading. Into Darkness is a blast, fun, funny, spectacular and exhilarating. The rule of great even-numbered Trek movies continues.

Funny and freewheeling, it's a joy.

A pleasingly intricate double (or is it triple?) revenge plot anchored by excellent acting, with a terrific burst of action at the climax.

Black proves the perfect blacksmith, forging smart new tech and scenarios for the swaggering super-genius. If this does turn out to be Downey Jr.’s final solo outing, it’s a very strong exit.

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

All the boys might love Mandy Lane - discerning horror fans, however, will not.

Much more than just a witty title, this is a very genuine, very British send-up.

It's hard to imagine that the prodigiously gifted Dolan is still in his early twenties. This is another work of marvellous maturity and assurance.

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

Ozon weaves another spellbinding tale that mingles the real and imaginery with terrific effect.

Prepare yourself for a shock: a horror remake that, at its best, manages to recapture the original’s hardcore nastiness. It could certainly do with laughing at itself a bit more, though.

Lacking a single honest laugh, this is shoddy by comparison with the other Scary Movie sequels… which throws it in a pit with Transylmania, Breaking Wind and Stan Helsing.

Reygadas' big ideas translate with mixed results.

As beige as an old PC, but beneath the surface the blood pumps bright scarlet. An intelligent and emotionally charged spy drama.