The movie as a whole - an undeserved flop in the US - is energetic, pacey and funny with tons of great fights. What more could any six-year-old want?

Supernova is a tender two-hander that gradually crushes your heart. What it lacks in cinematic width it gains in well-earned emotional depth, courtesy of delicate writing and two subtle but towering performances from Firth and Tucci.

An immensely enjoyable slice of romanticised fisticuffs, this is a Western in every respect except the stetsons and six guns.

A treat. With astonishing craft and visual storytelling that howls from the screen, Cartoon Saloon have surely secured their place in the animation hall of fame.

This was controversial at the time and that put alot of people off, believing that the film was probably all hype, but this is a respectful and complex work of fiction around the concepts of the biblical character and his life.

A remarkable film about a remarkable life, from a remarkable director.

Spielberg has seemingly done the impossible: balancing sugar-rush nostalgia with an involving story to create a pure, uncynical, cinematic ride that recaptures the magic of his early films.

A made-for-TV movie that proved so remarkable it received a theatrical release (first in Europe, then 10 years later in the US), Spielberg's calling card is as distinctive a piece of visual storytelling as you're ever likely to see.

A slick, stylish melodrama with an involving story and a cracking cast. Star Adriana Ugarte is a real find.

Potent and visceral in its depiction of street life and blinged-up excess alike, Straight Outta Compton delivers big beats of both kinds.

The business of this story in both versions is suspense, and Watkins is very good at ratcheting screws . . . but also springs satisfying reversals and pay-offs.

A clear-eyed celebration of a giant of film writing. We’ll refrain from the thumb jokes, but consider this a hearty recommendation.

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.

Derek Cianfrance delivers a hugely empathetic, very entertaining depiction of an extraordinary life, featuring one of Channing Tatum’s best performances. Expect laughs, tears, and noughties nostalgia.

As much as Guardians largely thrives through its lovably scuzzy style, it cannot avoid the immense tractor-beam pull of The Big Marvel Studios Final Act.

There are inconsistencies — why does a brand new house have the standard creaking door? — but the pace is so compelling that it is impossible to carp.

It may lack subtlety, but everything is beautifully designed and photographed, Watling and Tosar are superb and it's undeniably great fun.

An over-strung last act aside, this is funny, brilliant and sickening all at the same time.

The boys (now in blue) have done it again.

Way Of The Dragon is memorable purely for its final Coliseum-set showdown between Lee and Chuck Norris (at the time the holder of countless US and World Karate championships). This is the film that provides just about the best combat sequence ever shot.

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.

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.

This zany debut dials up the cringe comedy to its most excruciating extremes — and it’s a riot. Andrew DeYoung and Tim Robinson are a match made in heaven.

As is the norm with the best of Leigh, Career Girls is a masterly observation of the foibles of the human condition, rendered with an incisive bite and delivered with boisterous wit.

A trippy mix of horror, thriller and sports movie, Him is a very wild ride. A launching pad for its director and lead, and a shining moment for Wayans.

A fiercely original, pleasantly unpredictable character piece. This is a gang of outsiders with something valuable to say about the world we live in.

Tessa Thompson has never been better as the titular not-so-desperate housewife in Nia DaCosta’s bold, stylish reimagining of Henrik Ibsen’s timeless play.

A biting exploration of family dysfunction and artistic catharsis.

Bold and beautiful ideas perfectly realised.

Vibrantly recreating a seminal period in Jodorowsky's personal and artistic development, this bullishly played saga has enough quirky detail, audacious incident and visual panache to sweep the storyline through its less persuasive phases.

Joe Eszterhas conceives a winning formula, and this is perhaps his best film.

While not always penetrating the myths around the man, this is a hugely entertaining look at one of Hollywood's larger than life figures.

A striking debut from a blistering talent. What it lacks in narrative oomph it makes up for in beautiful imagery, natural performances and a worldview all its own.

Though the sketchy narrative could do with a bit of filling out, and the settings could be less gloomy, this is a memorable interpretation that benefits enormously from sound casting decisions.

Extremely well done and well acted, it’s an attractive, appealing, involving adaptation, just not as iconic as the ’60s film.

Considering the ignominy of its path to British cinemas, it’s hard not to approach the film with caution, but after a few minutes in the company of an unusually low-key but typically world-weary Al Pacino, it begins to win you over, dragging you deeper into the sleazy political underworld it describes.

It won't win new fans, but as Potter movies go, this is the most filmic of the lot, suspenseful and action-packed.

Although it’s like being assaulted by a jumping jukebox for two hours, Garth Jennings’ first animated movie has enough bounce and brio to carry the day. Immensely likeable.

A slick, fun film that has by no means sacrificed the fast action beats of the first three.

As both teen comedy and mid-life crisis comedy it’s terrific. It feels honest and modern in a genre that so very often uses dick jokes and gross-outs to cover old-fashioned morals.

Remember the name Nana Mensah — as an actor, writer and director, Queen Of Glory is a hugely impressive calling card.

A provocative, engrossing, often hilarious, frequently tough picture. Not for all sensibilities but it’s among von Trier’s more playful, purely entertaining films, with insight and humour in even the horrors.

Subtle and multi-layered film-making with compelling performances.

In an era not exactly short of quirky bungled heist movies, Anderson and Wilson take an interesting tack – coming in late on lifelong relationships, and showing us the pay-offs to friendships and resentments that have been simmering for years.

A key film from the movie brats-era, and quite possibly Milius best.

Solid history, fine cinema. Downfall is gripping, moving, and, in the end, profoundly horrifying.

Stylishly realised against a backdrop of violence and faded Hollywood glamour, Drew Pearce’s vision of the near-future is laced with intrigue and dark humour.

An absolute blast, with a frenetic strike-rate and songs that will worm their way into your ears for days. Like Conner, this comedy’s for real.

Sasquatch Sunset is a gloriously vulgar film about made-up monsters from children’s stories — but it is also a terribly melancholy adult story about the violence of progress. What a remarkable, unique, sad little cult oddity it is.

A flawed yet fascinating Aussie indie.

This barely conceivable story of neglect and loneliness is given heartbreaking new life by Morley, with Zawe Ashton standing in effectively for the tragic young singer.

Far from a puff piece, a no-holds-barred, melancholy, often surprising examination of Norway’s most famous — and underrated — musical export. A must for fans — but prepare to brace.

A great, big joy. Even if you're a bit bah humbug, just delight in the supremely clever Aardman comedy.

Even if you think you know where it’s going as its builds to a near-wordless finale (and you might be right), the moments of character detail are beautifully judged, and the gore surprisingly well splashed.

Wildly unpredictable, Barbarian begins as a tale of awkward circumstance, before mutating into something intensely claustrophobic, satirically amusing, and in its best moments, both.

A truly great documentary.

The former comedy co-stars (Knocked Up) are superbly cast in this fascinating, fact-based story.

A remarkable, first-hand insight into how a modern-day police state operates, and how any kind of meaningful opposition can exist — as terrifying as it is hopeful.

Sentimentality creeps in now and again, but Levinson's steady grasp of his city's unique atmosphere makes these moments genuinely moving rather than hokey.

This is a bold, enormously enjoyable effort, by turns both hilarious and disturbing.

Not all the plot developments ring true, but moments carry a real chill - even in a coma, McKellen can terrify a fellow patient almost to death - and it has more than enough thought-provoking material to command your interest.

An absolute treat. In spite of its disappointing climax, this is Apatow’s smartest, rudest and -- yes -- funniest film yet.

Full of restraint, from both its director and leads, this is a quiet gem with the power to move.

At first, it's hard to sort out who knows who and where the stories connect, but it eventually comes together, combining the gripping power of a soap opera with the skewed, unusual perspectives of Carver and Altman.

A fitting tribute to Hunter and the demise of the American Dream, but first and foremost a thrilling and funny snapshot of a country on its knees and a writer finding his feet.

Occasionally soapy on the homefront but cataclysmic in combat, this is a worthy addition to the WWII canon. Garfield underpins it all with skill, showing that sometimes, war can be humanising too.

A typically taciturn turn from Neeson is surrounded by a colourful cast, gallows humour and complete disrespect for cinematic stereotypes. A little bloated, maybe, but deserves kudos for joining the road not Taken.

As a director, this feels like Stiller’s moment. Mitty is a film that bravely rejects cynicism. In many ways, it’s the new Forrest Gump. Go with it and it is, in all senses, wonderful.

Impeccably performed by its young leads and nurturing supporting cast, this deeply personal picture particularly impresses in the closing scenes, which are quietly devastating in their intimacy, insight and truth.

Lightning, camera, action… Frankenstein is brought to life in glorious, Gothic fashion by Guillermo del Toro’s painstaking artistry and Mike Hill’s elegant creature design. A big film with a huge beating heart.

A well-rigged whodunit based on the bestseller by Scott Turrow, that pretends to investigate the various political manipulations that haunt your average district attorney’s office but is in truth about the wages of sin.

The odd conclusion renders it somewhat oblique, but Perfume is a feast for the senses.

Elba’s performance as a lonely Djinn with a bottomless reserve of charm, paired with Miller’s unbridled energy, make this a modern fairy tale worth seeking out.

A real treat for fans of Ali and music alike.

Estes enriches the plot by refusing to present each character's emotional dilemmas in black-and-white terms.

Hardly hard-hitting but a thoughtful and spirited look at a man at the top of his game and a moment in time that refused to fade.

Schrader’s best in yonks, a powerful meditation on faith’s place in the modern world. Hawke, as a kind of Travis Bickle in a dog collar, gives one of the performances of the year.

Giving the gloves to Michael B. Jordan both in front of and behind the camera leads to satisfying results, and the year of great Jonathan Majors performances continues.

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

Daft as a badger sandwich and twice as funny, this is vintage Waititi, and the boldest, most outrageously fun film Marvel has yet produced.

Come for Taylor’s breakout performance, stay for a tender, confidently told story of Black motherhood and sacrifice. Rockwell is one to watch.

A vibrant and virtuous adventure packed with all the heart and heroism we’ve come to expect from DC’s shining light. Wonder Woman 1984 really is the hero 2020 needed all along.

Well-performed, especially by Regina Hall, and directed with real flair and intention by Mariama Diallo, Master transcends its two-dimensional opening to become a complex, character-driven horror with much on its mind.

Two absolutely riveting performances and a smart reversal of the usual male-female stalker scenario leave behind a nasty taste and an unforgettable cinema experience.

The heartfelt telling of a truly extraordinary true story with a mesmerising central performance.

Weird and wonky in the best way, this is a compelling character study that makes its joys, however fleeting, feel truly earned.

There are thrilling flashes of Gilliam getting back to top form here. A scrappy movie with more ideas than it can control, but one born out of a passion and determination that are wholly infectious.

Elle Fanning and Sally Potter triumph again. It’s not always an easy watch, but The Roads Not Taken tackles a distressing subject with care and invites us to reconsider our preconceptions.

Come to this clever satire for Sebastian Stan’s radical transformation, beyond the prosthetics, but stay for Adam Pearson’s remarkable performance as a bona fide matinée idol.

It's in the animal capers that Disney's skill really comes into play, as stunning wildlife photography combines with an Incredible Journey-type treat-animals-as-furry-people attitude to the narrative, transforming an average adventure film into a humorous, dangerous and immensely watchable movie.

An affectionate bloody valentine to both romcoms and horror, Heart Eyes is a like a Hinge date from hell. Smart, funny, intense; swipe right.

Featuring strong performances and excellent effects work, The Vigil is a genuinely creepy debut which explores the ways in which our psychological demons can get their claws into our entire lives.

A topical study of writers' deceptions, which also explores issues of identity and the blurred lines between fantasy and reality, The Night Listener is intriguing, thought-provoking and harrowing by turns, with fine central and supporting performances and a richly satisfying feel.

Where The Hole really scores — and this is rare in modern horror — is in its lead characters.

This gritty sci-fi is undeservedly neglected and underrated.

Two things make Eastwood's task easier for him: a superb cast and a cracking source novel. Dennis Lehane's book is one of the very best thrillers of recent years, richer in Boston detail and closer in character study than anything Eastwood manages to bring to the screen.

Knowingly blending realist grit with generic guile, this unrelentingly tense account of a fragmented family living in constant fear thoroughly merited the Best Director prize at the Venice Film Festival.

Thrillingly capturing both time and place and fizzing with non-judgemental empathy and cinematic flair, this is a magnificent debut that catapults Laetitia Dosch into the front rank of French actresses.