Odd-number curse be gone. The most exhilarating Trek to date marks a new future for Kirk and co. If this can boldly go on to seek out ideas to match its speed and style, a franchise is reborn.

A bravura monster movie which just doesn’t let up, ratcheting tension with nary a word uttered on screen. It also boasts great creature design and a breakthrough performance from young Millicent Simmonds.

This Indian immigrant family saga is a pleasant watch, but given the emotive source novel, it’s surprisingly superficial.

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.

Phoenix, Hoffman and Norman, especially, amuse and move with their relatable performances in Mills’ sweet drama. It’s nicely visualised but can feel unnecessarily long in places.

Just as Miyazaki seemed on the verge of properly crossing over, he serves up an anime riddle wrapped in an enigma - though with all his usual charm, wit and hand-drawn beauty.

A slow burner; intense, utterly engrossing and believable.

A deliberate film that uses small moments to examine one of the great questions of our time: how good people let bad things happen, and how we might push back against the dark.  

The lyrics to AC/DC’s Long Way To The Top were never more appropriate. Anvil! is exactly what's needed to slap the recent rash of doomsayer documentaries in the face -- preferably with a studded, fingerless leather glove.

Enormously influential, it spawned Hollywood's interest in smaller scale, prosaic dramas, few of which failed to match its resonance.

Azkaban contains both the longest denouement and the most rousing finish of any of the books, and Cuarón wisely whips through the 'ah-hahs' so that the clever climax, complete with the series' best SFX, can enjoy its moment in the moonlight.

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

Rian Johnson put his own spin on Dashiell Hammett with 2005’s Brick. Now he’s Johnsonised the work of Agatha Christie, with equally enjoyable results. Knives Out is snappy, meta and, yes, sharp.

Sure there are niggles, the most obvious being the length, which could have been reduced by trimming the prison sequences, but in the end this may be his finest moment so far which, by default, puts it in as having a strong claim on the title "best action movie ever made". Really.

At once a devastating, curiously uplifting inhuman drama and a superbly crafted genre exercise, Let The Right One In can stand toe-to-toe with Spirit Of The Beehive, Pan's Labyrinth or Orphee. See it.

Switching from dour humour to humanist drama without seeming contrived, this is a masterclass in combining character and landscape that is played with deceptive poignancy by the excellent leads.

It’s a fairy-tale, a glittering New York fable told in a silvery black and white, laden with nostalgia for times and oddities long gone from the hallowed halls of Broadway. Another Allen gem.

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.

Fine, stylish debut from Alex Cox with some great turns from the two leads.

Operating at the peak of his powers, Luca Guadagnino has the time of his life with this practically sadistic exploration of unrelenting obsession. It is horny, it is hungry, it is phenomenally exciting filmmaking.

Quiet, unforced and delicate, Pig provides a forum for Nicolas Cage, one of our most dazzling showmen, to get serious and burrow more deeply into his talent than he has in years.

A high-concept idea with a low concept approach, Marjorie Prime is cerebral, talk-driven sci-fi lit up by a compelling exploration of big ideas and across-the-board strong performances from the small cast (especially Smith). A treat for the brain and soul.

Though relentless at times, this is a crucial, empathetic rally cry of a film that holds a mirror up to the swelling crisis of the gig economy with admirable intention.

Really smart people on a really smart person: Fassbender, Winslet, Sorkin and Boyle await Oscar nominations. But for all its relevance and grandeur, Steve Jobs is ridiculously entertaining. You might say, user-friendly.

A masterful documentary to rival Macdonald's "Touching The Void."

It may not be up there with his very best, but Aki Kaurismäki offers a reminder that he's a still one of the freshest voices in cinema.

Hunham’s hero Marcus Aurelius once wrote, “Give thyself leisure to learn some good thing.” Take his advice and see this film.

A beautifully argued parable about the need to go where life takes you, Darius Marder’s debut thrives on the soul of Riz Ahmed and the bold creativity of sound designer Nicholas Becker. Together they make Sound Of Metal sing.

Though inspired by real-life journals, Guerra’s haunting and beautifully shot film transports us into the realm of the mystical and surreal.

One of Hitchcock's earlier efforts that was hacked around a bit to take out some of the more ambiguous psychological elements by the editor but still retains the old Hitch charm.

Though sometimes messy and freewheeling, Da 5 Bloods is a fascinating, frequently gripping and powerful interrogation of the connection between American imperialism, anti-Black racism, and the widespread trauma of the country’s war-making.

Half mood-piece, half character study, The Last Black Man In San Francisco is a deeply moving lament on the effect of gentrification on the people on the Bay Area’s margins.

A war film more of sober, grim reflection than balls-out escapades. Yet it grips consistently, its bursts of combat delivering gut-punches of veracity.

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.

Garin’s performance is just one of the note-perfect elements in The Return -- unfussy acting, unhurried direction, sublime cinematography and low-key music -- which conspire to draw the audience into a deceptively simple story with numerous hidden depths.

Captivating and essential viewing.

A subtle and sensual character study.

Storytelling of breathtaking scale and grandeur, even if the complex plotting may twist your synapses along the way.

Shot with grace and precision but paced with all the urgency of a Sunday afternoon stroll, Joanna Hogg's Haneke-lite study of an English middle class family is a well-crafted affair elevated by terrific moments.

A languid, leisurely paced drama. Not much happens, but Reichardt’s light touch and the performances of the leads make it soar.

Visually striking and explosively violent, this simmering parable makes exceptional use of its rustic locations — and the faces of a vibrant cast — to reinforce a sense of authenticity.

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

Manages to capture the pure heart and spirit of this comic book Americana.

A beautifully hand-crafted love letter to childhood, self-discovery, and the life-changing power of really good chocolate, Little Amélie is 78 minutes of pure animated joy that welcomes one and all. 

Elevated from nice to beautifully memorable by wonderful performances and thoughtful direction of perfect small moments.

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.

The intricate work of a craftsman, and a beautiful appearance by the beguiling Simone Sigornet.

An absolute must.

Insufferably long, but very good in parts.

It might also be the case that the film is more taken by emotions, beauty and passing fancies than plot and character.

Despite some gags which use the benefit of hindsight too much for their own good, this is a smart piece of filmmaking which suggests Linklater is already one of the more formidable talents of the 90s.

A film as much about its form as content, Madeline’s Madeline is a difficult-to-watch but heady mixture of raw emotion, big ideas and cinematic fireworks. If for no other reason, see it now to be on the ground floor at the unveiling of a new star: Helena Howard.

A tragic tale of teen rebellion and misplaced faith, this is a sober and sobering account of a young girl's untimely end, made enthralling by great performances and restrained direction.

Both Greengrass and Hanks are on award-deserving form in a riveting, emotionally complex and hugely intelligent dramatisation of a real-life ordeal.

Superbly written and performed by actual friends Kyle Marvin and Michael Angelo Covino, The Climb is a smart, funny, small-scale delight. More please.

This is intimate, culturally rich storytelling on a brutally epic scale. Skarsgård is in his element, bolstered by a sensational cast throwing themselves headfirst into Eggers and Sjón’s awe-inspiring vision. A cinematic saga worthy of the ancestors.

John Woo's trademark style reached its zenith in The Killer, with its ying-yang relationship between a good-hearted hit man and an anti-authority cop. But underneath the Miami Vice tailoring, it's as much a doomed romance as a shoot-'em-up.

An unusual and richly enjoyable love letter to a fellow artist and Chilean, Neruda further marks out Larraín as a director of serious range and ambition.

Complex and sophisticated, this genre-defying crime story is spellbinding viewing.

Beautifully crafted, sinister, frightening, erotic and thought-provoking, Alain Guiraudie’s multi-faceted Cannes triumph is already one of the most provocative, intriguing films of the year.

Ten Canoes is a rare and valuable movie, providing fascinating insight into another culture without pandering or being stuffy. Seek it out -- swim if you have to.

Whatever you want to call Sick, it's anything but a piece of exploitative voyeurism, by turns sombre, hilarious, wince-inducing and inspiring.

Bette Davis is captivating in this epic study of Southern chivalry.

A beautifully murky, hard-edged thriller. Quite simply, one of the best films of the year.

Brutal and brilliant.

A devastating, urgent reminder that art can be dangerous and important and political and powerful — especially in ten-inch heels.

Olivier's classic and personalised version of the troubled Prince of Denmark is still highly atmospheric and intriguing.

Shot in a grainy grey and white helps to give the film an amateurish and at the same time realistic feel, particularly as it's based on true events. With standout performances from Lo Bianco and Stoler, this is a forgotten gem that's waiting to be rediscovered.

Measured in pace, yet thoroughly gripping and completely accessible. The title soft-sells the picture, but it's among the best of this or any year. And Manville should clear some shelf space for well-deserved awards.

Claire Oakley has created a vivid sensory experience out of limited means. Make Up is anything but cosmetic — it gets right under the skin.

At the venerable age of 84, documentary maven Wiseman hasn't lost his touch.

As bold as the original Blade Runner and even more beautiful (especially if you see it in IMAX). Visually immaculate, swirling with themes as heart-rending as they are mind-twisting, 2049 is, without doubt, a good year. And one of 2017’s best.

Fantastic performances, sharp wit and a raw honesty breathe new life into the rites-of-passage drama.

Partly the story of a music scene, but mostly the story of a man who realises that living the dream isn’t always the best thing for your life. Vivid, immersive and blessed with a perfectly nostalgic soundtrack.

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.

Improv comedy at its best: subtle, hilarious, excruciating and affecting in equal measure.

Sheen thrives in the guise of the idiosyncratic Clough in a brilliantly candid, if bitty, football parable.

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.

It may be a tough watch, but, boasting a quartet of excellent performances, Fran Kranz’s directorial debut is a technically adept, emotionally exhausting yet deeply cathartic film that couldn’t be more timely.

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.

The strength of the piece is that it realises which aspects of its genre have been seen too many times, always coming back to Nelson's blank but expressive stare as he watches terrible things the director doesn't need to shove in our faces.

Unflinching in its depiction of rural reality, this may be a dour drama, but it has been made with sincerity and an exceptional sense of place.

Musically sublime, gracefully directed, and filled with an inspiring optimism that couldn’t be more timely, this is another first-class exercise in capturing music on film from Dominik, Cave and Ellis.

Arrival is a beautifully polished puzzle box of a story whose emotional and cerebral heft should enable it to withstand nit-picky scrutiny. And like all the best sci-fi, it has something pertinent to say about today’s world; particularly about the importance of communication, and how we need to transcend cultural divides and misconceptions if we’re to survive as a species.

A sharp-edged, sweet-centred, warm-hearted coming-of-age movie that’s always just that little bit smarter than you think it is.

A hugely accomplished horror achievement, and a significant step up from Barbarian: tense, sad, hilarious, unsettling, ridiculously entertaining, and ultimately oddly uplifting.

A pure firework display of technical bravado, wild invention, emotional storytelling, comedic genius, action mastery and outstanding performances, Everything Everywhere All At Once is everything cinema was invented for.

A raw but beautiful picture of love uniting and dividing: tender, real and heartfelt.

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.

The Dissident explodes genres by combining them, equal parts political analysis, murder investigation, cyber thriller and paean to free speech. It also celebrates the life of late journalist Jamal Khashoggi, who tirelessly gave a voice to the voiceless. 

Oak solid and unsinkable, Master And Commander is old-fashioned entertainment crafted with considerable care; but compared to "Pirates Of The Caribbean's" pleasure cruise, this voyage is choppy and difficult without ever troubling deeper waters.

A refreshingly humanist and nostalgic reboot of the iconic monster franchise, Takashi Yamazaki’s Godzilla Minus One takes the atomic lizard back to his post-war roots, while making the most of the director’s background in animation and VFX direction through convincing, tactile and classic design work.

A merrily ferocious pop at the Hollywood bubble that balances sharp, acid laughs with a sweet, believable meet-cute. Top of the pack and Chris Rock’s best movie.

Alan J. Pakula directs with an aptly chilly eye on blue steel and grey walls, favouring whirring tape recorders and silently lurking voyeurs. Sutherland's melancholy title character is constantly challenged and prodded into the background by Fonda's Oscar-winning turn, which takes centre stage until the film becomes more obsessed with probing the riddles of her personality than solving the fairly transparent mystery.

Combining farce and tragedy in equal amounts, DiCillo has made a film that should appeal to anybody who has ever had a particularly rotten day.

Pixar has raised the animation bar again, with its most musical — and arguably most magical — film yet. If this is the afterlife we’re all headed to, don’t fear the reaper.

So godlike is Spielberg’s status that we often take his talents for granted. The strange, riveting mix of Bridge Of Spies is another sterling reminder that we shouldn’t.