Superbly styled in techno-Gothic space-grunge chic, this sci-fi/horror cross-breed is a directorial triumph of reference and homage.

Superb star turn from Maria Alexandra Lungi but this doesn’t grip as it might.

Election Year maintains the nervy tension that made the first films entertaining, but doubles down on the political metaphors, overwhelming you with its soap-box rhetoric.

It doesn’t have the surprise factor of the last film and sometimes feels rough around the edges, but The Next Level pushes its body-swap antics even further to deliver just as many laughs.

The true story of a revered general instigating one of the most daring ploys in military history might seem like the perfect vehicle for Liam Neeson to return to more serious fare, but even he cannot breathe life into some truly terrible dialogue. It’s left to the Korean actors to save the day.

Another coming-of-age tale about three boys and their quest to become men, which invariably revolves around having sex and puerile behaviour but then changes tack completely by giving us lush scenery. If the director had remained with one idea then perhaps the end product wouldn't seem so varied.

A sturdy by-the-numbers legal drama that really belongs on the small screen.

A decent snapshot of pre-Beatle Britain, this is much more a fact-based gay melodrama than a trenchant portrait of Joe Orton's life, loves and art.

Stanton has built a fantastic world, but the action is unmemorable. Still, just about every sci-fi/fantasy/superhero adventure you ever loved is in here somewhere.

Atmospheric and chilling, Out Of Darkness doesn’t reinvent the wheel, but adds some thoughtful twists to a well-worn genre. It’s an intriguing sign of things to come from a new filmmaking voice.

Fellowes’ dewy-eyed swansong isn’t likely to make many Film Of The Year lists, but it still does Downton proud, closing the book on his Faragian utopia of stiff upper lips and British brio in a way that would do Cousin Violet proud.

It's enjoyable and visually impressive, but this is a slender trifle of a film, one which charms you as you're watching it and then is all too quickly forgotten.

For all its self-conscious pizzazz, this is irresistibly entertaining.

The Prom is a loud, proud glitter-ball of a film, and doesn’t pretend to be anything else. It stumbles in the second half and the relentless cheer is a little exhausting, but its energy and wit remains infectious.

Well-crafted and well-acted, but ever-so-slightly worthy and strangely unaffecting. Given the track record of the CIA, it probably ought to be angrier.

The sharp economic filmmaking of this meta-textual satirical mystery is ultimately weighed down by its cleverness.

With more thorough editing this could have been on a par with Greenwald's previous films. His source material is gripping, but not life-changing.

A crime thriller with no interest in thrills and not much in crime, this is an at times frustrating character study of a guy who can’t get out of his own way.

Good ideas. Average film.

Half-an-hour too long, but still a fun ride.

Its wackier moments sometimes feel like they have more bark than bite, but as an uncommonly honest and authentic depiction of motherhood, Nightbitch will come as sharp relief to mums everywhere.

A positive and personal look at the Israel/ Palestine divide through the quest of one woman to maintain her own property.

Kosinski has again built a fantasy world that feels real to its core, but once more put most effort into the scenery and too little into the people.

The film soft-peddles any sense of controversy but what emerges is an entertaining portrait of a generous, funny, larger-than-life figure. And the music is sublime.

Morally dubious it may be, but this gory melange of torture, terror and darkly humorous depravity appeals to the sick puppy within us all.

Two of cinema's most iconic stars on top form make this worth a good look.

Though occasionally undone by its Sunday-teatime tendencies, this is a spirited and gently entertaining slice of wartime espionage, with sharp, wry performances from the ensemble cast.

If you like your satire incisive you should perhaps look elsewhere, but the state of the world looks even more laughably absurd through Maddin and the Johnsons’ wickedly warped lens.