Joshua Oppenheimer’s uncompromising, apocalyptic odyssey thoughtfully unpacks the stories people tell themselves to survive — but don’t expect to be tapping your feet to its collection of lacklustre songs.

Familiar formula yet Morgan Matthews’ feature debut adds up to a satisfying whole.

Certainly not Raimi at his best, but some knowing genre nods and an array of great effects make up much of the deficit.

Beautifully presented but over-long and best appreciated if you already have an idea of van Gogh's life and work.

A finely crafted Western which doesn’t flinch from portraying the horrors inflicted during that violent era, and which boasts an astounding performance from Christian Bale.

An ambitious physics and time-bending, relationship drama with solid performances from the two main characters.

As a dramatic thriller, Sharper isn’t quite as dramatic or thrilling as it could be — but it’s got more than enough Big Bastard Energy to give you a good time.

For veteran viewers who’ve seen it all before, it’s not exactly the Second Coming. But novice nunsploitation audiences might find this habit-forming: a stylish enough entry-level initiation.

The trouble with spoofing soap opera is that its dramatically deranged conventions - dead characters resurrected, hitherto unknown progeny claiming birthrights and bedrooms, characters metamorphosed into new actors - are already so absurd they are hard to send up any further.

What it lacks in depth, it makes up for with style, well-handled action, and an entertaining central duo. More proof, if needed, that Ma Dong-seok is a star.

What The Phantom Of The Open lacks in ambition or dramatic oomph, it makes up for in easy-going appeal. Anchored by an impish Mark Rylance, it takes its cue from the story’s hero: a bit ramshackle, very amiable, always watchable.

Excruciatingly hilarious and hilariously excruciating. The merkin scene will live with you forever.

It's a low-budget winner combining a sharp, protean visual style - one minute music video, the next cinema verite - with impudent humour, raw emotion, a thumping good rap soundtrack and some pertinent lessons in choice and responsibility.

An absurd-sounding concept rendered wholly believable and thrilling by a fearless young actress and a director at the top of his game.

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.

As a newly solo director, Safdie summons a thoughtful and moving mood for this unconventional sports film; as a newly serious dramatic actor, Johnson is about to win some awards.

Featuring excellent work from grandstanding Cox and just-lying-there Kelly, The Autopsy Of Jane Doe creates a successful feeling of mounting dread punctuated by crashing thunder and surgical viscera.

The sugar level is positively diabetic, but the whole aura of warmth and cuddliness is hard to resist.

The first and third acts are over-busy; the middle one moves like an arthritic house-elf. Still, a decent smattering of magic moments and tension's pumped up sky-high. Bring on Part 2.

This is the best bond movie since "On Her Majesty's Secret Service".

With an exemplary cast and shiny new alt-universe to enjoy, this is the best Fantastic Four yet. And if that bar’s too low for you, then it’s also the best Marvel movie in years.

In its best scenes, it adds dynamism and British grit to a genre that had previously tried to get by on atmospherics and mood alone. It manages to be shocking without being especially frightening, and its virtues of performance and style remain striking.

Black 47 lacks the seriousness and rigour of other displaced Westerns like The Proposition and Sweet Country. But Lance Daly’s film is gripping enough to suggest Ireland’s tragic backstory is a frontier full of resonant riches.

Fun, warm, but meandering and too-long, Leo is an animated adventure with kindness and celebrating individuality on its mind – and is a great showcase for Sandler’s voice talents.

Funny, whimsical and as warming as a big bowl of Irish stew.

Never has the term 'American Independent' so obviously been code for 'wholly miserable experience'.

With its echoes of Graham Greene’s "The Quiet American," the script is inevitably preachy and Weir’s camera glowers over the injustices of President Sukarno’s failing regime in late 1965, but the performances are strong and the drama gripping.

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