Payne’s lm is full of invention, wit, great scenes and big — if not fully realised — intentions. Downsizing may be about a small world, but it is an audacious, out-sized peach of a picture.

A very different take on female friendship than Bridesmaids, this has future cult favourite written all over it. As bright and breezy as a pair of pastel culottes.

Lovingly designed in black and white, and played with a nice sense of irony, this offers the not unappealing spectacle of gorgeous, funny, clever women making fools of hard-boiled Mafia guys.

Warmly funny and historically curious, Sally Hawkins’ spirited, humane performance helps overcome a slight lack of dramatic tension.

Okay for those who dote on ‘classics illustrated’ in the Merchant Ivory line, but not as fluid as all that.

A dazzling experiment that paid off immensely, this is cinematic pleasure at its purest. One caveat: If they ever make a sequel, we’re taking two stars back.

A largely inventive and energetic portrayal of a past-their-prime music legend that’s let down by its unnecessary trad biopic beats.

A persuasive, warts-and-bolts depiction of warfare from the guts of a tank yoked to an overwrought, sub-Private Ryan account of innocence under fire — so a hit and a miss.

Think The Archers with a sprinkling of trendier folk and a lot more shagging. Very intelligently funny, with stellar performances.

An elegant, entertaining, informative picture with a gallery of vivid supporting turns, this provisionally crowns the winning Blunt as a Brit-pic star - but it skimps a bit on the bodice-ripping, blood and thunder.

One of the most chillingly effective visions of the world’s end ever put on screen -- and a heart-rending study of parenthood, to boot.

Hard to root for but mesmerising to watch, Sloane is expertly portrayed by Chastain in this dialogue-heavy lobbyist thriller that should please fans of both actor and genre.

Millar's warmth for literary influences continues to buoy his filmmaking, whilst a sturdy British cast and faultless period settings do Dahl proud.

Some of the tension drains from a slow middle act, but it remains a gripping tale of sleuth-work and moral awakening.

Too many generic tropes for this downbeat, detached melodrama to convince as a work of social realism but a strong central performance and convincing depiction of the compartmentalisation of Argentina's women.

There's nothing preachy about this slick and funny doc (narrated by Dennis Hopper), which as a brief history of how porn spurted into the mainstream has all the money shots you could ask for.

Even if his prosthetics make him look a bit like James May, Everett is near-flawless, and his film is a superb showcase for an actor whose celebrity has at times overshadowed his talent. There’s been plenty of due diligence in terms of the details, and anyone who thinks Wilde was just the Stephen Fry of his day will learn a lot here.

A science-fiction, action-heist, superhero comedy soap opera, this straddles as many genres as the Avengers films have characters but manages to do most of them pretty well. Extremely likable, with a few moments of proper wonder.

The drama and tone are powerful and effective and Lawrence makes an exceptionally charismatic heroine, but an almost total lack of action means this is less catching fire than treading water.

Michael Moore proves that in six years between films he’s lost none of his power as a popular polemicist, and while the overall structure of his argument here is flimsy, the details he reveals have impact, suggesting a fair and just society is not an unattainable Utopia.

Hilarious in places, hideous in others, this struggles to make its philosophical case. But the performances are exceptional and the conceit could not be more daring or distinctive.

Perhaps not an entirely a faithful portrayal of the era or the great man, but interesting in parts.

Sirens is a harmless, occasionally intriguing, confection offering just that bit more than an eyeful of Elle in the buff.

A return to form for the MCU and for the Guardians, this is tear-jerking and heart-warming in equal measure, keeping its characters in focus despite all the chaos and colour swirling around them.

An unorthodox romance that will leave you sweaty-palmed and tearful, in equal measure. It doesn’t quite reach the heights it could, but there’s a hell of a view at the top.

The film is too long at well over two hours, but the effects are impressive for the time and the musical numbers zippy.

A clever, funny, suspenseful, interestingly cynical science-fiction horror movie with a great collection of monsters — courtesy of make-up geniuses Dave and Lou Elsey — and a cast whose enthusiasm is, appropriately, infectious.

If it weren’'t for Lost Horizon, this would have gone down in history as the Worst Musical of 1973.