Hilarious, madcap comedy from the Coen brothers that demonstrates just why they are the kings of quirk.

One of the greatest screen musicals ever.

Flawed but staggering cinema, the unforgettable Apocalypse Now setpieces are extraordinary.

Vibrant and brimming with vitality, this is empathic towards its subjects but fiercely critical of the system that victimises them. The performances of Vinaite, Dafoe and Prince will stay with you.

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. 

A must see.

Day-Lewis and Pfeifer are on top form with Ryder giving the performance of her career.

Lemmon and Mathau's finest hour.

The film's status as must-see documentary of the year is indisputable.

Nomadland is a Springsteen song in movie form, a beautifully rendered tale of what it means to be disenfranchised in America. Life on the road has never been so tenderly captured, politically alive and profoundly moving.

If hell is in the details, Roman Polanski has captured it here in his disturbing portrait of falling into psychosis.

Marvel has solved their third-act problem and villain problem and then some. However prepared you feel, you are not ready for Thanos. But then, neither are our heroes.

Director Lewis Gilbert effortlessly marshals the intricacies of the plot (a nutty plan by SMERSH to ignite a world war), the exotic Japanese locations, and the extravagancies of having hundreds of ninja warriors abseiling into a huge enemy base unfathomably constructed in the belly of an extinct volcano (quite the engineering feat!).

Has a vigour, a commitment and an intelligence that is absent from too much modern cinema.

Orson Welles second tribute to Shakespeare is an often-ignored masterpiece. Check it out.

An absorbing, awe-inspiringly huge adaptation of (half of) Frank Herbert’s novel that will wow existing acolytes, and get newcomers hooked on its Spice-fuelled visions. If Part Two never happens, it’ll be a travesty.

Bogart and Cagney are gloriously dark in this gangster tour-de-force.

The fact that Miyazaki and his team hand-draw the images before they're digitally coloured and animated gives them an artistry that has been woefully lacking from so many recent American features.

Hopkins is extraordinary as a man flailing against a condition that’s taking everything from him. And Zeller proves he’s a natural filmmaker, orchestrating a Wagnerian opera of emotion based entirely around an old man in a flat.

Grizzled Texan Tommy Lee Jones has made an exceptionally moving, surprisingly funny, often beautiful film, packed with unforgettable moments and note-perfect performances.

A raw horror masterpiece from a first-time director that deserves to be mentioned in the same frantic breath as the genre’s greats. Even the most jaded viewer should find something in Hereditary to disturb and distress them.

Pop quiz, hotshot: you’re cut loose 375 miles above the Earth, oxygen is running out, communication is lost, catastrophic satellite debris is heading your way and you have no hope of rescue. What do you do? What do you do? The answer is the film of the year.

Room 237 captures the true nature of viewing, talking about and dissecting movies to the nth degree and it is infectious.

Ostensibly a haunted house story, it manages to traverse a complex world of incipient madness, spectral murder and supernatural visions ...and also makes you jump.

This is not a film about boxing. This is a film about the human condition and about cinema itself.

Avoiding the danger zone of mere retread, Kosinski and co deliver all the Top Gun feels and then some: slick visuals, crew camaraderie, thrilling aerial action, a surprising emotional wallop and, in Tom Cruise, a magnetic movie-star performance as comforting as an old leather jacket. Punching the air is mandatory.

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.

The Third Man finally endures because it offers a simple thing that so many modern films neglect: the power of story...Revolutionary film noir with a clutch of stunning central turns.