Sturges' no-holds-barred comic cristicism of American Forces abroad is still challenging and funny.

More than a biopic or period-piece, this is a stylish time capsule reaching into the present with unnerving clarity. Abortion care is still so hard — this film makes that fact sink into your bones.

Scott is simply awesome as the one-of-a-kind General George Patton, the brilliant campaigner and man among men renowned for the rage he directed at the berks in authority and the adulation he inspired in his men.

What could have been little more than an acting showcase for a reliable ensemble fully sings: a sophisticated, seductive, slightly unwieldy and often very sad study of the instability and upsets of motherhood.

Edgy and hilarious, Nanjiani and Gordon’s true story of cross-cultural love is a Trump-baiting marvel that’s worth the hype.

An old-school espionage thriller with a movie-biz comedy twist, all the better for being (almost) entirely true. It is to Ben Affleck's credit that the tension and laughs complement rather than neutralise each other.

The simmering implication of incestuous emotions between Lili and Roy, leading to the shocking denouement, is badly underdeveloped and mishandled, leaving a lingering sense of anti-climax.

Deftly played and beautifully photographed, this may lack depth, but its observations on human transience are deeply moving.

An often brilliant '50s-throwback character drama that never feels nostalgic, with terrific central performances and a luminous, unforgettable visual beauty.

Exposing the bleak reality of a supposedly more innocent time, this inspired blend of musical and melodrama succeeds in being both fond and forlorn, artistic and authentic.

Dreamlike Ghibli animation that's well worth seeking out.

The movie that brought a hip new sensibility to animated features and which still stands up in the age of Pixar and DreamWorks thanks largely to a blistering improv turn from Robin Williams.

Andersen makes a far from inspiring guide, intoning his humourless points in a dry-as-powder monotone.

Ultimately, overlapping notions of family, cinema and healing are neatly tied up in an arresting and heartrendingly gentle finale that will leave an ache in your chest. Stripping dialogue and editing flourishes away, Sentimental Value’s final note is a showstopper.

If not Hamaguchi’s best, this is a gracefully performed and expertly detailed collection of stories, revealing the delicate and unassuming magic to be found in simple conversation.

Verdict City Of Ghosts wears three hats with aplomb — a summation of the tragedy that’s befallen Syria, how horror can be resisted with just laptops, phones and courage, and the importance of shining a light into the darker corners of the world.

Beautifully photographed by Mark Lee (who also co-shot Wong Kar-Wai's In The Mood For Love), and delicately played by an untried cast, this confirms Tian as the Fifth Generation's unsung master.

A modern classic.

A welcome return from Hoop Dream director Steve James. Even at just shy of three hours, the format strains to accommodate such a complex, involving true-life story, but it makes a seriously impressive attempt.

Schrader’s best in yonks, a powerful meditation on faith’s place in the modern world. Hawke, as a kind of Travis Bickle in a dog collar, gives one of the performances of the year.

Costa-Gravas at his hypocrisy and oppression-fighting best.

An awe-inspiring piece of filmmaking from Edgar Wright that plays out as a musical through the lens of an action thriller. Sweet, funny and utterly original — you won’t see a film like it this year.

Douglas' teeth-clenched, dimple-thrusting megalomaniac is among his best work, while the gossipy screenplay (another Oscar winner) is served wonderfully by Minnelli's lush melodramatics.

Beautiful, funny, timely and tender, this is the American arthouse movie of the year.

Wonderfully complex but warmly human, Bergman's drama is one of his very best.

One Fine Morning is Mia Hansen-Løve on tip top form, drawing a fantastic lead performance from a never-better Léa Seydoux. Some flicks need a bearded assassin or ghostface killer to create drama. Hansen-Løve just needs the stuff of real life.

Although not all the loose ends are tied up in the telling of this bizarre and absorbing tale of love, grief and goose-bumps, one scarcely minds at all, since the fourth-dimensional doings on offer, (underlined with a marvellously moody, haunting score by Zbigniew Preisner) are like an erotic trip into The Twilight Zone.

Cut it, print it. These are brutal executions, brilliantly executed. Director Park has said he wants No Other Choice to be his “masterpiece” and he may well have done it. Hopefully he won’t be jobless any time soon.