Thrilling and often hilarious, it’s good to see one of Hollywood’s most inventive directors fully reinvigorated. On this form, Spider-Man 4 should be a belter.

Keeping it surreal has never been so nauseating and, at times, hilarious.

A terrific human drama about two boys about to be consigned to the scrapheap, with standout performances from its young leads.

Director Ryusuke Hamaguchi subverts expectations beautifully, but this brain-teaser makes no bones about the violence that often comes with ‘progress’.

Al Pacino delivers a powerful performance in this compelling biopic...of a cop and a city's police force.

This is smart, silky, sensitive, and funny old-school movie magic.

Milk thoroughly deserves all of the press ink that will doubtless be spilt over it. Wear your 'Vote Penn' Oscar pin with pride.

A cracking cold war story.

It's not a great film, but Lee's superhuman skills make it an occasionally jaw-dropping experience.

It's not for nothing that these guys are the world's finest live act.

This feels like history-in-the-making, as both a fresh insight into the interior lives of historical figures and a snapshot of a future filmmaking great just getting started.

Tragic and tender Fuller classic. Way ahead of its time.

Sensitively made, thought-provoking and ultimately moving, The Reason I Jump provides telling insights into the neurodiverse worldview. The result is a powerful documentary that presents life through fresh eyes.

Belle is an exhilarating transformation of a classic tale, updating a story of alienation into something deeply resonant with our digital way of life. Though it misses a couple of notes in its final act, it’s an exhilarating sensory experience, with great emotional depths.

As it is, it’s an aloof conclusion, an unclimactic climax to a stand-alone film.

Painful for many reasons, but highly recommended.

A spectacular documentary portrait of a great artist and extraordinary pop star. Despite a few omissions, it’s a triumph of Sound And Vision, and essential for every David Bowie fan.

There are few filmmakers as consistently, burningly passionate as Spike Lee. This is vital and timely work that’s up there with his best, with a gut-wrenching sting in the tail.

It’s delightful to see these characters again, particularly the long-suffering Gromit, and if the jokes don’t come quite as thick and fast as before, the beating heart beneath the clay remains intact.

This gentle and intimate coming-of-age drama from beloved playwright Annie Baker is an assured but frustratingly slow-paced directorial debut which evokes the bittersweet nostalgia of ‘90s pre-teen girlhood.

Odd and sexy, troubling and touching, frustrating and mesmerising, dull and haunting. A film by Jonathan Glazer.

The interviews are as entertaining as the slick interplay on the ice.

It's solid Miyazaki, although he has reached greater heights both before and since.

It has a decent story, Hanks and Streep are two compelling leads, and Spielberg is laughably over-qualified to direct it, but it’s neither as thrilling as All The President’s Men, nor does it have the emotional heft of Spotlight. But there’s no shame coming second best to those two titans of the genre. On its own considerable merits, The Post is first class.

The revolutionary visuals find endless ways to honour the mind of an innovator – but simultaneously risk an overwhelm of aesthetic information, rather than a lucid insight into the anatomy of contemporary dance.

This reflection on isolation, technology, creativity and desire brilliantly blurs the lines between perception and voyeurism, the objective and the subjective.

Manages to gain classic comic book feature status through a combination of great stunts and a great human angle.

Very humane portrait of a potentially extremely unlikeable character.