This barely conceivable story of neglect and loneliness is given heartbreaking new life by Morley, with Zawe Ashton standing in effectively for the tragic young singer.

Far from a puff piece, a no-holds-barred, melancholy, often surprising examination of Norway’s most famous — and underrated — musical export. A must for fans — but prepare to brace.

A great, big joy. Even if you're a bit bah humbug, just delight in the supremely clever Aardman comedy.

Even if you think you know where it’s going as its builds to a near-wordless finale (and you might be right), the moments of character detail are beautifully judged, and the gore surprisingly well splashed.

Wildly unpredictable, Barbarian begins as a tale of awkward circumstance, before mutating into something intensely claustrophobic, satirically amusing, and in its best moments, both.

A truly great documentary.

The former comedy co-stars (Knocked Up) are superbly cast in this fascinating, fact-based story.

A remarkable, first-hand insight into how a modern-day police state operates, and how any kind of meaningful opposition can exist — as terrifying as it is hopeful.

Sentimentality creeps in now and again, but Levinson's steady grasp of his city's unique atmosphere makes these moments genuinely moving rather than hokey.

This is a bold, enormously enjoyable effort, by turns both hilarious and disturbing.

Not all the plot developments ring true, but moments carry a real chill - even in a coma, McKellen can terrify a fellow patient almost to death - and it has more than enough thought-provoking material to command your interest.

An absolute treat. In spite of its disappointing climax, this is Apatow’s smartest, rudest and -- yes -- funniest film yet.

Full of restraint, from both its director and leads, this is a quiet gem with the power to move.

At first, it's hard to sort out who knows who and where the stories connect, but it eventually comes together, combining the gripping power of a soap opera with the skewed, unusual perspectives of Carver and Altman.

A fitting tribute to Hunter and the demise of the American Dream, but first and foremost a thrilling and funny snapshot of a country on its knees and a writer finding his feet.

Occasionally soapy on the homefront but cataclysmic in combat, this is a worthy addition to the WWII canon. Garfield underpins it all with skill, showing that sometimes, war can be humanising too.

A typically taciturn turn from Neeson is surrounded by a colourful cast, gallows humour and complete disrespect for cinematic stereotypes. A little bloated, maybe, but deserves kudos for joining the road not Taken.

As a director, this feels like Stiller’s moment. Mitty is a film that bravely rejects cynicism. In many ways, it’s the new Forrest Gump. Go with it and it is, in all senses, wonderful.

Impeccably performed by its young leads and nurturing supporting cast, this deeply personal picture particularly impresses in the closing scenes, which are quietly devastating in their intimacy, insight and truth.

Lightning, camera, action… Frankenstein is brought to life in glorious, Gothic fashion by Guillermo del Toro’s painstaking artistry and Mike Hill’s elegant creature design. A big film with a huge beating heart.

A well-rigged whodunit based on the bestseller by Scott Turrow, that pretends to investigate the various political manipulations that haunt your average district attorney’s office but is in truth about the wages of sin.

The odd conclusion renders it somewhat oblique, but Perfume is a feast for the senses.

Elba’s performance as a lonely Djinn with a bottomless reserve of charm, paired with Miller’s unbridled energy, make this a modern fairy tale worth seeking out.

A real treat for fans of Ali and music alike.

Estes enriches the plot by refusing to present each character's emotional dilemmas in black-and-white terms.

Hardly hard-hitting but a thoughtful and spirited look at a man at the top of his game and a moment in time that refused to fade.

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.

Giving the gloves to Michael B. Jordan both in front of and behind the camera leads to satisfying results, and the year of great Jonathan Majors performances continues.