The narrative here feels somewhat underdeveloped, but Campion remains a master of sensory storytelling, delivering a scorching study of masculinity rooted in fear.

In his final and perhaps most personal Small Axe chapter, McQueen superbly rounds off a succulent portrayal of the resilience of Black British people ending where it matters most — the youth.

Cahill's second feature film is another smart, inventive and engaging offering.

It has a nice line in wry chatter and a pleasantly old-fashioned ‘lost posse’ plot with engaging, odd characters striving against the wilderness while swapping cynical frontier wisdom.

Technology, as ever, is examined through a pessimistic prism, but the script is equipped with enough jargon and detail to expose the work and responsibility of the filmmakers.

Drolly scripted, impeccably designed and photographed, and played to succinct perfection, this may only be a slender drama, but it's also a cherishable summation of what makes Aki Kaurismäki special.

Another stunning adaptation of the classic anti-war novel: epic and horrific, in equal doses. War has rarely felt this wretchedly, desperately pointless.

A fulsome, fascinating piece of 20th century Irish folklore.

This pleasant 1940 comedy-drama hit on the successful double-act teaming of crooner Bing Crosby and patter comic Bob Hope, throwing in sarong-clad Dorothy Lamour for glamour and working through a trivial plot about fleeing responsibility for a South Seas idyll.

A funny-serious movie with gorgeous cars and colours and an amazing feel for the artefacts of an instantly vanished era.

A spunky, spiky action comedy that lives on the charisma of its leading ladies and the innovative spirit of director Nida Manzoor. Sisterhood is eternal; weird movies must be protected at all costs.

This is complex, thought-provoking cinema.

While it’s more sprawling than the other entries, Alex Wheatle is Small Axe’s strongest character piece, Wheatle’s coming-of-age and process of ‘unlearning’ the dogma of England’s white upper classes told with powerful emotivity and clarity.

Bruno Ganz is excellent as the victim deceived into committing murder.

Delivers old-fashioned, "Shawshank Redemption"-style entertainment.

For another, this film is that still shamefully rare pleasure, an absorbing ensemble piece in which a fine group of actors get to show their class and range, playing a black American family who are prosperous, cultured and complex.

The bizarre intersection between Ryūsuke Hamaguchi, Haruki Murakami and Anton Chekhov makes for a thematically fat, ambiguous, absorbing psycho-sexual drama. It’s not for the impatient, but it’s so precise and delicate, you won’t notice the gear-changes.

Most of the fun comes from the Davis/Jackson pairing and some frantic action scenes, though problems include too many "meanigful" close-ups of cigarettes being lit and booming (appropriately) sound.

Like any Shaun outing, it skews very young — the comedy is mostly slapstick silly and energetic explosions of primary colour. But any Aardman entry promises to be the best of all-ages-appropriate entertainment, with insane levels of stop-motion craft on show.

Chronicling the 1975 Mr. Olympia contest, where Schwarzenegger faced off against TV Hulk Lou Ferrigno, this is now more a compelling document of his days before superstardom than it is a real insight into bodybuilding.

Exploring workers' rights in an age of mechanisation and recession, this isn't always an easy watch. But it's played with spirit, filmed with integrity and is pleasingly full of surprises.

A stunner of unrelenting tension interrupted by action, violence and gore.

So many films address the premise because it’s always thought-provoking and affecting. This also has a bleached, depopulated, effectively catastrophe-struck feel and an intriguing adult-and-child road movie storyline.

Remains hilarious throughout.

An emotional, incredibly intimate portrait of one man’s final days. Ondi Timoner’s documentary avoids the political aspects of the process, focusing squarely on the personal impact. The result is moving, humane, and cathartic.

Combining both the universality and specificity of Springsteen’s music, Blinded By The Light is an exuberant anthem to the importance of music, the need to be seen and the hope of new possibilities.

A precious thing, if likely to please refined aesthetes and odd children rather than win over Pixar-sized crowds.

The joy comes not from the will-they-won't-they romance between the two leads, but from the sharply written humour from the pen of writer Nora Ephron.