This is a fascinating insight into the mind of the Nobel laureate and his city muse. Coolly intelligent and noirishly compelling.

This is enormous fun, one of the best TV adaptations to date, and guaranteed to provoke a nostalgic misty eye and mischevious grin in anybody who's ever owned a crimplene tank top.

Young Ahmed might be major filmmakers in a minor mode, but it is still a riveting, beautifully made character study that provokes compassion and controversy in equal measures.

If director Chuck Workman maps a familiar rise and fall of rule-breaking brilliance it is vindicated by the great raconteur and in-depth praise from an impressive roster.

Dreams and nightmares, innocence and experience, civilisation and nature… an elegiac horror/neo-noir debut that captures a snapshot of America’s lost soul. Director Joshua Erkman is one to watch.

Despite the hint of a stiff-upper-lip kind of reserve, this is astonishingly brutal. And Firth’s performance makes this dark, dark story land.

Falling on the meaty, potential role of a lifetime like a ravenous lion, erstwhile comedian Jamie Foxx, so good in "Collateral," is just wonderful as the eponymous star.

The net result is difficult and demanding viewing yet strangely thrilling.

Van Sant never strays far from the man-overcomes-disability genre, but this is more than made up for by some impressive directorial flourishes and an engaging central performance.

Song Without A Name is a true original, at once rooted in a raw emotional reality but told with the striking beauty of a dream. Writer-director Melina León is definitely one to watch.

Exquisitely designed, this cornucopia of melodramatic fragments and movie pastiches will enchant Guy Maddin fans.

A story with all the qualities of a classic LA noir is given a very effective spin by transposing it to politically charged Cairo. It’s angry, frustrated and thrilling.

Yes, the premise is a bit threadbare but this is an intimate, lyrical documentary that offers a subtly effective snapshot of life as a young woman on the threshold of adulthood.

A visceral, artful horror about childbirth and trauma released in the UK just in time for Mother’s Day.

If you loved D’Artagnan, you won’t be let down by Milady. If you’ve not seen D’Artagnan, then get ready to enjoy the year’s best non-Barbenheinmer double bill.

A rough, exhausting, exhilarating action picture with a payoff which would have delighted Sam Fuller or Howard Hawks. The Stath - an actual Olympian, remember - is on top form.

Funny and nasty in the best traditions of Headhunters and Jackpot, this is the Stellan Skarsgård vengeance thriller we've all been waiting for.

Atmospherically black-and-white photography provides suitable accompaniment to Sidney Lumet's unrelenting direction, with the two leads into it with plenty of relish.

The quintessential '50s rom-com.

Acerbic, unexpected and quietly heart-warming without ever approaching sappy, this takes a no-nonsense approach to big issues - life, love and ageing - and never feels heavy-handed. We should all be so lucky in our grandmothers.

Perfectly tense atmosphere and performances, with the sparks flying between Bogart and Bacall.

An intense, emotional ride. Uplifting and inspiring.

The doppelgänger trope may sound well worn but Enemy finds fresh, deeply unnerving ground. And Jake Gyllenhaal gives two spellbinding performances.

This is a film full of scenes that would be easy to overplay, but which Schwarzenegger tackles with understated perfection. Truly, this is quite unlike anything else he’s ever done, and brilliantly so.

It's hard to imagine that the prodigiously gifted Dolan is still in his early twenties. This is another work of marvellous maturity and assurance.

Quick on its wits and fast with its fists, this is Black firmly back doing what he does best. And nobody out there does it better.

Violent, visionary, vital.

Hansen-Løve again shows what a gifted storyteller she is with this tender, realistic portrayal of young love.