A lurid gothic gangster psychodrama from Roger Corman, this is Shelley Winters’ finest hour-and-a-half, cast as Arizona Clark ‘Ma’ Barker, a role it would be impossible to overplay.

This is a lightweight but utterly loveable affair which proves Hanks is as assured behind the camera as in front of it.

There’s palpable dread throughout this stagey but nevertheless evocative whirlwind of dysfunction. It’s a gripping, appropriately stifling experience, and the feelings — the fear, the disappointment, the unhappiness — hit home.

It's certainly a Spike Lee film, but no Spike Lee Joint. Still, he's delivered a pacy, vigorous and frequently masterful take on a well-worn genre.

Sarah Polley's second film is a masterfully painted portrait of an ordinary marriage under threat, dominated by a central performance of exquisite subtlety and observation.

Like a good butcher’s cleaver, it’s weighty, solid and sharp — an effective matching of director and star in what is hopefully the first of a new film series.

Both hilarious and heartfelt, Joy Ride packs a nuanced exploration of Asian identity into a Trojan Horse comedy, filled with enough narcotics to get the blood pumping.

Dedicated to Morris’ champion, Roger Ebert, who would be proud, this is a provocative, revelatory and disturbing film.

A kind of Ken Loach does Shirley Valentine, The Escape is not a comfortable watch. But it is a rewarding one, thanks to Dominic Savage’s forensic investigation of a disintegrating marriage and career-best work by Gemma Arterton.

Noah Baumbach’s great run continues. Sharp, fast and witty, it’s old school screwball comedy with a cool modern twist. And Greta Gerwig is a bona fide genius.

As startling and bleakly compelling as you'd expect from this rare combination of director and subject.

Brutal story-line which is about as close to an explicit allegory as the western has ever come.

Rudimentary plot and merely decent gags aside, this is the finest DreamWorks Animation effort since the first Shrek, chiefly because of its astonishing visuals and kinetic kung fu sequences.

Improv comedy at its best: subtle, hilarious, excruciating and affecting in equal measure.

DiCaprio shines, dispelling fears that he hasn’t the weight to carry such a complex, forceful role.

A merrily ferocious pop at the Hollywood bubble that balances sharp, acid laughs with a sweet, believable meet-cute. Top of the pack and Chris Rock’s best movie.

A thoroughly pleasing family film with fine performances and honest, affecting real situations mixed with joyful adventure.

Levinson’s self-penned 1982 directorial debut and the first of his “Baltimore films” is a disarming reminiscence on buddydom.

More startling than an unexpected punch in the noggin, Na Hong-Jin's unusual thriller could have the highest knife count this side of Ramsay's Kitchen Nightmares. A violent thrill-ride to a dark new corner of Asian cinema.

A landmark film book gets its just deserts. The cleverly curated clips are stunning and the analysis thought-provoking in this richly rewarding piece.

In seamlessly interweaving top-notch CGI and incredible stuntwork, Cohen has delivered some of the finest auto-action ever put on screen.

The film is engrossing and beautifully mounted, and is sure to not disappoint anyone who’s enjoyed McDonagh’s previous rough rides.

A rich movie, seductive when abandoning people for falling snow or bleak nature and funny, painful and unflinching when it gets physical.

Valhalla Rising gets into your mind and stays there. You can argue what, if anything, it's trying to say, but it is impressive cinema.

It's overlong, but with its gorgeous cast, irreverent humour and beautifully drawn characters, this smart comedy-drama is the kind of movie Couples Retreat and Grown Ups should have been. Please, nobody let Adam Sandler anywhere near a remake.

It’s not the first of its kind, but compelling performances allow this portrait of a romance a genuine sense of passion. Under Tom Cullen’s sensitive, empathetic direction, this deeply felt picture never loses sight of its people.

It may not be much more than six of the most imaginatively staged and filmed fight scenes in the cinema, but that’s almost certainly enough to recommend it.

Superb dialogue, beautifully played and hummingly atmospheric, this is sexy, poignant and tense with some surpising humour...only the plot shows cracks...