Camp, over-the-top and entirely unbelievable: in short, the best thing John Woo has made in years.

A mixture of tough and wistful and reflective and brutal, this is the ideal vampire movie for Twi-hards who’ve had their hearts broken for the first time and want to move on to a less cosy vision of eternal romance with a side order of addiction.

The performance of Harvey Stephens as the young Damien has invested the film with the chill of genuine credibility.

A compelling look at the tragic and bizarre life of an enigmatic champion.

It's a low-budget winner combining a sharp, protean visual style - one minute music video, the next cinema verite - with impudent humour, raw emotion, a thumping good rap soundtrack and some pertinent lessons in choice and responsibility.

If you can overlook the smarm and the historical airbrushing there's much to enjoy here.

Another of the film's positive aspects is its narrative style, reminiscent of Akira Kurosawa's Rashomon.

A bravura monster movie which just doesn’t let up, ratcheting tension with nary a word uttered on screen. It also boasts great creature design and a breakthrough performance from young Millicent Simmonds.

A lurid, luminous teen-bender movie, as ludicrous as it is stylish, and Harmony Korine’s best film in years.

Overall this is a gripping, non-judgmental look at a young girl finding herself in the toughest circumstances.

Michael Moore proves that in six years between films he’s lost none of his power as a popular polemicist, and while the overall structure of his argument here is flimsy, the details he reveals have impact, suggesting a fair and just society is not an unattainable Utopia.

It’s a beautifully animated tale (keep your eyes on the way Kubo’s hair moves) that balances story with comedy and moments of effective (if light) horror.

A story we’ve seen told a hundred times before feels fresh thanks to Danielle Macdonald’s brilliant performance, handling both the drama and the rapping in style.

The genuinely witty and endearing Disney animation that everyone forgets.

An urgent rebuke to a country losing its conscience, The Report is rigorous but riveting. And Adam Driver — once again — emerges as one of the most watchable actors working today.

The best things about the first film — the characters and music — once again sing in a frequently dazzling if narratively flawed sequel that’s better at being sensory than sense-making.

Churchill’s darkest hour is Gary Oldman’s finest. Gripping, touching, amusing and enlightening, his performance is the prime reason this film must be seen — but not the only one.

Spielberg's technical ability is very clear, with much to appreciate on close examination.

A finely crafted Western which doesn’t flinch from portraying the horrors inflicted during that violent era, and which boasts an astounding performance from Christian Bale.

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

Not as dark as its source material, Wanted works exceptionally on its own terms. McAvoy crashes the A-list, Jolie finally gets to be as big a star on screen as she has been in print, and Bekmambetov proves the most exciting action-oriented emigré since John Woo.

Does Deep Cover work as an improv comedy? Yes, and it delivers strong characterisation, a twisty crime story, and great performances too. End scene.

A rare animated film without a shred of sentimentality but bucket-loads of heart and soul. “Stories remain in our hearts all our lives,” Parvana’s father tells her. The Breadwinner is testament to that.

Inventive, ambitious, brutal and beautiful: a potent mythological epic. But also wilfully challenging, as likely to infuriate as inspire, whether through its unmitigated Old Testament harshness or its eco-message revisionism. If only more blockbusters were like this.

A very pleasurable surprise, with likeable leads, the right amount of gore, and some incredible near-the-knuckle gags that you can’t quite believe writer-director Forsythe even attempts, let alone gets away with. Far better than the 1989 Fred Savage-Howie Mandel movie of the same name.

Well-crafted and compelling, if a little inaccessible to western audiences...

It is perhaps not top-notch Haneke but Happy End is an intermittently gripping film about loveless people in a joyless world. They could all do a lot worse than go on holiday with the characters from Paddington 2.

A little slow and vastly outdated now, but nonetheless very watchable.