A victory lap that moonwalks through the best part of the MCU back catalogue and emphasises emotion as much as action, this is an intensely satisfying piece of blockbuster filmmaking.

Among the most purely entertaining films of the year, which cuts its laughter with a dose of Celtic melancholy. It still delivers cop/action requirements - shoot-outs, revenges, daring deeds - and chances are, we'll be quoting lines from this forever.

The Ballad Of Wallis Island is a big-hearted, consoling hug of a movie. It might not reinvent the wheel, but it’s the low-(Tim)-key crowd-pleaser of the year so far.

A lean, tough, thoughtful thriller with depth, Blue Ruin establishes Jeremy Saulnier as a promising indie auteur and Macon Blair as an unusual leading man.

A raw, blood-soaked glare into the seedy underworld of sport, with terrific performances by two of Hollywood's heavyweights.

This was understandably inspiring to wartime audiences and actually still holds up as a heartwarming story with a very decent cast.

Stylish, elegant, tense, cerebral, satirical and creepy. Garland’s directorial debut is his best work yet, while Vikander’s bold performance will short your circuits.

An eccentric, funny yarn filled with eccentric, funny characters, Audiard’s oater deftly twists Western tropes, sending its charming, ramshackle heroes scurrying from one bizarre incident to the next.

Not quite the classic that Spike Lee had been threatening to make for so long, but, after a return to form after Mo' Better Blues which proved a huge disappointment.

We're marking time before the final battle between Good and Evil, with the promised darkness sitting somewhat clumsily with teen romance and humour.

It remains entertaining throughout — a testament to the inventiveness of the on-screen action. And Pixar’s influence.

A heartfelt digital eulogy for an unconventional but extremely human life.

The filmmaking is immaculate and the emotional wallop undeniable.

A highly effective merging of star power (both in front and behind the camera) and finely honed horror sensibilities.

I’m Your Man is science-fiction with soul and a romance written for adults. Just like its mechanical hero, this tender film is attractive, smart and cunningly designed to win your heart.

This beautifully shot drama transforms an Italian summer of fraternal love into a delicate, decades-spanning exploration of friendship. It’s overlong, and overfamiliar, but remains a nuanced dual character study.

There are very few action movies that cut to the chase quite as quickly as Speed and then have the stamina to keep it up for nearly two hours.

All modern life is here — the good, the bad, the insufferable — and it’s glorious. Non-Fiction is Olivier Assayas in a lighter register and he wears it well.

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 beginning of the super-successful franchise, this remains one of the most satisfying Bond films.

Nair has made a truthful film about race which avoids hatred. It leaves a joyously hopeful taste.

It will require no conspiring to make you fall for this one; Whedon and Shakespeare are a perfect match.

It has lost none of its power: Scum is, in the final analysis, horrific.

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.

Both leads are likeable and have the cutting neuroses that Brooks delivers so well. They can’t really carry the film until the dramatic plot twist but from then on its all good fun.

Vibrantly recreating a seminal period in Jodorowsky's personal and artistic development, this bullishly played saga has enough quirky detail, audacious incident and visual panache to sweep the storyline through its less persuasive phases.

Powered by a taciturn, soulful performance by its young star, this meditation on fear, shame and sexual repression packs a wallop.

There's atmosphere and absurd wit, but the surreal style creates a distance from the characters that's only likely to be appreciated by fans of Maddinís self-conscious artistry.