However familiar the terrain, this is a vivid, heartbreaking and captivating character piece and travel movie in one, guided by an outstanding Wasikowska.

Though not one for subtlety, Bronstein’s pressure-cooking, panic-mongering sophomore feature is perversely enjoyable — as long as you can take the stress.

Lightning, camera, action… Frankenstein is brought to life in glorious, Gothic fashion by Guillermo del Toro’s painstaking artistry and Mike Hill’s elegant creature design. A big film with a huge beating heart.

No fence-sitting here, Sorry To Bother You wallops its targets. Drenched in self-awareness, it is fantastically refreshing, defiantly announcing Riley as a radical new voice.

As passionate and wide-ranging as you'd hope, but disappointingly mistrusting of its audience's interest in the finer points of the case.

Despite the generic title, Only You is an emotional treat, lit up by stellar charisma from Laia Costa and Josh O’Connor. And debutante Harry Wootliff is a filmmaker to watch.

Who could ever buy Atticus Finch as the demonic Ahab driven by hellfire to hunt down that dreaded white whale?

Romance novel in narrative this transcends its genre with visual depth and perceptive socio-cultural insights.

Although 1917’s filmmaking very much brings attention to itself, it’s an astonishing piece of filmmaking, portraying war with enormous panache. This is big-screen bravado, and then some.

Director Hui shows a different side to Hong Kong cinema in a tender drama that's illuminated by the marvellous Ip.

Part wildlife documentary, part urban love letter. Kedi may only be a slender 79 minutes long, but it’s a lyrical and surprising philosophical tribute to the therapeutic power of pets.

Complicated and long but deftly handled adventure/caper/satire that ends up being thoroughly entertaining

Compelling and vivid, it's another fine piece of work from an up-and-coming talent.

Feminist scholarship this ain’t; think Showgirls if it were directed by David Cronenberg. But give yourself permission to revel in the excess and be rewarded with an uproariously good time.

Tying up his trilogy in style, Seidl's film unsettles and provokes with wit and composure.

Even if it needed one last push to make it truly exceptional, there’s a lot to enjoy here. And Soderbergh once again attracts a cast it’s a pleasure to spend time with.

The vocal cast are great fun, and the animation is smooth and vibrant. Except for a few treacly songs, this is great entertainment for all.

A sci-fi thriller starring Robert Pattinson suggests that Claire Denis has gone all mainstream. But High Life is the filmmaker at her most dark, a mesmerising, patience-testing, violent exploration in the darkest reaches of outer and inner space.

Alternating gritty realism and red‑hued fantasy, this is one of those '70s films that wears well, universal in its heart while picking out specifics which are exactly of their time.

Despite its familiar story beats, Eggers’ retelling suffocates like a coffin, right up to its chilling final shot. Lily-Rose Depp is full-bloodedly committed, and Bill Skarsgård’s fiend gorges with terrible fury.

Thoughtful, emotional and often surprisingly funny, Terence Davies offers a rich if inconsistent portrait of a unique poet long deserving of a big-screen study.

Despite the luminous Lombard and the venomous March, this is perhaps better for its idea than its execution.

The breakneck pace, the seething sense of menace and the unflinching attitude to sex, drugs and violence coagulate into a nastily authentic take on the seediness and venality of modern villainy.

Kung Fu Hustle pummels "The Matrix" trilogy into a puddle.

The sheer terror of Meru Peak, the mountain-climber’s ultimate nemesis, is confronted in a vertiginous, breath-stealing video diary. Book a back seat at the big screen, and don’t look down.

A breezy, brilliant treat. Iannucci may have softened the bite of his comedy but replaces it with something remarkably optimistic and buoyant, telling a story as joyously relevant as it was a century-and-a-half ago.

Alfre Woodard gives an unforgettably moving performance in Chinonye Chukwu’s slow-burning, perfectly observed drama about the repercussions of state-sanctioned violence, in which the stakes could hardly be higher.

A thoughtful, affecting debut feature from Tremblay that puts a necessary spotlight on Indigenous peoples — featuring another exceptional performance from Lily Gladstone.