Chinonye Chukwu’s restrained approach replaces dramatic fireworks with an absorbing, slow-burning study of a broken woman’s politicisation. She is superbly served by star Danielle Deadwyler, who transforms Till from a good film into a gripping one.

An interesting piece from Hungary with much to enjoy, only slightly dampened by the occasional clunky device.

Interesting for it's historical notoriety, but overlong and dull in places.

An animated film showing you “how it’s done, done, done” — as HUNTR/X would put it — this is a stunning musical treat, a joy for all ages. Now warm up the vocal cords and bring on the sequel.

An ambitious, provocative swing, Nope feels like that increasingly rare beast: an original blockbuster. Unspooling a horrific parody of Hollywood’s hubris, it’s a crowd-pleaser that wonders about the cost of pleasing a crowd.

The Duke's last hurrah is one of the very best of a cycle of 70s movies that served as obituaries for the Western itself.

Pixar sequel-phobes be damned — this is a dazzling and technically impressive return to form that delivers a similar high to Finding Nemo without feeling like a retread.

Ethical screed aside, what does A Clockwork Orange have to offer beyond its curiosity value and a crash course in humanism? Well, for a start there's Kubrick's dazzling visual style which, rather in the manner that Trainspotting did 25 years later, translates the substance of an "unfilmable" book into the language of cinema. And at the dramatic core of the film is a simply astonishing performance by Malcolm MacDowell as Alex. It also features an orgy sequence that would have had Von Stroheim laughing his jackboots off — you'll certainly never listen to the William Tell Overture in quite the same way again. And as for Singin' In The Rain...

Herzog’s planted rather too firmly in his discomfort zone, but Bale once again confirms himself as one of our most intense, committed and watchable actors.

Good performances from a strong cast and paranoid plotting enough to keep even the staunchest of remake nay-sayers quiet. Hitchockian production with a modern twist.

Small kids will love the waddlesome dancing and colourful animation, but older viewers will likely be disturbed by the story’s darker elements.

A clarinet player who also runs a health food store is frozen and brought back in the future by anti-government radicals in order to assist them in their attempts to overthrow an oppressive government. When he goes off on his own, he begins to explore this brave new world that has Orgasmatron booths to replace sex and confessional robots.

Treating his seafood substantially better than Oldboy, Jiro is a miracle of perfectionism married to expertise. The same can said for Gelb's loving documentary.

A chilling concoction, featuring a remarkable transformation of Nicolas Cage and a reminder of Maika Monroe’s star quality. Submit to its demonic darkness for a singular, sensory cinematic horror experience.

The heartfelt telling of a truly extraordinary true story with a mesmerising central performance.

Jollied up with some fun anecdotes from Hollywood's great and good, this is entertaining, if hardly hugely revelatory stuff.

So much more than a one-take gimmick movie, Victoria is a stunning cinematic achievement. Full of twists that feel authentic and believable characters, it grips from the first compelling frame to the last.

This is - gasp! - a Hollywood movie actually daring to bare its teeth at silly American flag-waving.

This is one of those documentaries that stays with you for years. The injustice infuriates and the story, simply and deftly told, breaks your heart.

If it’s not God-tier level Kore-eda, Broker explores the toughest themes — emotional and physical abandonment — with the gentlest touch. Treat yourself.

The film is a little too long, but makes up for it with a strong cast and enthralling action.

You have to be in the right mood for it, but this is one of the season’s finest films.

Marmaladen with gloriously silly jokes, pitch-perfect performances and incidental detail, this is a warm, witty and wondrously inventive great big bear-hug of a movie.

A remarkable ensemble of performers unite for this combustible, timely chamber-piece that hails the return of Polley as an ambitious and empirical filmmaker.

While it’s a bit of a slow burner, Mendelsohn is so compelling, there’s really no need for things to speed up.

It's a genuine delight and a definite thumbs aloft for kids of about six upwards.

A joyous exploration of family life that will touch and surprise.

A moving drama set against beautiful Latin American backdrops - just don't expect fireworks.