For once, a great remake, smartly executed. Great performances and a killing ending that will stay with you forever can't hurt, either.

Small-scale and slow, The Kindergarten Teacher works best as a showcase for the brilliance of Maggie Gyllenhaal. Adding another complex character to her resume, it’s another reminder she is among the best actors working today.

Humerous, but doesn't gel as well as Levinson's previous efforts.

The result is a film that has a better chance of producing a belly laugh than any in recent memory: one that deserves, as Drebin would say, “20 years for man’s laughter”.

Pollack does right to put his faith in one man and a whole lot of mountains. The result is impressive.

A decidedly grown-up thriller boasting several compelling performances, The Order is as tense and visceral as it is timely.

With two astonishing child performances, Capernaum is a real heart-breaker. It can make Ken Loach look happy-go-lucky but it’s a gripping, sympathetic cry for the dispossessed.

This was the film which fixed Wayne's image forever as a tough-as-leather patriot with a well-hidden heart.

Rough around the edges and too ambiguous for some tastes, this is grim but clever, insidiously creepy and affecting. And in Olsen and Durkin, it marks the arrival of two exciting talents to watch. It still should be called Mental Sex Cult.

Sickles and Santini’s documentary is intimate, unvarnished and hugely touching, finding universal truths in its two subjects’ unconventional romance.

This is a sexually frank and arrestingly tender perspective of a young man in freefall. It occasionally leans too far into the horrors of street prostitution, but it’s mostly an open-minded view of its shiftless main character.

Almodóvar lets rip with a story of great emotional intensity, while retaining his signature stunning visual style and a central performance quite unlike anything previously seen in his work. A potent and strikingly well-delivered combination.

At two hours, things get flabby around the rock-opera era, but the film fizzes and clatters with anecdotes.

Coogan and Reilly’s performances are among the best either has ever given. This film, which pays wonderfully funny tribute to two comic legends, richly deserves them.

It’s "Ferris Bueller" with an existential crisis. Very funny and very weird.

Shades of Pinter and Beckett are affectionately retouched with dark humour, dynamic wordplay and a tension all Kubrick's.

The oddest thing of all about The Wolf Of Wall Street is also the most unusual for a Scorsese film: it is incredibly, incredibly funny.

With its singular design and two-hour runtime, this isn’t aimed at casual moviegoers. But for film buffs and Hitchcock fans, it’s a refreshing, essential alternative to the usual fodder.

It's hard not to be seduced by this folky yarn.

The Two Popes shouldn’t work, a two-handed conversation about Vatican minutiae. But with great writing, smart direction and late career-high performances from Anthony Hopkins and Jonathan Pryce, it’s a high-end treat. Send up the white smoke, we have a winner.

A stomping good documentary.

There are a few holes in the plot, mainly towards the end, but from start to harrowing finish, it is blissfully apparent that Rob Reiner can indeed turn his hand to virtually anything.

Funny, agreeable and thoroughly enjoyable, if a little bit too neat and fortuitous in sorting out its entangled strands.

Bit of a mediocre drama from writer-director Assayas despite some good turns, not least from Nick Nolte and Beatrice Dalle.

Occasional misgivings about Streep's accent aside the powerful performances and sharp script augment this revealing human drama.

Crucial for serious fans of Lynch, even if it may baffle newcomers. Since pretty much the only thing more interesting to lovers of his work is the enigmatic man behind it, there’s a lot for them to get their teeth into here.

In this almost perfect screen adaptation, the lingering question is the most important one: what caused such madness?

The French Dispatch is a designed-to-within-an-inch-of its-life delight. If it lacks a compelling story, only one filmmaker could have made this film. And, in these cookie-cutter-director days, it’s a vision to be cherished.