A funny, filthy, iconoclastic riot. Paul Verhoeven’s latest erotic satire won’t be for all creeds, but it is bursting with enough ideas that even doubters can find something to believe in here.

One for lovers of ravishing craft, although the elusive emotional engagement is frustrating.

Sharply observed but tenderly realised, Tully brings back the Reitman we knew and loved, represents Cody’s finest work since Juno, and reminds us why Theron deserved that 2004 Oscar.

Made absolutely for grown-up fans, this is the Muppets as you fondly remember them: funny, smart and gleefully insane. Kermit, it's great to have you back.

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.

Powerful, intelligent and surprisingly entertaining.

Simmering study of a petty hood-cum-wannabe pianist succumbing to his innate violent side - but there might be a touch too much ivory tinkling for some.

Both enthusiastically irreverent and deeply sincere, Nimona is a revisionist fairytale that forges its own path visually and narratively to beautiful effect. Insert celebratory shark-dance here.

Remains hilarious throughout.

It’s essentially, y’know, for kids, but the dedicated fairy tale fan will have tons of fun spotting all the references. Adams, meanwhile, gives one of the comedy performances of the year.

Tender and beautifully acted, it's a unflinchingly bleak glimpse of life on Australia's margins.

The story isn't as strong as either Leone or Corbucci's best work, but the iconic imagery and solid central performance from Nero make it easy to see why this became a worldwide success.

Combining widescreen lyricism and neo-realist intimacy, this is a poignant reflection on the stark situation awaiting so many migrants who risk everything to reach a false paradise. The methodology occasionally feels calculating, but the intentions couldn't be more sincere, as the struggles are destined to continue once the cameras leave.

Some may find this sprawling film hard to adjust to, but for those who can, it is a real find. With an imaginative plot and an amusing direction, this charming film is a fitting way to end Cocteau's career.

A simple, elemental tale that makes breaking the heart seem like the easiest and most natural thing a filmmaker can do to his audience. Which, of course, it isn't.

The supporting cast is a kick. Law gets to send up the Bond role, something he could very well have played in his younger days; Allison Janney fills her boots as the angry head of the agency and Statham, frankly, should only ever play this role for the rest of his life.

Gripping, smart and well-tooled, this greenies-on-a-mission movie gives terrific build-up and a riveting central set-piece, with only a slight dip at the end. If she is looking for another genre to subvert, a Reichardt superhero movie would be a sight to behold.

Michael J. Fox is a revelation as the mouse that roared, whilst the score, the direction, and the rest of the cast turn a risky film into a solid addition to the Nam canon.

Not exactly genre-bending innovation or anything but a decent documentary about an important episode in history of oil company exploitation.

A brutal, bruising bullet ballet of a sequel that builds upon the promise of the original.

A kind of Ken Loach does Shirley Valentine, The Escape is not a comfortable watch. But it is a rewarding one, thanks to Dominic Savage’s forensic investigation of a disintegrating marriage and career-best work by Gemma Arterton.

Gnarly, gross and delightfully unconventional, this is exactly the kind of Sam Raimi film his fans have been waiting for, carried by a committed, no-holds-barred Rachel McAdams performance.

Belfast is exactly the kind of film that wins an audience award at a festival — highly entertaining and beautifully done without ever being innovative or challenging, finding the universal in the specific, the upbeat in dire circumstances. Slight but winning.

The start wobbles, but once boy and dragon connect, this becomes a thrilling flight.

As a political statement, Civil War is provocative and occasionally exasperating; as a purely cinematic experience, it is urgent, heart-in-mouth, extraordinary stuff.

We may lose Soderbergh to painting, theatre and HBO-fuelled TV, and that’s a crying shame. If that’s the case, Side Effects is a great note on which to go out.

Great songs, great set pieces and solid performances in this colourful and infectiously enjoyable musical.

By equal turns tense and witty but with plenty of perceptive social commentary to go around, this is a film that only gets more rewarding the more you look under its surface.