Undeniably funny and gooey to boot, Slither may not be groundbreaking but it is a rarity: a horror-comedy that does both its genre-parents proud.

Better than Ghost but not as good as When Harry Met Sally, here's a dating movie where the other woman really should have got her man.

Of sentiment there is too much and the final sequence when the white men inevitably rear their heads and raise their rifles so fraught with tears and peril as to be exhaustingly melodramatic.

And Then We Danced is a well-made love story, anchored by a mesmerizing Levan Gelbakhiani and enlivened by electrifying dance numbers.

Beautifully photographed by Mark Lee (who also co-shot Wong Kar-Wai's In The Mood For Love), and delicately played by an untried cast, this confirms Tian as the Fifth Generation's unsung master.

A touch too heavy on the Faust scenario, this is nevertheless a typically powerful effort from Stone especially strong on the nightmarish aspects of the war, as when a simple misundertsanding instantly becomes a massacre...Gripping stuff

Combining comedy, cringe and creepiness, All My Friends Hate Me is a short, snappy and seriously entertaining spiral into peer-related paranoia.

One of the year's originals - frantic, unpredictable and very, very funny. Remove brain. See loud.

A devastating heart-stab of a movie, this certainly isn't a family film. It is, however, a beautifully constructed, animated drama.

Director Pablo Trapero seals his enviable reputation with this exceptional study of isolation and grief.

A scrappy but soulful delight. Regina Hall brings everything to this nuanced and loving portrait of working women whose stories seldom make their way into the foreground of film.

Strongly acted and effectively staged, The Boys In The Band has lost little of its impact in the five decades since its first debut, and is a fitting tribute to its creator Mart Crowley, who died in March.

Outstanding account of a pivotal moment in small-screen history.

Baumbach’s drama of grown-up kids seeking emotional restitution sees Sandler and Stiller at their best. If it feels like familiar turf for the writer-director, the emotions here are rawer than ever.

A history lesson with more fire in the belly than most. It turns out that a feminist angle really can revive the same old Tudor psychodramas, thanks in large part to Ronan and Robbie’s authoritative performance.

Bob Odenkirk continues his late-career action streak with a satirical and stylishly violent take on the small-town-under-siege movie. Ben Wheatley meets John Wick? Oh, go on then.

Powerful, terrifying and soulful, this real-life Hurt Locker is an intimate, often brilliant insight into combat and comradeship.

Impressive scope, storytelling and sensitivity makes this a fine capture of Irish abortion rights history being made and the beautiful spirit of the campaigners who fought to push their country into the future.

Okay, so it does cloy in places, but there is truth in its fractures and its seals, a soft-shimmering landscape of real people.

Apollo 11 isn’t a film about the facts and stats of the mission to reach the moon. Instead, it’s about how it feels to be in space and on the ground as history is made. Stunning, stirring stuff.

Odd-number curse be gone. The most exhilarating Trek to date marks a new future for Kirk and co. If this can boldly go on to seek out ideas to match its speed and style, a franchise is reborn.

Superbly written and performed by actual friends Kyle Marvin and Michael Angelo Covino, The Climb is a smart, funny, small-scale delight. More please.

Gothic, iconoclastic, engrossing, slyly excoriating of modern-day America and very funny to boot, it’s another solidly satisfying whodunnit from Benny B. Keep them coming, please.

A triumph of painstaking technical prowess and stunning visuals over storytelling and dialogue. See it for its nuanced take on a huge cultural figure and to applaud its astounding audacity.

A rich and imaginative evocation of a family in turmoil.

Deftly handled direction from Sophie Hyde and a thoroughly impressive dual performance from Emma Thompson 
and Daryl McCormack enlivens an electric script, tackling taboo sexual subjects with wit, flair and welcome realism.

It's a credit to Hákonarson's poised execution of his own bare-bones script that both worst- and best- case scenarios seem possible once Inga finds allies in the community.

With Pendleton inhabiting three different bodies in the course of 93 minutes, this was quite an intricate storyline for a Hollywood comedy. But Alexander Hall (an unsung journeyman whose credits included Shirley Temple's Little Miss Marker) kept the action briskly accessible, even where Death was involved.