Paul Thomas Anderson does gothic romance in prestige Brit picture style, eliciting a worthy final performance from Daniel Day-Lewis that’s admirably matched by newcomer Vicky Krieps.

An outstanding cast savours performing a play that has stood the test of time. Avoiding sentimentality, this is a valuable rejoinder to those who would sugar-coat mass slaughter.

A worthy but wordy look at the inequities of the US legal system, saved by a handful of terrific scenes and a tour-de-force turn from Washington.

Straightforward, unpretentious and well-acted, this is a solid if unsurprising genre piece.

This is one teen dystopia that sustained its quality across the trilogy. It may not set the world alight — ironically, given the solar flare that started its story’s disaster — but it 
will get the blood pumping.

It feels more like a ciné dissertation designed to showcase Zvyagintsev’s appreciation of the medium than an original piece of cinema.

Pixar has raised the animation bar again, with its most musical — and arguably most magical — film yet. If this is the afterlife we’re all headed to, don’t fear the reaper.

Beneath Garrel’s unassuming, subdued style lies a deceptively powerful study of fidelity, lensed in stark, moody monochrome and featuring a compelling screen debut from Louise Chevillotte.

A sub-Hitchcockian thriller with enough forward momentum to thunder over its many plot holes, The Commuter is a surprisingly enjoyable if instantly forgettable crowd-pleaser that takes the audience for a ride — in more ways than one.

The tension between the intended tribute and the lack of success on-screen makes for a muted viewing experience, but as a document of what were likely the waning days of American empire, and the curious priorities its agents chose during them, this is fascinating.

Two men in their 80s power the month’s most pulse-pounding thriller. Who could have seen that coming?

Complex, poised and beguilingly earthy. Stephane Brizé’s decade-spanning epic is a sensitively performed, memorably fragmentary look at one woman undone by the feckless men in her life.

Funny, brutal and breathtakingly beautiful. Two exceptionally raw lead performances, supercharged by a bold script from Martin McDonagh, could make Three Billboards this year’s Awards-upsetter.

A droll and vigorous psychological study of an everyday egomaniac, but we’ve seen Stiller do this sort of thing before, and better.

It’s an intriguing look into a secret world and a great performance from Chastain, but Sorkin’s directorial debut never quite makes the leap from great poker movie to great movie.

A finely crafted Western which doesn’t flinch from portraying the horrors inflicted during that violent era, and which boasts an astounding performance from Christian Bale.

There are sparks of solid action amidst the confusion, but Max Landis’ script contains too much stilted dialogue to properly ignite.

A tired retread of better jokes in the first two movies, this drags along to an admittedly heartwarming conclusion. But it’s a good thing this caps the trilogy because it’s coasting on fumes.

A charming animation with funny — if samey — moments and a quality voice cast.

Sincere and sporadically funny, The Disaster Artist is an endearing tribute to failing in Hollywood. Anyway, how is your sex life?

Stylish, soaked in gore, and unconventional, it’s another winner from Miike. Here’s to the next hundred. At his current rate, that should be in 2025.

A deeply human and often brutally honest depiction of trauma and recovery, anchored by three superb performances — though it often falls victim to formula.

A film about a cult that might well attract a cult following itself. But it’s only moderately successful, with the early scenes hinting at a bolder, more satisfying tale that could have been.

Doubling as a fascinating look at a subculture that is normally sealed off from the rest of us and a gently amusing comedy of manners, this manages to say an awful lot by, paradoxically, saying it endearingly gently.

What promised so much, delivers so little thanks to a script that too often veers from the point. A missed opportunity.

Inoffensive fun, but unlike its paperback forbear, the cinematic Ferdinand is unlikely to stand the test of time.

If The Force Awakens raised a lot of questions, The Last Jedi tackles them head-on, delivering answers that will shock and awe in equal measure. Fun, funny but with emotional heft, this is a mouth-watering set-up for Episode IX and a fitting tribute to Carrie Fisher.

It has a decent story, Hanks and Streep are two compelling leads, and Spielberg is laughably over-qualified to direct it, but it’s neither as thrilling as All The President’s Men, nor does it have the emotional heft of Spotlight. But there’s no shame coming second best to those two titans of the genre. On its own considerable merits, The Post is first class.