Hogg’s films are never conventional stories, but this is a rewarding and affecting watch.

It’s all about heart - not that the spectacle falters; this is the finest popular entertainment since the Rings trilogy closed. Superman doesn’t fly - he soars.

An absolute must-see for anyone who loved 2016’s Your Name. Even if it isn’t as surprising and narratively powerful as that film, Weathering With You once again exemplifies Makoto Shinkai’s visionary prowess as an animator.

A slick, satirical, insane thrill-ride. Come for the twisted concept and blood-soaked barminess, stay for Mia Goth drinking wine straight from the bottle while yelling, “Sucky baby!” at Alexander Skarsgård.

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.

Shot in grainy, high contrast black-and-white with a lot of simple but effective optical and aural tricks to suggest the workings of his unusual mind, this is one of the most intimate movies in recent memory.

A well-rigged whodunit based on the bestseller by Scott Turrow, that pretends to investigate the various political manipulations that haunt your average district attorney’s office but is in truth about the wages of sin.

Although sometimes baggy and uncontrolled, The Outrun is a sensitive, non-judgemental portrayal of addiction and mental illness, anchored by a typically transcendent performance from Saoirse Ronan.

A "Who Framed Roger Rabbit" for the joystick generation that, despite a mid-act dip into generic Disney territory, high-scores on laughs, invention and 8-bit affection.

Ingenious and wonderfully detailed, though better in its imaginative horror than its slightly too-broad comic knockabout. It's not quite on the level of Coraline, but it's proper summer fun with some dark delights.

While it’s a shame that Luce loses sight of the very topics that it brings up in service of cheap thrills, it’s a fascinating, entertaining puzzle all the same.

A stirring, lushly-constructed celebration of youthful spirit.

More ‘Lost In Long Island’ than ‘Miracle On Main Street’, this offbeat indie ladles on the melancholy mood while skimping on the holiday highs, and seems destined to become a cult Christmas favourite.

The Conjuring by way of The Cornetto Trilogy, there’s little ordinary about Extra Ordinary – an unfalteringly funny, ectoplasm-drenched horror-comedy that deserves the cult status it’s destined for.

A salt-of-the-earth tale that’ll play well in red states, but offers little spark.

A desperately sad look at two men whose determination to rebel against their heritage and succeed in their artform has rendered them unable to communicate. Compelling stuff, though.

Hellboy might not have the name-recognition factor of the Spider- or Batmen, but Guillermo del Toro brings the audience swiftly up to speed on artist-writer Mike Mignola's comic book anti-hero.

It’s not like the film is hollow — hidden at its heart, in fact, is a struggle for the soul of Hollywood — it’s just that it feels more like a series of pleasant diversions rather than a single, solid journey.

Road movies should be pleasurable and free-spirited, but Candy Mountain drags too much weight around.

While not exploitative and (mostly) not gratuitous, this is as tough as it gets — you bleed for this kid. Even if it gets a bit too much, you just can’t look away. Thrilling filmmaking.

A sanitised version of Spielberg’s film, let alone Walker’s novel. But bravura musical sequences and a top-notch cast ensure smiles and tears come the end credits.

It could easily have been a workaday music doc, but amid all the gigs, pit stops and sound checks emerges a funny and wry story of brothers at work.

A warm, mature offering from Hughes, with Martin's restraint a perfect counterpoint to Candy's enormous (and enormously amusing) fooling around. You'll find sympathy here, but just as many calamitous antics as you'd expect in any Hughes vehicle.

An awkward mix of gross-out comedy and big emotional sincerity, which may be authentic to the experience of pregnancy but feels clumsily balanced between these two characters.

Impeccably played by Rebecca Hall, this is a thoughtful reflection on life’s casual cruelties and how little attitudes towards women have changed since Watergate.

Earlier Clancy films alternated between the dull and the ridiculous. First-rate writers like Steven Zaillian and the great John Milius have managed to make this considerably meatier.

In some sense, the title is misleading. Into Darkness is a blast, fun, funny, spectacular and exhilarating. The rule of great even-numbered Trek movies continues.

A smart riposte to the ’hood drama stereotype. Dope is funny, stylish and mostly exuberant fun.