A truly insightful art film that still manages to be easy-going and unpretentious.

Brady Corbet’s seismic drama reaches for the sky as it surveys the soul of a man and a nation. There will be Oscars.

An intelligent, engagingly honest study of love lost and, just maybe, regained.

Enigmatic, absorbing and so much more alive than any pottery behind glass in a museum, this is an exquisitely crafted, grown-up Indiana Jones steeped in its own distinctive magic.

A truthful, tender masterpiece about how coming of age has no age-limit — love, for others and for ourselves, is what makes every risk and loss worthwhile. Rarely has a story like this been told as beautifully.

This MGM classic remains the most faithful and powerful adaptation of the great Dickens novel.

Looser and funnier than his recent efforts, sharper and more formally assured than his earliest films, this is Paul Thomas Anderson operating at full capacity. A master at work.

Little can come close to captivating the grandeur and epic quality of William Wyler's magnificent bum numb-er.

A finely-acted, sensitively-written tale.

This is still the definitive version of Charles Dickens' atmospheric and occasionally creepy classic.

First Cow is archetypal Kelly Reichardt, slow, small and perfectly formed, elevated by stellar but understated performances from John Magaro and Orion Lee.

Max’s re-enfranchisement is a triumph of barking-mad imagination, jaw-dropping action, crackpot humour, and acting in the face of a hurricane.

Keeping the dialogue minimal and the action high on the agenda, life in Paris' underworld proves to be surprisingly yet suitably violent and threatening.

A vivid reworking of Daniel Woodrell's novel that brings the book's conflicted heroine to searing life in a piece of unhurried filmmaking too rarely seen these days.

Fascinating, funny, wicked and to the point, this is an excellent film about a week every Briton over the age of 15 will remember vividly.

It’s hard to think of another recent drama that feels so brazenly personal, so yearning, so naked and vulnerable. It feels like forgiveness, for Haigh himself, and maybe for others. He’s letting it all out. These characters are a lifeline for him, too.

And with supporting roles from the likes of Diane Keaton, Robert Duvall and Lee Strasberg, to say nothing of Roger Corman and Harry Dean Stanton in bit parts, this is nothing short of magisterial.

There's a huge amount of style in this picture, but also a huge amount of substance underpinning it.

Anchored by two of the most natural, committed performances you’ll ever see, Blue Is The Warmest Colour is the most moving love story of the year.

It's an hilarious, touching reminder that, sometimes, ordinary folk have the world's most interesting lives.

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.

A magnificent comic performance and a film of genial hilarity.

A mysterious army of enemies, with no suggested motive and, what's worse, they're your friendly garden crows. Clamps itself to your recollection and doesn't let go.

Joanna Hogg delivers an object lesson in how to deliver a follow-up: deeper, funnier, more imaginative than its predecessor, The Souvenir Part II is a filmmaker working at the peak of her powers.

Superb dialogue, beautifully played and hummingly atmospheric, this is sexy, poignant and tense with some surpising humour...only the plot shows cracks...

Impassioned, sensitively acted and supersized in scope, Steve McQueen’s tribute to the Mangrove Nine provides a pulsating Black British history lesson — and kicks off his Small Axe anthology with an urgent bang.

Looks like 2004 has given birth to a new superhero franchise after all.

Packed with cultural references and sly satire, this is also a hugely entertaining comic romp.