DreamWorks Animation’s most heartfelt series bows out with a beautifully designed finale, but the long-awaited emotional goodbyes for its beloved central duo don’t quite soar.

As beige as an old PC, but beneath the surface the blood pumps bright scarlet. An intelligent and emotionally charged spy drama.

Charming, funny and great turns from a cast with no finger-wagging. But if you don’t like psychosis-inducing imagery, steer clear.

A darker turn for the sensitive Sebastián Lelio, and yet more proof that Florence Pugh is among our greatest treasures. Plenty of food for thought among the emptier moments.

It should be a delicious chocolate gateau but Emma. makes heavy weather of Austen’s charmer, delivering a tonally uneven, mostly airless affair. Amy Heckerling’s Clueless — Emma in the Valley — remains the big screen benchmark.

Like its seductress, Anna, it's ravishing to behold while ultimately failing to engage the emotions.

Inspired, innovative, stunning, with unforgettable performances and images, this is up there with the great screen Shakespeares. The playwright surely would be thrilled with it in its full-blooded vigour.

Narratives of the Northern Irish Troubles are a nightmare of bias and bullshit – this superior doc does better than most in cutting through both, and offers a lot to experts and noobs alike.

It hardly rewrites the rulebook, but Warrior is a powerful, moving and brilliant sports-pic-cum-family drama. Like "The Fighter," but with kicking.

Extremely well done and well acted, it’s an attractive, appealing, involving adaptation, just not as iconic as the ’60s film.

A little clunky at times for contemporary audiences but still manages to truly perturb at times...

Quality acting and writing and appropriately understated direction, but a touch too polite for its own good.

Bahman Ghobadi can’t be faulted for showcasing so many bands, and the mix is wonderfully eclectic, but the linking episodes aren’t always riveting.

A film for anyone who’s ever climbed trees, grazed knees or basked in the comfort of a parent’s sympathy as they’ve pulled you off the ground crying. It’ll make your inner child run wild.

A colourful and stylish romp, for sure, but a feeling of restlessness sets in long before the series of false endings that finally bring it to a close. Time passes, things happen, but nobody emerges very much wiser.

Forte and Peake excel in a notable debut from Green that marks her out as a director to watch.

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

A very smart take on the stalker movie, which resists easy laughs for harder truths, and might make you think twice the next time you’re lining up a photo for social media.

Devastating, yet ultimately rewarding, Paris Memories offers an alternative to the usual socio-political consideration of a terrorist attack by drawing a humane, kaleidoscopic portrait of various survivors’ crisis responses.

This is the origin film we really need right now. Directors Cohen and West have brought a liberal trailblazer’s fascinating and largely untold story proudly into the spotlight.

Perhaps the best premise for thrills since "Speed," only this time the bad guy’s on board and the battle of wits is more philosophical debate than pop quiz.

A brilliant Sally Hawkins stands atop Craig Roberts’ perceptive look at mental illness. Small but beautifully formed.

There's a desperately inevitable, powerfully tragic last reel, but getting there is absolute torture.

A disturbing and poignant anthology of Roman Polanski's favourite, oppressive themes.

Not Lee's finest but intriguing nonetheless.

Mamet’s gem of a movie, with a great final twist, goads the Godfathers with just as much invention and wit as the much higher profile Married To The Mob.

It might be easy to jump to conclusions as to why Allen made such an irreverent film when his life was in such turmoil, but more to the point why he made it at all. While relatively enjoyable and amusing, the acting begins to grate as the married couple bicker constantly but thankfully Alda and Huston are as reliable as ever.

An intense, streamlined exercise in gruesome thrills, with a tiny glimmer of social context (it’s all about the economy) which doesn’t take away from the exciting struggle to get out of this house of horrors.