There are no gothic extravagances in Kathryn Bigelow's bone-dry, style-rich, noir-steeped vampire western. Instead it comprises a fascinatingly modern take on blood sucking mythology, shedding tradition to examine the creatures as human counterparts.

It may be formally unadventurous but A Real Pain is a real treat, a tender, funny treatise on family jealousies and our relationship to the past. Simultaneously light and heavy, it soars on the stellar pairing of Eisenberg and Culkin.

Stylish, elegant, tense, cerebral, satirical and creepy. Garland’s directorial debut is his best work yet, while Vikander’s bold performance will short your circuits.

There is much to admire in Vol. 1, not least a performance from Uma Thurman as steely as the plate in her character’s head and a knowing soundtrack that effortlessly smears the boundaries between east and west.

Gripping, claustrophobic drama.

A sometimes girlie swirl of obsession that will delight fans, this faithful adaptation is after teenage blood, and will most likely hit a box office artery.

The relationship between Ada and Eka is beautifully written and utterly believable, while the film's central idea of compassionate deception allows Bertucelli to explore the nature of love, culminating in the film's masterful and deeply affecting ending.

Owen Kline’s debut is a hectic portrait of a volatile artist, swirling in a thick, uneasy atmosphere. Whilst there’s not much emotion to cling on to, the parade of uniquely absurd characters and agonising situations make it a real page turner.

Far less cuddly than expected, this unusual and elegant movie may have failed to connect with US audiences but it proves Spielberg is currently the most unpredictable director in Hollywood.

This unconventional love story — which plays like a Richard Linklater film set in the Arctic circle — is a total charmer, and will have you reaching for an Interrail ticket immediately afterwards.

An unknown treasure of a fantasy film and well worth a look for fans of the genre.

Murray's initial transition from the small screen is a classic.

Imaginative and surprisingly moving for a silent art movie.

The ending doesn’t quite land, but this timely right-wing allegory promises there’s much more to come from Corbet.

With Haskell Wexler's splendid photography and Leonard Rosenman's fine score, the film provides a poetic yet authentic view of Depression-era America with the symbolic figure of Guthrie (an impressive David Carradine) at its very centre.

It sounded like the dumbest movie of all time, but it’s actually smart, subversive and packed with famous voices saying wonderfully unspeakable things. In fact, it’s a banger.

What matters is the affection Wang has for his characters and the portrait of assimilation represented by the characters the amateur sleuths encounter. Whimsical, certainly, but also generous, insightful and funny.

Although the monochrome photography will invite comparisons with Manhattan, Frances Ha is closer in spirit to Godard than Woody Allen. Anchored by a charming performance from Greta Gerwig, it’s as light and breezy as a walk in Central Park, and just as refreshing.

Even Oedipus would be left scratching his head by this bonkers but drily funny tale of one family's forlorn search for normality.

A rare del Toro film that’s not an outright spook show, Nightmare Alley isn’t quite the filmmaker’s best — but it’s not far off, boasting an enveloping atmosphere, compelling characters, and gorgeous filmmaking.

If it doesn't ultimately engage your heart as it might, Anna Karenina is period drama at its most exciting, intoxicating and modern. Spellbinding.

Foxes with bows and arrows..what could be better than that?

An excellent debut from director Hytner. The real treat, though, is Hawthorne who, whether lecturing his family on regal responsibility or taking a dump in front of the PM, gives what is undoubtedly the performance of his career.

Writer/director Payal Kapadia delivers a memorable and compassionate slice-of-life drama, making a clear statement about the constraints faced by working-class women in India.  

It's gorgeously designed, deftly written and frequently laugh-out-loud funny. For child or adult, this is a fantasy to get lost in.

Slow and difficult to get a hold on, Burning emerges as a brilliantly made one-off; puzzling, intelligent and ultimately mesmerising. And Jong-seo Jun is a revelation.

An unflinching and affecting depiction of the region’s tragic lunacies.

Like Taika Waititi before him, Ryan Coogler gives the Marvel template a bold auteurist twist with an African extravaganza that packs a muscular intensity and challenges as much as it exhilarates.