A sombre, slow, but well-paced study of organised crime in urban Naples that leaves a very grim taste in the mouth.

Despite a few narrative gaps that needed filling, Sam Hobkinson delivers a rollercoaster-ride of a documentary with superb characters, insightful talking heads and jaw-dropping plot twists.

The result is a film that has a better chance of producing a belly laugh than any in recent memory: one that deserves, as Drebin would say, “20 years for man’s laughter”.

The supporting cast is a kick. Law gets to send up the Bond role, something he could very well have played in his younger days; Allison Janney fills her boots as the angry head of the agency and Statham, frankly, should only ever play this role for the rest of his life.

A lean, mean scare-machine, and a surprise contender for horror of the year. Seek it out. Then, for God’s sake, buy a bedside lamp.

Tackling such un-animation topics as loneliness, body image, alcoholism, suicide and Asperger’s syndrome, it’s quirky, compassionate and slightly seedily sweet.

A starkly effective ensemble drama which could well do for the sniffles what Jaws did for great whites.

A towering achievement for a first film, Scrapper refuses to be pigeonholed as another dreary story about working-class life. Grief has hope, youth holds the keys to everything.

More proof that Cornish is a wizard at re-energising tired tropes.The characters are a delight, the action sequences thrum with invention, and when it’s funny, it’s very funny indeed.

An extremely entertaining, brilliantly acted, highly diverting film which — like all hustles — delivers less than it promises. Still, it’s worth being taken for the ride.

It works better as a weird relationship movie than a murder-mystery but See How They Run is the whodunnit as hoot, with lots of laughs, oodles of style and played with verve by a quality cast. It also reconfirms Saoirse Ronan as a comedy god.

Arguably not the most proficiently crafted film in Cannes this year and certainly not the most balanced, but Moore’s assault on the Bush administration is a terrific polemic.

It’s overly long and the Rosie Perez sub-plot leads it astray, but mostly, it rocks.

A cat always lands on its feet — and Puss In Boots: The Last Wish does so with considerable style, rapier wit, and surprising substance. The sequel nobody saw coming just became must-see cinematic spectacle.

If it’s psychological horror you love, Nocturne will be music to your ears. If not super-scary, Quirke’s film is an accomplished, uncomfortable tour de force.

Minnie’s inner life, a fantasia of animations appearing Crumb-like around her, is dazzling, and there’s plenty of naked emotion amid the sex, drugs and hand-drawn penises.

An intriguing and absorbing movie, reeking of class and quite packed with powerhouse performances.

Visually striking and emotionally poignant, Suzume manages to combine hilarity and heartache, in its heightened, therapeutic, if slightly unwieldy, narrative.

Vividly staged but sentimental extravaganza.

It’s tight, suspenseful, funny and packed with great music.

Passionate performances from De Niro and Jeremy Irons in this stark but thematically complex historical drama.

A supremely likeable film. Its message might seem obvious and its template overcooked, but it boasts a warm heart, with two astoundingly good lead performances to guide it home.

One for lovers of ravishing craft, although the elusive emotional engagement is frustrating.

It's a film you might argue with, but its sparing use of on-screen violence, some extraordinarily protracted scenes and sensitive handling of thorny subject matter make it also a film you ought to see.

A loopy joy from start to finish, Bradley Cooper proves that he's the real deal.

It may not be an access-all-areas portrayal of one of rock's most enigmatic characters, but then, where would be the fun in that?

Thick with sharpened scissors, and barbers with barbed tongues, Medusa Deluxe is a unique take on the whodunnit mould, and a hell of a debut from British filmmaker Thomas Hardiman.

A moving hymn to outsiders, this thrives on two criminally good performances from Melissa McCarthy and Richard E. Grant. It also confirms Marielle Heller as one of the brightest directorial talents around.