The second half occasionally descends into melodrama, but for the most part this is bleak, non-judgemental, riveting stuff.

Turning slumberland into a twisted murderer's den is a masterstroke by Craven, who has brought new blood to a genre that seemed as if it might choke on it's own excesses.

Compelling 1970s take on the monster horror genre which remains fresh and hugely watchable.

A powerful story about father and sons, told by a father and son. At once a showcase for a monumental talent, and the arrival of an exciting new one.

It’s a classy weepy with some killer dialogue, but Bening is the big sell here. Given one of the juiciest roles of her career, she makes every moment count.

Humane and perceptive memoir from Allen, with a pleasant visual nostalgia and the usual slew of impressive performances.

Although time doesn't flatter the film much, it remains engaging and insightful.

Complex and sophisticated, this genre-defying crime story is spellbinding viewing.

The forgettable title and cookie-cutter concept may seem lazy, but Coogan and Rudd work their asses off to make Erasmus and Paul the most memorable screen gay men since The Birdcage. It’s caustic, authentic, and very, very funny.

As darkly disturbing as Jim Thompson's novel, this is a genuinely upsetting film that might also be Winterbottom's best. Not for everyone, but near-faultless all the same.

The film is too long at well over two hours, but the effects are impressive for the time and the musical numbers zippy.

One of Hollywood's forgotten masters and one of its brightest new actresses team for what could well be an Oscar wild card.

The fact that Alma Har'el is still stuck in music video director mode makes for an interesting new breed of documentary.

The Ballad Of Wallis Island is a big-hearted, consoling hug of a movie. It might not reinvent the wheel, but it’s the low-(Tim)-key crowd-pleaser of the year so far.

A touching and insightful black comedy that gracefully spans sixty years.

Still the definitive werewolf movie.

Intelligent, classy and skin-crawling. You won't see a better acting masterclass this year.

Though not one for subtlety, Bronstein’s pressure-cooking, panic-mongering sophomore feature is perversely enjoyable — as long as you can take the stress.

It’s as subtle as a sledgehammer, but Fresh’s audacious storytelling, full-throated performances and accomplished direction make for a tasty, wildly entertaining concoction. Deliciously deranged stuff from Mimi Cave and writer Lauryn Kahn.

The prequels this ain’t. We can all breathe again.

Deliciously cruel to children, Roeg remains true to Dahl's underlying sense of real horror.

Christopher Landon dials down the blood and dials up the feels for a fun, heartfelt horror-comedy enlivened by David Harbour’s accomplished apparition-acting.

Lord knows how it all connects, but there's a strange power in how About Endlessness flows, jumping around the whole spectrum of human experience and the ridiculous places to which our emotions push us. Andersson's pigeon is at flight once more, and cinema is a richer place for it.

An energetic, urgent and damning assessment of our prison crisis, Wasteman marks Cal McMau as an exciting new homegrown director.

An engrossing slice of modern history.

Witty, moving and visually dazzling.

Directors Harri Shanahan and Siân A. Williams have created a commanding, if one-sided, film that documents the importance of the Rebel Dykes sub-culture in detail for the first time — its importance for future generations of queer women will be vital.

By The Grace Of God lives in the present, a fast-paced, exciting, beautifully played film that matches Spotlight as a searing portrait of modern heroes who stood up.