The technique used here to plonk Martin in classic movies seems out of place given the kind of sophisticated effects we have on tap today, but there is a real sense of fun at work nonetheless.

The very best kind of fan service from Edgar Wright, who has produced a documentary of granular detail and depth that showcases Sparks in all their glorious, indefatigable absurdity, while leaving a clear mark of mystery.

A deftly directed, superbly acted and occasionally witty biopic which is not afraid to engage with the complexities of its central character.

An audacious, farcically funny digest of where we are now, and how we got here: the cinematic equivalent of pandemic primal therapy, a mad scream into the void.

An ace in the hole from a filmmaker himself unafraid to gamble. The Card Counter’s pacing won’t be for everyone, but Schrader fans will be all-in on this gripping portrait of lament.

Part road trip, part revenge movie, this is a tentative tale of a man who's not going to take it anymore, sharp on the fallibility of human foibles and sometimes stingingly funny, too.

Fluff it may well be, but a more entertaining and engaging piece of fluff you'd be hard pushed to find.

No matter how good the performer you can’t escape Christie’s leisurely approach to characterisation — simple concoctions of quirk, guilt and red herring. But Lumet is having loads of credible fun with the formula, keeping up a genuine sense of claustrophobia in this isolated railway car surrounded by crisp white snow.

As thrilling and smart as it is terrifying. There have been a number of big-gun literary series brought to screen over the past decade. This slays them all.

Sensibly dramatising a few representative days rather than Giacometti’s whole life, this may seem slight, but there’s a lot to dig into here — and Rush hasn’t had a showcase this good in years.

Though it doesn’t ever make you really feel, Spencer is a bold, compassionate, poetic riposte to standard royal biopics. It 
also confirms Kristen Stewart as one of the most exciting actors working today.

Made Of Stone somewhat brilliantly sees the individual moments and faces in the crowds, making this the best, most immersive concert film since Jazz On A Summer’s Day.

It may be a tough watch, but, boasting a quartet of excellent performances, Fran Kranz’s directorial debut is a technically adept, emotionally exhausting yet deeply cathartic film that couldn’t be more timely.

An affecting, impressive debut from a filmmaker with an innate taste for modern America's clashes of conscience. An important document.

On a par with "Inglourious Basterds" and "Django Unchained," The Hateful Eight starts low-key but ultimately delivers big, bold, blood-soaked rewards. Roll on, QT Western number three.

Sweet, funny, simple, entertaining -- everything a good rom-com should be. Definitely...

A French comedy that pitches for wit over broad comedy, it's successful in salting what could be a over-sugary confection with healthy dose of wryness. The result is always entertaining and rarely mawkish.

It’s arguably every bit as good as Stanley Kubrick’s Lolita.

A playful and frantic science-fiction twister which mimics the best (Aliens, The Matrix, Groundhog Day) while offering something fresh and — most importantly — thrilling.

The final act has an inevitable wavering patch when the film is obliged to tut-tut about the shallowness of the stripping, drinking, bantering, carousing and whooping it has previously enjoyed, but this is terrific entertainment with a sideline in wry melancholia and testosterone-fuelled philosophy. Have 20 dollars.

If it’s a hard film to like, Monos is ridiculously impressive filmmaking, savage and surreal, immediate but timeless. If Hollywood wanted to do a darker, grittier take on The Goonies, Landes is their man.

An affectionate road-trip buddy-movie, featuring an unseen depth to Will Ferrell, this documentary is illuminating, timely, and gently funny.

A slicky edited, white knuckle ride to the depths of depravity.

Lavish pirate adventure that launched Errol Flynn onto 1930's screens and ensured that buckles would be swashed for a good few years to follow.

It’s delightful to see these characters again, particularly the long-suffering Gromit, and if the jokes don’t come quite as thick and fast as before, the beating heart beneath the clay remains intact.

Coogan and Reilly’s performances are among the best either has ever given. This film, which pays wonderfully funny tribute to two comic legends, richly deserves them.

Fraser on form, 3D dinosaurs, geology lessons, phosphorecent hummingbirds, killer flying fish, theme park rides, Icelandic babe - what's not to like? It skews young, but is everything an 8-12 year-old could want. Older siblings and parents will have nothing to complain about either.

Smart, honest, sickeningly funny and supremely well judged in the writing, direction and acting.