There are brilliant, bewitching moments allied to hilarious and touching ones. Just not enough of them in what veers, at length, between the clever, the terrifying and the bit tiring.

A truly great Western from Clint that is bleakly atmospheric and charming in turns.

Stories about love in a world gone mad don't come any more gorgeous, or any more sweepingly epic, than this.

Drags in places and deosn't even try for a true-to-life portrait of the great theatre entrepeneur but it's shiny and big spectacle with impressive choreography.

Silly and aimed squarely at the younger crowd, Captain Underpants has enough spirit to be entertaining. Just don’t expect it to work all the time.

This Hallow Road is paved with brilliant performances, a smart, unpredictable script, and tight, precise direction from Anvari. An unsettling ride worth taking. 

A funny, affecting, twisted tale, which demands you pay close attention to every throwaway detail.

You can really tell that the people making this film had a lot of fun doing it. The plot is thinner than a compressed wafer, but who cares? It's fun and cheap laughs all the way, and that ain't no crime.

A bitter howl at the injustice of the modern world, intellectualised through one of literature’s shrewdest figures. Powerful and eye-opening, but Orwell himself might have preferred a less partisan approach.

It is a complex and at times infuriating structure — it often helps to conceive of the film as the book of short stories it stems from — but simultaneously vivid and disturbing.

An exhaustive yet still superficial and queasy look at the awful liberties the world took with one woman’s life and image — and is now doing all over again.

Beneath Garrel’s unassuming, subdued style lies a deceptively powerful study of fidelity, lensed in stark, moody monochrome and featuring a compelling screen debut from Louise Chevillotte.

Once again seizing control of the medium, Nolan attempts to alter the fabric of reality, or at least blow the roof off the multiplexes. Big, bold, baffling and bonkers.

For fans of Cassavetes, Opening night is a must see. As per usual it features a superb cast.

A little bit of going through the motions with this horror spoof but fans will enjoy.

This is often upsetting (though never to the levels of Irréversible) but as energetic and handsome as its cast. At times you’ll be watching in horror, but you’ll never look away.

Much more than a way to pass a rainy bank holiday afternoon, this is rocking good superleague disaster adventure.

Wendell & Wild marks the anarchic return of one of the most exciting directors in animation, retooling his idiosyncrasies in service of a boundary-pushing children’s horror with strong political messaging.

An impassioned, fly-on-the-wall look at a serious social issue.

This, the debut feature from acclaimed TV director Danny Boyle, is the best British thriller for years, a chilling and claustrophobic heart-stopper centring on a moral dilemma destined to fuel many a dinner party conversation.

There’s terrific chemistry between the leads, but an episodic structure set over 20 years is too sprawling to really allow for a connection.

An unapologetic, impassioned biopic, The Birth Of A Nation begins quietly but ends in a howl of rage. It might not be perfect, but it’s powerful enough to stay with you.

While Dudley's booze-sodden antics tire after a while, there's relief in the form of John Gielgud as the old-fashioned English butler with a nice line in four-letter words, and a return to the screen from Liza Minelli, who plays the waitress Arthur falls in love with.

George MacKay and Nathan Stewart-Jarrett utterly thrill in this sexually charged, suspense-filled watch. Don’t let this one pass you by.

It’s not quite the home-run of Homecoming, but Far From Home isn’t far from matching it, with heaps of humour, energetic action, and the answers Endgame left you craving.

A sometimes over-simplified but often affecting look at forbidden love.

It’s a small, lightweight picture but Good Posture is alive to the messy realities of becoming a grown-assed adult, becoming more charming and involving as it goes on. It also suggests a bright future for writer-director Dolly Wells.

A lurid gothic gangster psychodrama from Roger Corman, this is Shelley Winters’ finest hour-and-a-half, cast as Arizona Clark ‘Ma’ Barker, a role it would be impossible to overplay.