A thoughtful, meditative thesis on humanity’s relationship with nature, filmed with the kind of cinematographic beauty most fiction filmmakers can only aspire towards.

For anyone who appreciates artistic integrity and is interested in genuinely independent films, the prolific and highly personal work of John Sayles is essential viewing.

A bulkier, slower beast than Evans’ first film. But when it enters combat mode, it’s more raucously bloodthirsty than anything you’ve ever seen. Unless you’re Ross Kemp.

Sophisticated, adult thrillers are few and far between, and Mothers’ Instinct fills the void admirably. With vivid, striking imagery and top-notch production design, the film paints an exciting, moreish portrait of psychological intrigue.

Slightly lacking in tension but with a striking performance from Marlon Brando.

Kieslowski plays all this for laughs, and the anti-capitalist satire which fuels Karol's rake's progress remains the most satisfying part of the film.

Certainly one of Hitchcock’s most satisfying thrillers, mostly thanks to Wright and Cotten’s believable relationship.

Kill lives up to its name, and then some: this is a breathless, ferociously gory action film, on a level rarely seen before in Indian cinema.

Almodóvar lets rip with a story of great emotional intensity, while retaining his signature stunning visual style and a central performance quite unlike anything previously seen in his work. A potent and strikingly well-delivered combination.

Stylish, soaked in gore, and unconventional, it’s another winner from Miike. Here’s to the next hundred. At his current rate, that should be in 2025.

With a slew of body swap films in the late 80's it was expected that this would be another one to fall by the way. Except with a promising script by newcomers Rene and Craig and strong performances from Ryan, Baldwin and Walker, it manages to be more memorable than most.

Controversial and contended it may be in France, but whatever your stance this is another thrilling and thoughtful slice of history from the "Days Of Glory" director.

Like Spinal Tap's more seriously older brother, Jay Bulger's fond but unsparingly honest film is a treat for fans and music lovers. A juicy slice of rock history.

Witty, wonderful and wildly imaginative, Burton’s first proper ‘family movie’ since "Pee-Wee’s Big Adventure" delivers a sugar rush that’ll last for days.

Peck's tired resignation, and the authentic atmosphere and building tension make for a compelling retribution drama of the West.

Kevin Smith's most enjoyable film since, well, Clerks lacks much of its predecessor's outsider edge, but you'll probably be laughing too hard to care.

A bold and tender story well told, and elevated by its personal nature. This is a strong debut from Gharoro-Akpojotor — she’s one to watch. 

Sincere and sporadically funny, The Disaster Artist is an endearing tribute to failing in Hollywood. Anyway, how is your sex life?

This is intelligent, admirably unsentimental and utterly involving for its full three-hour running time.

Its pleasures lie in the dialogue, the twists, the reveals. It all leads to a delightful Agatha Christie-style drawing room denouement, in which the rat is exposed, their best-laid plans laid to waste. Like the film as a whole, it’s deliciously, lip-smackingly satisfying.

As Diana, Gadot is excellent, a rocking electric cello riff in human form.

A simple but effective study of a vital activist voice, this documentary is a powerful force for change.

A delightful animation for adults, its lack of sentiment makes it an anti-Marley.

Joanna Hogg paints a precise picture of a woman trying to develop her own artistic vision while caught in the slipstream of a toxic relationship. An understated, exquisite gem of a film.

Cruise is as compelling as ever with charm to spare, and this is a ceaselessly entertaining, sometimes tense romp. Although it doesn’t dig much below the surface.

Excellent casting, a great storyline and a shrp script mean that this remains a classic of the genre and one of Katherine Hepburn's best roles.

We must salute screenwriter Budd Schulberg (his speech for priest Karl Malden in the loading bay is still stirring). Add the acting/writing heroics a restrained score by Leonard Bernstein and a striking, charcoal look by cinematographer Boris Kaufman, and you have an elegiac portrait of labour relations that feels like a kick in the slats.

The things Sorkin is criticised for — grand speeches, an earnest streak — are the things that make his work sing when the context is right. The drama of this legendary TV couple gives him plenty of material to do some of his best work.