Part thriller, part character study, Cordelia is eerie and atmospheric, putting you in the fractured headspace of its desperate lead. An impressive dual achievement from co-writer/star Antonia Campbell-Hughes.

Sound silly? It is. Very. But it's also highly enjoyable, incredibly slick and a damn sight more entertaining than numerous other bombastic actioners. Bogosian makes for a splendidly deranged villain.

The sheer terror of Meru Peak, the mountain-climber’s ultimate nemesis, is confronted in a vertiginous, breath-stealing video diary. Book a back seat at the big screen, and don’t look down.

Charismatic performances push this into a higher bracket of political thriller.

With Better Call Saul about to come to an end, Odenkirk switches gears with admirable ease, anchoring one of the most purely enjoyable action movies in ages. It’s not quite a case of Nobody does it better, but it’ll do until somebody does.

While it can be a lot to take in, Occupied City is a poignant sociological portrait. Through the history of one space, it studies how fascism pushes people out of spaces  — but is also hopeful on resilience, solidarity and resistance.

The fear factor is back. This is a Jurassic sequel that plays it both adrenaline-pumpingly huge and thrillingly small. A summer ride that will drive kids out of their minds, and maybe even give the parents nightmares.

Bitterly funny with perfect set-piece after perfect set-piece.

Demanding, even confusing at times, this is required viewing that requires your full attention.

Although the broad comedy of the first half soon gives way to a tidal wave of entirely uncalled for sentimentality, this is still a laugh riot - the sight of our hero setting fire to his falsies never fails to amuse.

Lucky is a profound, wry, slip of a movie carried by Stanton’s moving performance. It is a fitting curtain call; one of America’s great character actors might just have saved his best for last.

What most people remember is the mix of the live-action tracing within the traditional animation and just how effectively creepy it managed to be, but for the time this did a pretty good job of adapting the dense novels.

A slight but consistently entertaining, thoroughly funny slice of life, this is Ben Wheatley untethered, letting off steam with a workout. It is a welcome carnival of misanthropy.

Flimsy plot (as usual for Argento) but stunning set pieces and camera work.

A beautifully realised adaptation of a profoundly affecting novel. Intelligent sci-fi provides the backdrop, while in the foreground is a trio of truly impressive performances from Mulligan, Knightley and Garfield.

Chinonye Chukwu’s restrained approach replaces dramatic fireworks with an absorbing, slow-burning study of a broken woman’s politicisation. She is superbly served by star Danielle Deadwyler, who transforms Till from a good film into a gripping one.

While less beguiling than "Capote," Infamous remains a soulful and searching portrayal of the writer, carried with immense charm and vivacity by its leading man.

Vanessa Kirby and Shia LaBeouf put in career-best performances in this crisp, fluent take on unimaginable trauma.

The Coens take another crazy concept and make it work with a series of stories that will amuse, shock, and even bring tears to your eyes.

Skyfall is pretty much all you could want from a 21st Century Bond: cool but not camp, respectful of tradition but up to the moment, serious in its thrills and relatively complex in its characters but with the sense of fun that hasn't always been evident lately.

Has something for everyone.

Joseph Kosinski has done it again. F1 combines unparalleled access, pioneering filmmaking and moving redemption arcs to deliver an exhilarating cinematic experience. What will he attach a camera to next?

Charming, delightful and amusing - just what you'd expect from the star-studded cast of veterans.

Narratives of the Northern Irish Troubles are a nightmare of bias and bullshit – this superior doc does better than most in cutting through both, and offers a lot to experts and noobs alike.

An outstanding thriller based on a stageplay (by Frederick Knott) that fits so much better on the screen because, as well as the expansive, cinema is really good at claustrophobia.

Stunning, if occasionally meandering, River provides waves of staggering visuals and a thought provoking, invigorating, environmental message.

Schlesinger, using slick camera angles and direction that bear a striking similarity to those of the old master himself, manages to pile on that tension in spades.

Pine supplies gravitas in the lead, but he’s almost a lone voice of moderation. Bloody and brash and as subtle as a trebuchet, this is gleefully entertaining — unless you’re English, anyway.