An affectionate portrait of a remarkable woman that loses its grip when it bites off more than it can chew.

A sharp-edged, sweet-centred, warm-hearted coming-of-age movie that’s always just that little bit smarter than you think it is.

A raw, vivid despatch from the frontline, this melds content with frights in classic Romero style. An outstanding exercise in showing the kids how to do it.

Filmmaker Bob Weide’s relationship with Kurt Vonnegut may detract from a more incisive critical portrait but it is sweetly etched, and the unparalleled access provides a comical, compelling profile of a singular figure in 20th-century American letters.

Abrams’ you-didn’t-see-this-coming announcement was an effective piece of theatre, which the film itself ably lives up to. A thriller that winds you tighter and tighter before its secrets come tumbling out in a cathartic finale.

A little clunky at times for contemporary audiences but still manages to truly perturb at times...

Never managing to look more hi-tech or further on from 1987 than, well, Hi-tech trainers, this Arnie vehicle still runs it's bloody course without dropping many gears. A brainless, breathless thrill.

One of Tom Hanks' overlooked performances because this bizarre thriller-comedy ends so strangely but there's much to like here.

In some sense, the title is misleading. Into Darkness is a blast, fun, funny, spectacular and exhilarating. The rule of great even-numbered Trek movies continues.

Stylish, high-energy, smart and eye-wateringly violent. There are quibbles, for sure, but where it counts, Monkey Man goes bananas in the best possible way.

A few flat ideas aside, this is a handsomely made horror film that expertly utilises the frightening talent of its young stars and draws Wright into a new, exciting chapter.

Pugh and Garfield are a dynamite duo in this likably earnest, satisfyingly complicated love story. Worthy of your time, and your tears.

The ham-fisted lessons and wacky adventuring are just a skeleton on which to hang the meat of the thing: gorgeous, stunningly realised animation; frequent self-referential shrewdness; and still some of the wildest, most surreal jokes you’ll find in any movie.

Moving, enlightening, but above all entertaining, this is a worthy tribute to a prolific talent that fortifies our appreciation for Vandross and his art.

She Will is meditative horror, parlaying modern concerns through a thick, ancient atmosphere. It perhaps has too much on its mind, but Charlotte Colbert’s debut works as an imaginative and unsettling calling card.

Ramirez's outstanding performance and Assayes' superb skill in storytelling make this a mini-series not to be missed.

21 Jump Street has that "Anchorman" experimental-chaos vibe, with all the hit-and-miss moments that implies. It's completely lunatic and sort of a mess. It's also the funniest high-school comedy to come out of Hollywood in ages.

From his early days doing stand-up at the age of 15 in Houston, Texas, to his membership of the Texas Outlaws comedy collective, to his supremacy as a brilliant controversist, American tells the story of comedian Bill Hicks' tragically short life through the eyes of those who lived it with him.

There are a few holes in the plot, mainly towards the end, but from start to harrowing finish, it is blissfully apparent that Rob Reiner can indeed turn his hand to virtually anything.

Crucial for serious fans of Lynch, even if it may baffle newcomers. Since pretty much the only thing more interesting to lovers of his work is the enigmatic man behind it, there’s a lot for them to get their teeth into here.

Visceral and heady, this is a blood-soaked, all-American fable that’s as if Thelma And Louise literally went on steroids. Rose Glass is a force to be reckoned with.

As stirring and heart-warming as you’d like, this is a hugely touching family opus. It’s nothing revolutionary, but it’s straight from the heart and gets you in the gut.

The French Dispatch is a designed-to-within-an-inch-of its-life delight. If it lacks a compelling story, only one filmmaker could have made this film. And, in these cookie-cutter-director days, it’s a vision to be cherished.

An entertaining thriller that also functions as a character study with a dark side, Emily The Criminal is above all else a spectacular argument for casting Aubrey Plaza in as many off-beat and well-written indie movies as she has the time and inclination to appear in.

Bursting with insights and a droll sense of the absurd side of fashion, it's a fitting tribute to one of the industry's key figures.

The Two Popes shouldn’t work, a two-handed conversation about Vatican minutiae. But with great writing, smart direction and late career-high performances from Anthony Hopkins and Jonathan Pryce, it’s a high-end treat. Send up the white smoke, we have a winner.

Rungano Nyoni is one of the most exciting voices in cinema today and On Becoming a Guinea Fowl is abject proof: a disquieting, blistering examination of a family where social status trumps blood ties.

Louis Sachar's compelling children's classic is about as Disney as Freddy Krueger. It's got murder, racism, facial disfigurement and killer lizards.