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.

This lacks the sting in the tail of something like the similarly post-War The Others, but it offers a soupy atmosphere of low-level dread and paints a devastating portrait of a vanishing age.

A documentary of two halves, Gibney's character study of Armstrong is tough and forensic. But whether through a lingering admiration or the film's origins as a straightforward celebration of the cyclist's talents, there are moments when its powder remains a little dryer than perhaps it should.

The life and crimes of Virgil Starkwell, a petty hoodlum who finds love with a laundress, Louise, in between botched blags and stints on a chain gang.

Deceptively courageous and perceptive on parasocial celebrity culture — and on the fallacy that women have expiration dates — The Idea Of You has good, clean fun with two characters it’s impossible not to love.

Fear Street Part 1: 1994 is a wild ride through ’90s horror tropes that somehow feels affectionate and fresh. It is, as they said back then, insane in the membrane.

Not as closely controlled as My Beautiful Laundrette, but still a purposeful cross-cultural comedy that raises a few questions alongside the few laughs.

With its predictable story unlikely to leave a lasting impression, it’s left to Chaplin and Tena’s natural chemistry and performances to make Carlos Marques-Marcet’s second feature-length film worth your while. Which they do. Just.

It’s not the kind of historical drama you might expect from Ridley Scott, but that’s not necessarily a bad thing. And if its threefold perspective tests the patience, it at least gives the right character the final word.

Roald Dahl's immortal, sugar-coated morality play finds Gene Wilder as disturbing and fault-ridden but compelling as the book described. Okay, so its pacing may be slightly off (taking nearly 40 minutes to arrive at the factory gates), but this is still a Golden Ticket if ever there was one.

In a cast of hand-picked loons with ridiculous accents, only Brian Keith, as Taylor's thuggish lover, suggests a human being, while Brando gives perhaps his worst ever screen performance, not counting Christopher Columbus: The Discovery.

Quirky, fresh and sharply intelligent. A promising debut for director Delpy, both thought-provoking and painfully funny.

Harrowing, visceral and definitely not for the squeamish, the fake documentary approach is an effective and unsettling tool, and while the film never quite reaches the horrific heights of John McNaughton's chilling Henry: Portrait Of A Serial Killer, it is, for better or worse, difficult to forget.

A beguiling work of some beauty, this is a further move into a world of hypnotic, observational cinema for Gus Van Sant. But in the end, the detached style has the power to alienate as much as to enthral.

It’s a real pleasure to be whisked across the world by Baumbach, but perhaps this cinematic glass of Prosecco goes down rather too easily.

A fresh, muscular payback movie shot through with Soderbergh's mischievous indie-spirit. Whether Gina Carano is the new Angelina or the new Cynthia Rothrock, only time will tell...

It’s as subtle as a sledgehammer, but Fresh’s audacious storytelling, full-throated performances and accomplished direction make for a tasty, wildly entertaining concoction. Deliciously deranged stuff from Mimi Cave and writer Lauryn Kahn.

Strange, stylish and intelligent, this is a rare anime film that delivers on its Eastern promise.

Great actors do what they can in a simple and largely unaffecting story.

Thoughtful, moving tale which places its spectacular effects within a humane, elegiac story.

The most original film of 2021, Annette is a ride like no other, a spellbinding waltz in a storm. See it for truly hypnotic filmmaking, a clutch of great songs and Adam Driver at his most magnetic.

Measured performances from the seasoned cast balance out a script that errs towards the melodramatic. Hours sweating over those instruments pay dividends too.

One of Levinson's best films, and one of Hollywood's best films on the whole Vietnam subject.

Despite visceral moments, it often feels like an excuse to use footage that didn’t make the 2010 film.

A return to the Western in its pure, cinematic form.

Stealing the show is Suzanne Flon's immaculate display as the matriarch whose good-natured indulgence of her ghastly relations belies a guilty secret. Mercilessly acute and quietly devastating.

Originating the genre of 'dedicated teacher reaches troubled kids in a ghetto school', this is still affecting although heavy-handed.

With The King Of Staten Island, Apatow goes for the heart — but with lesser yuks than usual and a subdued lead, it all kind of drifts by. Within it, though, are moments of real vigour and fragility.