Tough on nuance, tough on the causes of nuance, this episode has the highest velocity and lowest IQ yet. See it on the biggest, loudest, dumbest screen you can find.

Sasquatch Sunset is a gloriously vulgar film about made-up monsters from children’s stories — but it is also a terribly melancholy adult story about the violence of progress. What a remarkable, unique, sad little cult oddity it is.

Bogiephiles who know their Sahara from their Sirocco may not find much new here, but anyone interested in early-to-mid-20th-century Hollywood history will discover plenty to spark further investigation. 

Russell's success, however, is in creating a film that avoids being freaky or an exercise in titillation by employing a mixture of sympathetic writing and black, black comedy.

Enormously entertaining, endlessly quotable, perfectly cast and packed full of the richest acting you'll see from an ensemble cast all year, but the result is ever so slightly hollow.

An impassioned ode to both the toys and their era, this, at last, is the Transformers movie we’ve been waiting for.

A frustrating but fascinating film, made by an evidently talented filmmaker, which never quite manages to resolve the tensions between its apparent moral purpose and the formal flair with which it depicts events it purports to condemn.

Visually arresting, with an enjoyably wacky premise, but scuppered somewhat by its rusty, clunky storytelling.

The script self-destructs, but the performances — including Daniel Stern as an expendable sidekick — are fun, and John Badham stages some super stunts with the insectile title machine.

Girls meets Ocean’s Eleven, The Bling Ring might be a film for right now rather than the ages, but Sofia Coppola’s heist movie is visually arresting, well acted, capricious fun.

Like "The Cover" and "Man On Wire," this documentary comes clad in the garb of a thriller. And a heck of a good one at that.

An urgent rebuke to a country losing its conscience, The Report is rigorous but riveting. And Adam Driver — once again — emerges as one of the most watchable actors working today.

Solid, but understated to a fault. Causeway’s biggest appeal is seeing Jennifer Lawrence and Brian Tyree Henry act up a quiet, powerful storm.

Unapologetically aimed at the arthouse crowd, this is superior filmmaking. Superbly acted and well written, it stakes its claim in the pantheon of love-gone-wrong watches.

A delight from start to finish.

More than an average thriller, but far from Lumet's finest hour.

It’s no masterpiece and admittedly slight at 85 minutes long. But Idiocracy is that rarest of things in this age of lazy laughs — a gutsy comedy with something to say. More importantly, it’s funny.

It sets out to be less pompous than similar films, which inevitably means it feels less substantial. While amusing rather than hilarious, it ought to establish Matt Damon as a star character actor.

It may be a little overwrought for some tastes, borderline camp at points, but if you're partial to a bit of Victorian romance with Hammer horror gloop and big, frilly night-gowns, GDT delivers an uncommon treat.

Joe Wright brings fun and imagination to an oft-told tale, even if the story beats offer few surprises. Still worth seeing for a compelling Peter Dinklage turn.

A superior directorial debut for a smart, literate screenwriter delivers both first-class character drama and edge-of-your-seat suspense.

In avoiding narration, interviews, music or any traditional method to draw the audience in, the film has a cold, unengaging feel, leaving it mostly for art buffs who like seeing taxidermied bears having their hair fastidiously cleaned with a tiny toothbrush.

Giant expectations may lead to tiny disappointments in this two-hander that’s slow in parts. But it still offers magic and visual delights, and the final act is a treat.

More proof that Cornish is a wizard at re-energising tired tropes.The characters are a delight, the action sequences thrum with invention, and when it’s funny, it’s very funny indeed.

A haunting, perceptive and uncompromising examination of controversial subject matter, expertly written and directed by Paul Haggis and characterised by excellent performances from its starry cast.

Redmayne’s transformation may grab the headlines but it is Vikander’s touching turn that steals the show. Sedate, certainly, but The Danish Girl is touching, timely and exquisite.

With its clever, whip-smart script and enthusiastic ensemble cast firing on all cylinders, crime comedy filmmakers John Francis Daley and Jonathan Goldstein score big with Game Night.

Beautifully observed stuff, classy performances, and an occasionally exquisitely funny movie.