Abel Ferrara's debut is in the exploitation ballpark, but it's as much a product of Warhol low-budget artiness as the slasher genre.

A documentary that practically defies description, Grimonprez's film is playful, provocative and very, very watchable.

Despite an imposing performance by Renée Zellweger, Judy never exposes the dark heart of Garland’s last years, creating an enjoyable backstage drama movie while failing to get under its protagonist’s skin.

Relatively speaking it's nonsense, but very cute.

This starts strong but doesn’t always have the room to explore all the ideas it crams in, even with a lengthy running time. Still, Rockwell’s man-on-a-mission is a delight.

It may not scale the heights of his Paddington duo, but Paul King’s Wonka is a beguiling way to spend 116 minutes, perfectly anchored by Chalamet’s benevolent dandy. All together now: Oompa Loompa, doompety doo…

An extremely interesting insight, proving that rap music is an art form in its own right.

As a counterpoint to the (much better) "Spotlight," it’s a fascinating look at modern journalism – but perhaps not always for the reasons its makers intended.

A notable, unusual existential thriller that is psychologically acute without the need for Oscar-clip self-pitying speeches, it’s also terrifically suspenseful with a provocative punchline.

Unfairly neglected, perfectly creepy and disturbing suburban bizarro drama.

While the supporting actors are engaging, the turgid screenplay lets the whole thing down.

It may be contrived and nothing new plot-wise, but In Fear has atmosphere and enough proper scares to deliver on the promise of its title.

Delivers an effective double-sting ending.

On the Ferrellometer, Talladega Nights sits just above "Kicking & Screaming," when it should be redlining it up there with "Anchorman."

It has few fireworks, but still sticks in the mind, and is a definite upgrade from Digimon: The Movie for director Mamoru Hosoda.

A moving story that manages to steer clear of the usual hammed-up adolescent angst. The result is a quietly powerful refresh of the coming-of-age genre.

If you're looking for a film to put you off marriage, children, affairs, and indeed life itself, look no further than this melancholic ensemble piece about listless adulterous couples in small-town New England.

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

From the visceral plunges of the first person mind clip sequences (including a terrifying, controversy courting rape sequence) to the overwhelming finale this is a, literally, stunning event. Some directors can, thank God, still make you experience films.

Utterly compelling - Sean Penn is a powerhouse in support - and with a railway station set - piece in which De Palma actually betters what was his previously Untouchable effort.

A mixture of tough and wistful and reflective and brutal, this is the ideal vampire movie for Twi-hards who’ve had their hearts broken for the first time and want to move on to a less cosy vision of eternal romance with a side order of addiction.

With its bestial themes, conceptual humour and cartoonish thespians, this consciously arch farce will intrigue some and infuriate others.

Bart, the bear used in the dramatic attack sequences, gets top billing in the end credit crawl. Which is fair enough, but hardly inspiring.

Well-paced and stunningly shot.

Jackass: Number Two aims low and hits lower, but is as hilarious and uncomfortable an encounter as possible

A riveting portrait of a complex man who, like Stone himself, struggles with being a favourite of the institution(s) he attempts to rebel against.

Equipped with liberal helpings of square-jawed top quality Hollywood thespianism, and that expensive, highly commercial Tony Scott gloss-finish, this submarine-set mutiny thriller is about as good as it gets.

A sharply observed but bleak examination of family dysfunction, anchored by solid performances.