A key turn-of-the-decade film, with Nicholson railing against waitresses and barking at noisy dogs as Rafelson observes seedily picturesque roadside America.

Dark, twisted and beautiful, this entwines fairy-tale fantasy with war-movie horror to startling effect.

It's been twelve years since "Titanic," but the King of the World has returned with a flawed but fantastic tour de force that, taken on its merits as a film, especially in two dimensions, warrants four stars. However, if you can wrap a pair of 3D glasses round your peepers, this becomes a transcendent, full-on five-star experience that's the closest we'll ever come to setting foot on a strange new world. Just don't leave it so long next time, eh, Jim?

One of the best mainstream action-thrillers [in] a decade.

A pure firework display of technical bravado, wild invention, emotional storytelling, comedic genius, action mastery and outstanding performances, Everything Everywhere All At Once is everything cinema was invented for.

Iannucci’s brand of political satire is applied to one of the darkest chapters in modern history, with sensational results. The Lives Of Others with laughs, it’s farcical, frightening and a timely reminder that things could always be worse.

The real revelation here is Heath Ledger as the bruised and sometimes brutal Ennis. His tortured secret is the tragedy and the ecstasy of this powerful and moving film, a smart study of relationships that could but can't and never will be.

That feeling you have as you leave the cinema - that buzzing in the fingers and lightness in the heart - is called joy.

Astonishing. Kaufman has surpassed himself with a film that will delight and confound. You will want to see it again. And again.

Managing to be cynical and heartwarming at the same time, this is an almost perfect satire on the American Institution of beauty pageants.

Spielberg has mounted a courtroom drama to rival the finest Grisham, with a coruscating civil rights debate resonating both within the film and into the present as the audience knows it.

It’s hard to think of another recent drama that feels so brazenly personal, so yearning, so naked and vulnerable. It feels like forgiveness, for Haigh himself, and maybe for others. He’s letting it all out. These characters are a lifeline for him, too.

Kidnapped is an expertly paced, gorgeously shot and evocative true story of faith, family, and the power of people coming together to right deeply ingrained wrongs.

Among the plethora of innocent charms on offer, there's the near perfect script by Zemekis and Bob Gale which not only negotiates its time travel paradoxes with deft, exuberant wit but invests the light-hearted plot machinations with a seasoning note of honest drama.

It's an intelligent, well-written, excellently played movie, with top flight gore/horror effects, perverse humour and a provocatively bleak vision. Also, it has the world's first true zombie hero in Bub, who listens to Beethoven and eats people.

Terrifying and beautiful, believable and fantastical, this is one of the best children's films in years and Selick's finest -- better even than "The Nightmare Before Christmas."

Max’s re-enfranchisement is a triumph of barking-mad imagination, jaw-dropping action, crackpot humour, and acting in the face of a hurricane.

The gaudily gory, virtuoso, hyper-kinetic horror sequel/remake uses every trick in the cinematic book, and confirms that Bruce Campbell and Raimi are gods.

Funny, profound, weird, sad, and gorgeously constructed — Marcel is a true original, liable to melt even the most cynical heart. A very special shell indeed.

Arrival is a beautifully polished puzzle box of a story whose emotional and cerebral heft should enable it to withstand nit-picky scrutiny. And like all the best sci-fi, it has something pertinent to say about today’s world; particularly about the importance of communication, and how we need to transcend cultural divides and misconceptions if we’re to survive as a species.

Gripping throughout, with an impressive central performance, this is like a Dogme 95 redo of a Chuck Norris film - by heroic effort, the good guys find and kill a bad guy. How you feel about that is something Bigelow leaves you to decide.

Incredible set pieces and songs that have entered the culture forever, this is also extremely well-paced and beautifully played. Truly one of the greatest musicals ever made.

Both a thrilling, giddy family adventure, and the solidification of a radical new visual language in feature animation.

Halloween remains about as distilled, raw an experience in terror as is ever likely to be committed to celluloid.

Dark but beautiful.

To call WALL•E Pixar's best film would potentially denigrate films that deserve no scorn. But this is their most ambitious undertaking since "Toy Story" and storytelling of such charm and visual wit that it can stand proudly alongside the studio’s best. Absolute heaven.

Silent stunner.

Some of his Salgado's depictions of human suffering are not for the faint-hearted but, like this fine film, demand to be seen. Unmissable.