A triumph for Ramsay anchored by terrific performances. Guaranteed to haunt you for days, and possibly prompt a rethink on your position on parenthood.

Utterly absorbing, extremely smart and - considering this is a sad, shabby, drably grey-green world of obsessives, misfits, misdirection, disillusionment, self-delusion and treachery - quite beautifully executed.

This is a great director's greatest love story.

Chock full of larger-than-life characters, it's an enthralling insight into a raw, bloodied world.

At moments hilarious and others touching, it's a sweet, slight affair, more pretty pageant than pithy biographical drama. Expect awards nominations to stack up for Williams and Branagh.

Charming but uneven, director Améris's film doesn't know whether to make us laugh or cry, and ends up doing neither. Still, a smart script offers plenty to keep incurable romantics happy.

A moving look behind the curtain of a rarely-explored community.

Terrific. Michael Shannon delivers a fractured everyman who'll stay with you long after the final frame.

Whether you're after a comedy-drama about cancer or a Rogen laugh-fest with added heart, this does a remarkable job of balancing the odds. And the laughter/tears split? Call it 70/30.

You don't need to understand anything of baseball to get behind this, a chest-swelling story about second chances and flipping a finger up (even a giant foam one) to The Man.

A great, big joy. Even if you're a bit bah humbug, just delight in the supremely clever Aardman comedy.

The acting's better than it's ever been, but with the best will in the world, this can't get past the fact that the story's demented.

A tender, sensitive French drama rich in hazy atmosphere.

It won't do anything to win over those not already partial to Tarsem's style, but it has more than enough blood, guts and glamour to satisfy – and Cavill looks like a superman.

Guilty, with one or two mitigating circumstances.

A compelling story told with Morris's usually flair. Still, hard not to think of it as a disappointment by the director's exalted standards and a missed opportunity to explore society's dysfunctional relationship with its media.

A fitting tribute to Hunter and the demise of the American Dream, but first and foremost a thrilling and funny snapshot of a country on its knees and a writer finding his feet.

A marked improvement on the first film, it's easy to see why this was such a smash in Brazil. Breathless, brutal and thrilling, it's a gut punch of an action movie.

Fun if uneven stuff from Ratner. A welcome return to form for Eddie Murphy and an even-more-welcome turn by the ever-excellent Alan Alda.

A clever idea that can't find its feet on the bigger stage.

July's second film, while not quite as perfectly realised as her debut, nimbly avoids the 'sophomore slump', providing the curious with another window into her highly idiosyncratic world.

Philip Seymour Hoffman puts his oar in with a tender, thoughtful adaption of Robert Glaudini's stage play. A little too measured to deliver an emotional punch, it's nevertheless beautifully acted and at times rather lovely.

The Human Centipede gets longer (how long before it becomes The Human Millipede?) but the shocks will be familiar to anyone who enjoyed the first film. The 180 seconds or so of cuts needed to get it past the BBFC open up some plot holes but won't sweeten the pill for everyone else.

Lurie's remake doesn't bring a lot of fresh ideas to the table. The thick fug of moral ambiguity, so disconcerting in Peckinpah's film, is missing, replaced by certainties rife in modern horror. The result is a bit of yawn enlivened only by James Woods' delirious bad guy.

It's gratifying to see Butler giving a proper acting role the old college try. Despite his best efforts, Forster's film, while pulling no punches, still somehow manages to miss the mark.

Excellent performances from the cast elevate this otherwise slightly flawed a hokey interloper story.

Action-packed, gorgeous, and faithfully whimsical: Hergé thought Spielberg the only director capable of filming Tintin. He was onto something.

A simplistic portrayal of historic race relations boosted by terrific performances from some of the best actresses working in Hollywood today. Sure, it's corny, but it mostly works.