A slight but mightily effective adrenaline rush of a movie, with powerful performances all round and precise direction from Kitty Green. Watch it on the big screen and allow it to properly get your heart pounding and palms sweating.

As enthralling as it is important, How To Have Sex neatly depicts the joy and pain of teenage girlhood. A scrappy but impressive directorial debut — and a strong showcase of breakthrough British talent across the board.

An incredibly silly, sapphic, gloriously weird high-school satire. Bottoms’ ultra-knowing tone might be a struggle for some — but it’s hilariously rewarding.

An inoffensive but inessential addition to Neeson’s latter-years thriller canon. Less the bus that couldn’t slow down than the car that couldn’t get started.

Creepy rather than scary, and more a ghost story than a monster movie, this has a good heart but feels a little toothless for something with so many killer robots.

Some fresh ideas spruce up this horror, but it’s an ambitious debut which forgets that less is more. A lack of focus is the real killer.

A very silly, sporadically serious hood spoof, with some surprisingly frank discussions of mental health — and a welcome redemptive arc for the multi-talented Adam Deacon.

Adapting a relatively uneventful short story was always going to be tricky, and despite some strong performances and wry observations, Cat Person’s disastrous ending takes everything else down with it.

It offers the bones of a compelling story, but one-note characters, riskless storytelling and creaky pacing prevent this film from making an impact. This is a prescription best left unfilled.

It’s annoying and one-note and so relentless in its cheeriness that it eventually comes to seem almost likeable. At least there are great voice performances underneath all the felt and pop mash-ups.

An emotional, if familiar, take on loyalty and technology in a world where love and survival feel near-impossible. Reid’s writing shines and there’s nobody better than Mescal and Ronan to broadcast heartbreak.

A nuanced and intelligent legal drama that neatly combines big characters and big ideas. By focusing on wider issues of race and injustice, Betts finds continuing resonance in a case nearly 30 years old.

An interrogation of art and artist, The Pigeon Tunnel is an enthralling documentary both for fans of le Carré and those who’ve never read a page of his work.

A riveting revenge riot, with gobsmacking levels of film craft, and a performance from Michael Fassbender to make your blood run cold. It’s not quite top-tier Fincher, but it comes damn close.

A TV show expansion that is much better than expected. Kids will be there on the double to lap it up, and adults will find it tolerable, which is about as much as you can hope for. But we won't rest for one second until we find out what's happened to Everest. Bring in Benoit Bark to solve the mystery next time around.

You don’t have to be cray-cray for Tay-Tay to enjoy The Eras Tour. Taylor’s version of a concert flick might not reinvent the music movie wheel but, as a gift to the hardcore or a primer to her immense talent, it works a treat.

Although Branagh has done a good job of toning down the opera's more ridiculous elements, what remains will test even the most willing opera virgin.

Some likeable performances — and solid Irish accents — can’t save a dreary parade of clichés. Pray that the Lord forgives these cinematic sins.

It’s not a classic, but this colourful combination of Halloween and Back To The Future is undeniably a scream.

Golda lives in the shadow of the film it wants to be, but Mirren’s warm performance and the claustrophobia of it all make it linger regardless.

As a perfectly serviceable horror movie, it at least gets the Exorcist franchise back into respectable territory, but there was the potential for something much better.

Monumental stuff: a story about the deadly legacy of America’s colonial sins, both vast and intimate in scope. Exceptional filmmaking, by an exceptional filmmaker.

Benicio Del Toro’s solid screen charisma can’t rescue Reptile, a derivative and lethargic thriller that rarely thrills as it tries and fails to build a case for itself as a meaningful iteration on the detective thrillers that it admires.

A corporate comedy of errors — but the film really shines thanks to Howerton, whose towering, shark-like performance makes him a villain for the ages.

The blood and gore is all present and correct, but the focus on Kramer's vulnerability and human side sits at odds with his awful judgmentalism. Let monsters be monsters.

A delightful first instalment in a planned quartet of short films, Anderson and Dahl’s sensibilities continuing to be a match made in heaven.

More an introduction to the erotic-thriller genre than an immediate classic, Fair Play is a slickly made tale of twisted love that keeps you holding your breath until the end.

A fitting — and frustrating — end to an extraordinary career. Ken Loach’s powerful, poignant storytelling is occasionally stymied by his less subtle impulses.