Orson Welles’ final film is an infuriating, brilliant, personal sign off, filled with stunning images, wit and bravura to spare. In short it’s everything you hoped it would be.

With the help of a staggering ensemble cast, Steve McQueen has made an intelligent, emotional thriller that contemplates contemporary American politics as confidently as it does blowing shit up.

A beautifully observed study of an American family coming apart at the seams, it not only establishes Dano as a director to watch, but features an extraordinary performance by Mulligan.

Pine supplies gravitas in the lead, but he’s almost a lone voice of moderation. Bloody and brash and as subtle as a trebuchet, this is gleefully entertaining — unless you’re English, anyway.

The Coens take another crazy concept and make it work with a series of stories that will amuse, shock, and even bring tears to your eyes.

Overlord injects a healthy dose of schlock into familiar war-movie tropes to create an entertainingly grungy hybrid, but it never quite kicks into overdrive.

An often effective reboot, this does everything you’d expect, but that’s a real shame.

Echoes of Dog Day Afternoon and Locke reverberate around this claustrophobic thriller, which is tautly plotted, precisely paced and grippingly played by Jakob Cedergren and his unseen co-stars.

Like Queen, Bohemian Rhapsody is three parts good but not terribly exciting, and one part absolute joyful, fabulous entertainment that makes you forget everything else around it.

An uneven but appropriately rousing attack on Trump, which occasionally loses its focus as it makes its bigger, scarier points about the United States’ slide into despotism.

A better-than-expected entry in the all-too-often neglected sub sub-genre, with Butler showing impressive restraint.

Van Sant never strays far from the man-overcomes-disability genre, but this is more than made up for by some impressive directorial flourishes and an engaging central performance.

A sophisticated adaptation of a hugely important book that adeptly handles its daunting themes, and provides a platform for a star-making performance from Amandla Stenberg.

Some will find this impenetrable and irritating, but audiences willing to tune into Hosking’s off-kilter style will be moved by the ridiculous love stories and relish the hilarious eccentricity.

Smallfoot effectively weaves powerful messages into a fun, heart-warming animation that is sure to appeal to audiences both young and old.

A muddled Wicker Man-inspired horror that has bursts of style, but fails to find depth beneath its blood-spewing surface.

Abetted by Nicolaj Brüel's prowlingly ominous camerawork and Dimitri Capuani's soul-destroying interiors, Garrone proves once again that even the lowest-rung southern Italian gangster can't afford a shred of human decency.

While it doesn’t capture the magic of the original, this Halloween brings much-needed closure to a troubled franchise, with Curtis excellent and Michael Myers pleasingly terrifying again.

By equal turns tense and witty but with plenty of perceptive social commentary to go around, this is a film that only gets more rewarding the more you look under its surface.

22 July takes a helicopter view of a terrifying, unthinkable tragedy, perhaps flying too high to capture all the nuance, complexities and emotion. Still it has great stretches and a terrific performance by Anders Danielsen Lie.

You already know if you’ll enjoy a film where LSD-crazed leather daddies are summoned via something called the Horn Of Abraxas. A no-holds-barred ride into madness destined for a thousand midnight screenings.

A fascinating documentary that captures all the glamour and grubbiness of the 20th century’s most famous nightclub. All the thrill of being there with none of the hangover.

Venom is neither triumph nor train-wreck. It’s a mediocre origin story, a superhero host that sadly fails to bond with its comedy parasite. Which is a shame, as there is enough here to to suggest it could have been a blast.

Hold The Dark is rather unwell. Both intimate and epic, it is appropriately cold, resisting warmth at every turn, more a philosophical adventure than an emotional one.

A minor-key coming-of-age triumph that manages to simultaneously be relatable and wildly distinctive. Will almost certainly have lapsed, adult skateboarders (unwisely) dusting down their decks.

Unfocused and uninspired, Night School has its moments but is held back by a script that required more study.

Blue Iguana grates on pretty much every level, a misjudged hodge-podge of ill-defined characters, tired filmmaking licks and an air of general unpleasantness. It also contains one of the worst shootouts in recent memory.

A beautifully staged film with everything in its place, this is both an affectionate homage and a timely commentary, falling only slightly short of its own ambition. Classy pulp fiction.