This is often upsetting (though never to the levels of Irréversible) but as energetic and handsome as its cast. At times you’ll be watching in horror, but you’ll never look away.

This lacks the sting in the tail of something like the similarly post-War The Others, but it offers a soupy atmosphere of low-level dread and paints a devastating portrait of a vanishing age.

Watching Blake Lively and Anna Kendrick trade barbs is entertaining, but Feig’s first thriller suffers from an unconvincing plot and inconsistent tone.

Whether rediscovering La France périphérique or hurtling through the Louvre, Varda and JR make a surprisingly empathetic team and their collaboration is as provocative as it is poetic and poignant.

An intimate, illuminating doc that puts the focus on M.I.A.’s activism instead of her music and is, in some ways, all the more admirable for it.

Close gives a performance that demands the Oscar voters consider her for a seventh time, and with Pryce matching her barb for barb, this is a heavyweight piece of theatre that grips whenever they’re on screen.

For all the gags flying around, and all the friendly insults batted between Blanchett and Black, the script lacks the sparkle and polish of many of the classic Amblins it so enthusiastically emulates.

An old-school film about an old-school crime that brings together an impressive array of British legends. Solid, but sadly the results don’t exactly blow the bloody doors off.

Uneven, occasionally unsavoury and at times frustratingly muddled, but there’s enough bloody, ’80s-style fun in The Predator to give it a pass from long-term fans.

Astonishing. The definitive take on a monumental moment in history — without ever losing sight of the man underneath the visor.

It might look like a quirky take on the sports movie, but Puzzle is in fact an astutely crafted character drama, featuring a superb central performance from Kelly Macdonald.

A coming-of-age story which thoughtfully and heartfully tackles the repellent practice of conversion therapy. Moretz is excellent, but this summer camp/institution drama cocktail could have done with a little more fizz.

A nice idea, and the setting makes it instantly more interesting to a UK audience, but it’s let down by lapses into cliché and by simply not being audacious enough with its action set-pieces.

Chekhov is notoriously difficult to film and this adaptation boldly taps into the play's mordant wit. But the fidgety and over-emphatic visuals detract from the themes and the stellar performances.

Lucky is a profound, wry, slip of a movie carried by Stanton’s moving performance. It is a fitting curtain call; one of America’s great character actors might just have saved his best for last.

A thoughtful and thought-provoking look at identity, aspiration and a precarious way of life, this is anchored by a stunning performance by Brady Jundreau and inspired direction by Chloé Zhao.

The real nun in the movie is the heroine, played by a spirited Taissa Farmiga, and the dramatic weight falls on her able shoulders.

A remarkably assured directorial debut from Bradley Cooper who turns in a career-defining performance opposite a promising Lady Gaga. A remake that captures the tone and spirit of prior films, A Star Is Born still blazes its own heartfelt, authentic path.

Neither a luridly enjoyable piece of Scarface-style pulp or a nuanced genre subversion, Idris Elba’s directorial debut is a fitfully entertaining 1980s gangster thriller.

Pawlikowski is in complete control of the form, but this is no austere piece of work — he even finds time for a few good jokes. Accessible, humane and compassionate: what a treat this is.

It’s way over the top in its style, which is a good thing, but grounded with realistic, loveable characters. This is a romcom milestone and the best thing to happen to the genre in years. It’s crazy good.

The smart visual trickery lifts what might otherwise have been a fairly conventional thriller, but it also lets Chaganty say some interesting things about our online lives. Technophobes should stay away.

If it sometimes lapses into genre clichés, Upgrade still delivers on the action front. Just turn your phone off before you go into the cinema, lest it gets ideas.

If it lacks filmmaking fireworks and emotional wallop, The Children Act delivers a sensitive, thoughtful drama about complicated issues. And it is another reminder, if one were needed, of the subtlety and skill of Emma Thompson’s stratospheric talent.

Promising source material and a talented cast are squandered in a stale, rigidly formulaic J-horror wannabe. Slender Man equals slim pickings for all but the most undemanding devotees.

Who Framed Roger Rabbit meets Meets The Feebles, in a disappointing adult comedy that never lives up to the promise of its premise.

If it’s surprisingly sweet-sounding subject matter for Albert Hughes’ first solo film, he treats it with respectful seriousness. It’s a family movie but one unafraid to show some very sharp teeth.

Dean Devlin finally steps out from Roland Emmerich’s shadow with a tight, twisty little thriller. Add a fourth star to the rating if David Tennant going full Nicolas Cage sounds like your kind of thing.