Churchill’s darkest hour is Gary Oldman’s finest. Gripping, touching, amusing and enlightening, his performance is the prime reason this film must be seen — but not the only one.

A fascinating life is reduced to a series of skittishly edited and visually stylised vignettes that do scant justice to Marie Curie's scientific achievements and Karolina Gruszka's laudably intense performance.

Double the dads, but half the laughter.

Suburbicon is a strange beast: a by-the-numbers ’40s film noir bolted to an unsatisfying ’60s racial drama wrapped up in a ’50s Americana satire. A strong cast and talented director never make the whole add up.

Powered by a taciturn, soulful performance by its young star, this meditation on fear, shame and sexual repression packs a wallop.

A light, funny, blissfully entertaining flick about heavy, sadly still relevant themes.

With great performances across the board and a socially relevant story, Mudbound will resonate long after the credits roll.

An ordinary, if effective horror picture, is predictable fare with two big ticks to its benefit: a penchant for creep-out scares involving its looming spectre; and a committed, sympathetic performance from Macdonald.

It’s breezily fun at times, in a what-the-hey way. But, lumbered with a story that struggles to find resonance beyond its improbable plot devices and preposterous MacGuffinry, Justice League isn’t about to steal Avengers’ super-team crown.

It’s by no means good, but there are moments of effective emotion and comedy that make up for some of the dumber jokes, and sheer charisma largely carries it along.

Vibrant and brimming with vitality, this is empathic towards its subjects but fiercely critical of the system that victimises them. The performances of Vinaite, Dafoe and Prince will stay with you.

A salt-of-the-earth tale that’ll play well in red states, but offers little spark.

It’s a classy weepy with some killer dialogue, but Bening is the big sell here. Given one of the juiciest roles of her career, she makes every moment count.

A very smart take on the stalker movie, which resists easy laughs for harder truths, and might make you think twice the next time you’re lining up a photo for social media.

Psycho’s accepted greatness means we can leave it on the shelf as we look for newer sensations. This prompts an urgent desire to revisit it.

The lesser of 2017’s two Wonder Woman movies, this attempt to explore a complex three-sided relationship is let down by bland storytelling.

A high-concept idea with a low concept approach, Marjorie Prime is cerebral, talk-driven sci-fi lit up by a compelling exploration of big ideas and across-the-board strong performances from the small cast (especially Smith). A treat for the brain and soul.

Working as a profound meditation on karma, predestination and guilt and a proper scary movie, this is near career-best work from all involved. Be warned: this is tough stuff.

An enjoyable journey with a stellar cast, though the baggage we carry as modern viewers sees this ride derailed before its denouement.

Paddington 2 is every bit as enchanting as the first, perhaps even more so, but it feels arbitrary to pick a winner. The film is a pure delight, as sweet and sharp as, well, marmalade, really.

If you don’t like Saw, this isn’t going to change your mind – but it’s skilful, satisfying schlock and respectful of its fanbase. And the final death is a show-stopping coup de grace.

Sickles and Santini’s documentary is intimate, unvarnished and hugely touching, finding universal truths in its two subjects’ unconventional romance.

Yes, Geostorm is bad, but it’s not a stinker for the ages.

Daft as a badger sandwich and twice as funny, this is vintage Waititi, and the boldest, most outrageously fun film Marvel has yet produced.

Radcliffe menaced by a hostile bush is far more entertaining as innuendo than actual drama. What might have been Deliverance in the tropics is rather a Dan versus wilderness yarn.

Brawl In Cell Block 99 takes its time with its set-up, but that only makes the action that follows all the more effective. And Vaughn as an action hero works surprisingly well.

A case of a missed opportunity. It references all the right films, but The Snowman comes off as a pale imitation.

A film that’s at once light, joyful and emotionally devastating, with deeply affecting central performances. A full-hearted romantic masterpiece.