If anything, this is too faithful to the book, sometimes getting bogged down in detail as Katniss struggles to her goal. But its epic sweep, grand designs and unyielding central performance make this a compelling finale.

Really smart people on a really smart person: Fassbender, Winslet, Sorkin and Boyle await Oscar nominations. But for all its relevance and grandeur, Steve Jobs is ridiculously entertaining. You might say, user-friendly.

Nicholas Hoult does his best to bring Niven's weapons-grade scumbag to life, in a film hobbled by amateurish acting and absence of production value.

A fittingly poignant treatment of an inspiring subject.

Unshowy to a fault, Hytner delivers a fine, moving comedy of English manners between a writer and his eccentric tenant, which slowly deepens into an exploration of human bonds.

Unashamedly romantic and achieved with a beautifully subtle, old-fashioned elegance, it’s a graceful coming-of-age tale ripe for awards.

A likable horror-comedy with a satisfyingly high splatter count.

The tone is pseudo-Sopranos at times, but the oppressive ambience is grippingly sustained.

Even if this is less satisfying overall than Skyfall, there are sequences that rank with Bond’s best.

The inside track on one of sport’s biggest scandals, nimbly shot and sharply scripted, powered by an outstanding performance from Ben Foster and the quiet integrity of Chris O’Dowd.

It may be a little overwrought for some tastes, borderline camp at points, but if you're partial to a bit of Victorian romance with Hammer horror gloop and big, frilly night-gowns, GDT delivers an uncommon treat.

A bold portrayal of a boy soldier in a brutal, bloody conflict, anchored by commanding performances from Idris Elba and 14 year-old newcomer Abraham Attah.

There is delight and distress in equal measure: for his talent, mischief, waywardness, for the disillusionment and tragedy of his later years. Unique.

While strong on establishment prejudice, the coverage of clashing egos and agendas isn’t always incisive.

While it’s a bit of a slow burner, Mendelsohn is so compelling, there’s really no need for things to speed up.

Goldstein is enormously endearing, while Drever milks the mundanity for laughs and unexpected sweetness.

Jonny Owen’s winning doc appeals beyond football tribalism with a universal underdog story, boosted by a thumping disco score that gives a thud to the match footage.

While Ascher brings the experiences to life in a way that could conceivably induce nightmares in casual viewers, the potency of these scenes is ultimately diminished by repetition.

The film strains in two different directions, half trying to stay true to its based-on-fact roots, half wanting to ditch all that and become a ridiculous farce.

The interviews are as entertaining as the slick interplay on the ice.

Among the excellent principals, top-billed Turturro enlivens things wonderfully, but the real star, Buy, is magnificent.

It’s extremely antic for the most part, covering a lack of real story with a lot of distracting quirk. Yet when Petit’s foot slips out onto a wire thousands of metres from the ground, it’s quietly mesmerising.

A truly insightful art film that still manages to be easy-going and unpretentious.

While the storyline is a little underpowered, it's so packed with vinyl gems (Edwin Starr, The Salvadores, Frankie Valli) that Northern Soul fans will be doing backdrops in the aisles.

As you'd expect, Meyers handles the material with assurance and charm, and there's fun to be had in the odd-couple dynamic at her film's heart.

Silver remains exceptionally clear-eyed. The result is a powerful, gripping and deeply shocking film, and a contemptuous critique of Florida’s stand-your-ground law.

Inspired, innovative, stunning, with unforgettable performances and images, this is up there with the great screen Shakespeares. The playwright surely would be thrilled with it in its full-blooded vigour.

Big sci-fi ideas done on a budget doesn't quite translate into a compelling thriller.