By turns funny, vaguely creepy and too cool for school, A Girl Walks Home Alone At Night is certainly unusual — but also seductive and strange enough to stick in the memory like a fever dream.

A disappointingly tame and unimaginative effort, which throws away much of what was best-loved about the original and fails to find worthy replacements.

Bird and Lindelof have thrown everything they have at this film and, aside from a pause for breath at the end, they’ve made something funny, surprising and packed full of wonder.

A highly enjoyable glance at Gotham's veteran haute couturists.

At two hours, things get flabby around the rock-opera era, but the film fizzes and clatters with anecdotes.

It gives artistic types an easy ride but it’s a feast of rich writing and great acting. And if you’ve only ever seen Kristen Stewart in Twilight movies, she is in a different class here.

Great on his early life, but doesn’t really illuminate his genius as a filmmaker.

The golden-larynxed franchise graduates with a merit.

Max’s re-enfranchisement is a triumph of barking-mad imagination, jaw-dropping action, crackpot humour, and acting in the face of a hurricane.

A gripping study of treachery, identity and survival.

Destined to be a big drinking game — take a sip when Broadbent bites his sandwich — but little else, this feels like a major missed opportunity.

Overall this is a gripping, non-judgmental look at a young girl finding herself in the toughest circumstances.

Gripping, humane and lighter than it sounds, Stewart’s first foray into directing suggests that he was right to quit the day job. We can’t wait to see what he does next.

A merrily ferocious pop at the Hollywood bubble that balances sharp, acid laughs with a sweet, believable meet-cute. Top of the pack and Chris Rock’s best movie.

An affectionate portrait of a big-hearted man and a fitting testament to the enduring appeal of Sesame Street.

Clever cybernatural thriller.

Extremely well done and well acted, it’s an attractive, appealing, involving adaptation, just not as iconic as the ’60s film.

In avoiding narration, interviews, music or any traditional method to draw the audience in, the film has a cold, unengaging feel, leaving it mostly for art buffs who like seeing taxidermied bears having their hair fastidiously cleaned with a tiny toothbrush.

Bigger and, yes, darker than the first, this is less air-punchingly gleeful but probably more consistent. Thanks to Whedon and the most charismatic, compelling cast you’ll find anywhere, Age of Ultron redefines the scale we can expect from our superhero epics but still fits human-sized emotion amid the bombast.

A spirited gothic tale, played with welcome black humour.

If Chris Morris had grown up in Sweden watching Jacques Tati and Ingmar Bergman films, he might be making films like this. Based on Andersson’s mordantly funny observations about the human condition, the pigeon has it pretty good.

An unconventional sequel to an unconventional film, this works as a standalone picture with its own distinctive take on alien invasion but also expands what now seem like a franchise with potential to deliver more and varied snapshots of human behaviour in extreme circumstances.

Recalling Harvey Keitel’s tortured cop in Ferrara’s Bad Lieutenant, Devereaux is an unreconstructed, unrepentant monster with no hope of, or interest in, redemption. It’s a fearless, heroic performance in a provocative, important film. [Unrated Version]

This overwrought thriller is a pedestrian period piece that squanders its potential.

A musical with almost 100% sung verse is not for everyone but Kendrick is as bewitching as ever.

Lovely, engaging performances keep the film’s heart beating in a sweet if sometimes listless search for Eden.

Smart, fun, mid-list horror with Scream overtones

The dirty compañeros of the old Spaghetti West ride again in this stirring tale of hate, murder and revenge.