A more restrained effort from Araki than the headrush of Kaboom, there’s plenty of fun to be had in Eva Green’s Joan Crawford-esque turn as the vanished lady

Not all of it works but it does breeze along, thanks to its likable characters and dry wit.

Renner’s solid performance anchors a formidable ensemble in the type of well-intentioned docudrama more likely to leave your head shaking than your pulse pounding.

Julianne Moore gives the performance of her career (no mean feat, given the strength of her previous work) in this heartbreaking yet life-affirming tale of a woman determined to hold onto her identity while under attack from a debilitating mental disease.

This is maximum-gloss entertainment with its fair share of tricksy rug-pulls. But, like one of the neon-coloured cocktails Smith drinks in it, it’s more of an immediate rush than something you’ll remember in a year.

A bold and uncompromising debut feature from a bright new directing team. There’s a question over whether it justifies its own misery, but if you care about homegrown cinema then you have to see it.

Superbly acted allegorical drama with a climax that is not only breathtakingly exciting but flawlessly handled.

A first-rate horror movie, It Follows adds a new monster to the pantheon expect pranksters to imitate the Follower for cheap shocks soon — and has a refreshing, unpretentious sense that a meaningful subtext doesn’t undercut spookiness.

An entirely charming extension of the most unlikely franchise, gently handling big themes and dissolving cynicism with laughter. Maggie Smith is superb.

Courageous and indelible account and an invaluable perspective of the protests.

Rinko Kikuchi's superb core performance and some striking photography stand out in the latest feature from the Zellner Brothers.

A funny, affecting, twisted tale, which demands you pay close attention to every throwaway detail.

Jennifer Aniston lifts an addiction drama with a committed but never showy performance. It’s a pity the rest of the film can’t cut as deep.

A competent procedural rather than the ground-breaking cybersaga we’d hoped for. But as with Miami Vice, Mann’s boundless style does a remarkable job of disguising the lack of substance.

Of course, this is a film you have to meet half-way. If you’re willing to enter its world, it’s an immensely rewarding, amusing, wise, melancholy and involving experience.

Charming performances from both leads and insightful vignettes makes up for occasional clumsy writing and plot developments.

Exasperatingly trite, but also rather sweet.

An ambitious physics and time-bending, relationship drama with solid performances from the two main characters.

Like too much filmed space opera, this is wonderfully imaginative when it comes to costume, art direction, special effects, spaceships and incidental alien creatures but stuck with old-hat character types and a resolutely unspecial storyline. It’s frequently entertaining, but as much for its terrible moments as its inspired touches.

A daring, dark satire strewn with allusions to modern times.

Beautifully crafted and exquisitely observed with an outstanding performance from Eddie Marsan in the lead.

Elevated from nice to beautifully memorable by wonderful performances and thoughtful direction of perfect small moments.

A Lower key than Wallace and Gromit or Pirates, but tightly packed with charm

Considering how its inflammatory ambition and scattershot execution put it closer to Spies Like Us than The Great Dictator on the political comedy spectrum, The Interview should ultimately stand as the boastfully juvenile lightning rod that modern American culture deserved — no butts about it.

It’s not a perfect film by any means, but it’s incredibly powerful and often moving, anchored by an awards-worthy performance from Oyelowo.

Son Of A Gun has the gritty, rough feel of 1970s heist/hit picture

An insightful examination of racism, homophobia and identity in Latin America.

Another winner from Daldry, this is an unexpectedly gritty crime drama set in the teeming favelas and grimy backstreets of Rio. A cracking script from Richard Curtis, with roughly 80 per cent of the dialogue in street patois, is brilliantly served by the three leads.