With the feel of prestige telly, it's nicely done, sweet and moving.

An engrossing slice of modern history.

Bold, unblinking filmmaking – no less than a living document of a global scandal straight from the whistleblower. Alarming and essential – anyone with a phone should see it.

Long-shelved, the final product never lives up to the promise of its contemporary-Grimm-brothers conceit.

A painful and poignant excoriation of the American dream.

Shimmering with awards potential, Leigh’s glorious picture is a hilarious, confounding, wholehearted and dazzlingly performed portrait of an artist as an ageing man.

Sharp, dark, satirical and bone-rattlingly thrilling, with a career-peak turn from Jake Gyllenhaal. It’s this year’s "Drive."

A persuasive, warts-and-bolts depiction of warfare from the guts of a tank yoked to an overwrought, sub-Private Ryan account of innocence under fire — so a hit and a miss.

Likeable leads and the odd good joke makes this romance an amiable time-passer.

Touching and well-acted, Brazil's Best Foreign Film entry is a worthy Oscar candidate.

The gleefully Gothic fingerprints of Guillermo del Toro are all over this zippy excursion into Mexico's myths and legends, although the gag-count falls quite a lot short of Pixar greatness.

Commercially it looks a disaster. Artistically, if very far from a triumph, it’s interesting, almost held together by its charismatic stars.

A dream cast are on good form in a film that makes you want to call your siblings, but very glad you don’t live with them.

One of the strongest, most effective horror films of recent years — with awards-quality lead work from Essie Davis, and a brilliantly designed new monster who could well become the break-out spook archetype of the decade.

Heroes in a half-arsed shell.

A great cast and promising premise get swamped in an awkward mix of airport-novel noir and blokey family melodrama.

A couple of good jumps but this Conjuring spin-off is led down by poor writing, anodyne leads and and overwhelming sense of familiarity

If TV had a Saga Channel, this intriguing, if never quite gripping, serial killer thriller would play on a loop, in between reruns of Matlock and NCIS.

It’s a well-made adventure with great energy and considerable style, but it’s essentially a maze without an exit.

The villainy is, perhaps unavoidably, somewhat signposted, but this is a tense, gripping thriller that combines real-world relevance with high-concept entertainment. In a superb ensemble, O’Connell is outstanding.

The unfamiliar young cast all show a lot of potential in a well-thought-through, sting- in-the-tail plot. It’s a well-assembled genre movie rather than a great statement, but none the worse for it.

Armour-clanging, cloak-swishing tosh with okay battles, terrible dialogue and sadly little horror or heroism. Nowhere near as bad as I, Frankenstein – but what is?

Since the adorable, simple Garden State, Braff’s ambitions as a filmmaker have grown. He’s reaching for answers to really big questions, but they are, just slightly, beyond his grasp.

It might not feel fresh but Palo Alto feels real, honest and moving. An impressive debut by an exciting new talent.

We must surely now be getting close to some sort of zombie saturation point, with even the zomromcom becoming a distinct subsubgenre. On Beth’s evidence, however, there’s life in the undead yet.

A tense, two-piece horror with serious kick.

Cahill's second feature film is another smart, inventive and engaging offering.

Pawlikowski has a photographer’s eye for composition, and every crisp, monochrome frame could be a postcard from Poland’s tragic, turbulent past.