Political chicanery and psychological mystery entwine with some stunning underwater sequences but don’t gel entirely satisfactorily.

A mysterious and disorientating blend of giallo violence, cinematic experimentation and Lynchian psychohorror. Revel in its bonkers beauty.

A sci-fi horror dimmer than the dark side of the moon.

Messier than recent Hammer output, but effectively chilling when it’s not making us feel the noize.

A bulkier, slower beast than Evans’ first film. But when it enters combat mode, it’s more raucously bloodthirsty than anything you’ve ever seen. Unless you’re Ross Kemp.

On the strength of only two films, McDonagh and Gleeson are a director/star team on a par with Ford/Wayne, Fellini/Mastroianni or Scorsese/De Niro. Calvary is gripping, moving, funny and troubling, down to an uncompromising yet uncynical finish.

A very unfocused, sporadically funny film, lifted by its (predictable) visual splendour.

Another typically assured piece of work from Ozon with a showstopping turn from newcomer Vacth.

Strange and surreal but with moments of real beauty.

Powerful, moving and melancholy. A low-key treat.

Given the obvious influences on The Double, it could have felt like a facsimile of other films. Instead, it has enough individuality, imagination and idiosyncratic invention to identify it as a true original.

Smart, tough and a little bit cool, this is an intriguing opening rather than a slam-dunk in its own right, but the cast - and especially Woodley - make it sufficiently diverting to merit a place in the action franchise ranks.

Inventive, ambitious, brutal and beautiful: a potent mythological epic. But also wilfully challenging, as likely to infuriate as inspire, whether through its unmitigated Old Testament harshness or its eco-message revisionism. If only more blockbusters were like this.

Nearly as good as the last film — the starrier cameos compensating somewhat for the more scattershot plot — this is fun but could have been more deeply felt.

Six Feet Under scribe Jill Soloway offers a wry perspective on married life as Temple's stripper-with-a-heart is lobbed into this domestic yarn like a firecracker in an arms cache.

The action comes thick and fast but the storyline is generic and Lutz makes a particularly dull hero. An Erymanthian bore.

A crowdpleaser that also tells an important story about showbiz, it’s fab. You’ll come out singing.

It may climax with an overly formulaic splurge, but The Winter Soldier benefits from an old-school-thriller tone that, for its first half at least, distinguishes it from its more obviously superheroic Marvel cousins.

Brimming with ideas and laudable ambition, it's well worth a look.

As elegant as the man's clothes, this handsome biopic traces 20 incident-filled years in the life of the designer.

Less a three-lane pile-up than a minor traffic violation in a residential area. Three points for Waugh, then, and a £60 fine.

A bold, honest film about family life that showcases a terrifically unpeppy turn from Bejo.

Trivialising despair, it’s a depressing waste of a major cast, and an early bid for mess of the year.

Dedicated to Morris’ champion, Roger Ebert, who would be proud, this is a provocative, revelatory and disturbing film.

A brutal, immersive prison survival story with a breakout performance by British actor Jack O’Connell.

A tender, nostalgic and warm ‘family’ drama which also quietly seethes with the threat and tension of imminent danger. Labor Day shows a new side to Jason Reitman as a filmmaker, and we like it.

Over-the-top but blackly funny along the way.

A stirring, lushly-constructed celebration of youthful spirit.