It’s a conversation starter: a cultish exploration of female sexuality in a culture dominated by prostitution and patriarchy.

Even a cast boasting Oldman and Harrison Ford can't salvage his dreary, contrived corporate thriller.

A well-warranted remastering of his Aussie new wave classic.

Another meticulously stylish and deadpan Wes Anderson movie that walks the fine line between masterpiece and folly.

A fly-on-the-wall look at the band that will thrill fans but may not convert too many non-believers.

A timeless musical treat and the most fun you can have with really elegant clothes on.

A crunching, visceral transplant for this cannibal tale from its urban Mexican setting to an American milieu.

Some good performances, impeccable craft and good intentions can’t compensate for a lack of dramatic urgency and emotional heft. The Book Thief is effective, but not effective enough.

Non-Stop is weak sauce, a cheapie snoozer that not even heavyweights like Neeson and Moore can save.

Haunting and idiosyncratic, Jarmusch’s vampire marriage preaches to the converted, but he’s in fine voice nonetheless.

A rich movie, seductive when abandoning people for falling snow or bleak nature and funny, painful and unflinching when it gets physical.

A provocative, engrossing, often hilarious, frequently tough picture. Not for all sensibilities but it’s among von Trier’s more playful, purely entertaining films, with insight and humour in even the horrors.

Beautifully crafted, sinister, frightening, erotic and thought-provoking, Alain Guiraudie’s multi-faceted Cannes triumph is already one of the most provocative, intriguing films of the year.

Corny and shakily plotted, it's a disappointing directorial debut from Goldsman.

A flowerier adaptation of the Scott Spencer romance than Zeffirelli's '80s version, it's tailor-made for the Nicholas Sparks crowd.

A caper thriller that's sufficiently zippy to hold the attention. LaBeouf's current notoriety adds extra piquancy to those urban fight scenes.

A romantic-comedy that isn't funny or romantic.

Saturday Night Fever by way of Strictly Come Dancing, Frost’s solo movie lacks the inventive madness of his Cornetto team-ups, but it’s still a heartfelt blast of fun.

Jonze has made a sweet, smart, silly, serious film for our times, only set in the future.

There’s a good-hearted father and son tale at the heart of the madness here, but the surroundings are sometimes a little too silly for true greatness.

There’s nothing wrong, of course, with sci-fi films asking Big Questions, but the delivery doesn’t have to be — should never be, in fact — this tedious.

A frustratingly ungraspable movie collage compiled with real visual flair.

One for lovers of ravishing craft, although the elusive emotional engagement is frustrating.

Get this — Matthew McConaughey is currently the most exciting acting talent at work in movies. Next up, the simple business of a Christopher Nolan.

The Lego Movie is bursting out of its box with enthusiasm and excitement for the possibilities of a little pile of nubby plastic.

Setting out to be a killer-cop satire for the social media age, the result makes Paul Blart look like Taxi Driver. Unfollow immediately.

It’s predictable and troubled by continuity errors, but as undemanding romantic comedies go, it’s a pleasant enough watch with a heartfelt script from debut writer-director Tom Gormican.

A quality production, with awards-bid performances from Bale and Affleck to prove it... but, as signalled by the curiously unmemorable title, it flounders while trying to come up with a story to embody the things it wants to say about the sorry state of modern America. Worth seeing, but a near-miss.