A charming road movie that develops into a full-blown study of life and roots, offering a beautiful insight into the way families migrate and change.

The plot’s all over the place, but there are a lot of laughs and some strong action beats along the way.

Part fishing documentary, part filmmaking experiment, Paravel and Castaing-Taylor is remarkable, disorientating and unique gem.

Not bootiful.

A remake that doesn’t see the legacy of Carrie White burn in hell. But not one that adds much to it either.

This is not a simple story of an uptight English woman induced to loosen up by those freedom-lovin’ Yanks, but a delicate and brilliantly acted story of overcoming the past to embrace an uncertain future. Emma Thompson, in particular, is magic.

It may be contrived and nothing new plot-wise, but In Fear has atmosphere and enough proper scares to deliver on the promise of its title.

Dramatically it’s bitty, with, to paraphrase a great American newsman of the time, too much, too fast. But there is no denying how absorbing the tumultuous events of those four days remain.

Another to airbrush out of the De Niro back catalogue.

Anchored by two of the most natural, committed performances you’ll ever see, Blue Is The Warmest Colour is the most moving love story of the year.

Defying rote heroics and sidestepping those solemn Frodoisms lurking in the role, Lawrence seeks out the complex, human and earthy in Katniss, still the beating heart and total triumph of these movies.

Dismal, cliché-ridden stuff.

Bitty and frustrating, its bigger laughs are set against some off-balance storytelling and crude comedy. Not one to take your nan to.

Manipulative and preachy, The Butler is redeemed by a sensitive performance from Forest Whitaker and the undeniable power of the events it depicts.

Tying up his trilogy in style, Seidl's film unsettles and provokes with wit and composure.

A strangely drab adaptation of Diderot's much racier novel.

While not always penetrating the myths around the man, this is a hugely entertaining look at one of Hollywood's larger than life figures.

A largely dour romantic drama, hampered by thrusting non-actors into challenging lead roles.

A moving treatment of a deeply personal subject (France's own partner died of an AIDS-related illness in 1992), and an enthralling depiction of a seriously fired-up popular movement.

Jollied up with some fun anecdotes from Hollywood's great and good, this is entertaining, if hardly hugely revelatory stuff.

The mesmerising García and sensitive direction by Lelio light up this delicate yet spiky drama. Terrific stuff from both Chileans.

Flat as day-old beer.

Short Term 12 is a miracle of a movie. Beautifully written and perfectly played, all of human life is here: the good, the bad, the messy and the uplifting.

A terrific, sophisticated comedy that tackles serious issues with a lightness of touch and a spirit of steel, Philomena is the British film to beat come BAFTA time.

Ridley Scott finally gets to put Cormac McCarthy on the screen. It’s no No Country, but despite its less successful elements is shocking, powerful and — this just in — more gorgeously written than any movie you’ll see this year.

It admirably avoids many of the pitfalls of adapting this book, but seems to have lost some of the life and pace as well.

For a movie that has dark in its title, and which is — yes! — darker (people die, Asgard is grimier, as befitting Alan Taylor’s Game Of Thrones heritage), Thor 2.0 is consistently amusing.

Sumptuous and self-indulgent, Sorrentino's latest is a Fellini-like feast for the eyes.