What a stupendously entertaining ride it is. Director and former stuntman Chad Stahelski is back in the director’s chair, and he knows his craft inside out: every punch lands hard, every gunshot roars like thunder.

This Jungle Book has the bare necessities, and then some.

A stop-gap tale that’s modest, fun and briefly amusing rather than one that breaks new ground or offers hugely memorable set pieces.

Perhaps understandably, it’s slightly scrappy and can feel a little like an overextended TV sketch in places. I laughed hard – feeling like a bit of a sicko – but you might find it plain nasty.

It’s a frank and moving exploration of family, faith and the conflict between cultures and generations.

About blood, blood ties and breakdown (of familes, relationships and, perhaps, an entire society), it's an idiosyncratic film, admired by many for its strong atmosphere, and by this writer for its absurd(ist) casting of a barely recognisable Fonda as Donovan's mad uncle Van Helsing.

Eschewing metaphor and mysticism (save insofar as his characters adopt them), [Dumont] has for once given us a film of immense visual beauty, thematic clarity and subtle resonance.

Watching Raw is a bit like seeing a toddler crawl toward a four-lane highway. You can’t tear your eyes away, but at same time you want to squeeze them shut. This is a film that doesn’t just put you through the wringer; it scrapes your insides out. It left me trembling for hours.

It’s all presented as a playful cinematic puzzle by director Eskil Vogt’s confident direction and mischievous humour.

What a knotty, frighteningly real drama The Hunt is.

Big Bad Wolves requires a high tolerance for pain, but its wicked humour and oblique satire rip open Israel's paranoid, militarised system like a jagged saw blade.

The material inspires affection, given its knowing pastiche of everything from Universal horrors to '50s grade-Z sci-fi, and a shamelessly hedonistic, fiercely independent sensibility that must have seemed a welcome relief from the mainstream bombast of other '70s musicals.

Director Athina Rachel Tsangari keeps things brisk, maintaining an almost nature-doc distance from her subjects. Her affection for them is plain, but that doesn’t mean she lets them off the hook.

With their unerring eye for potential, the distributors didn't release this hilarious black comedy to cinemas in Britain. Zemeckis subsequently went on to make Romancing the Stone, Back to the Future, Who Framed Roger Rabbit and loadsa money. Infinitely more caustic than these blockbusters, Used Cars runs on a contemporary screwball motor with a slapstick chassis

The Guest is not new, exactly, but Wingard knows just which buttons to push, and he pushes them with gusto. Stevens, meanwhile, has never been better.

It's a terrifically moving film that has a fitting earthbound feel to it.

It’s hugely entertaining.

This is a simple, sweet tale about the basic pleasures of home and hearth, rendered unflashily in a delightful style of hand-drawn animation that employs a beautiful array of warm pastel colours.

This intimate documentary about the leftfield American filmmaker David Lynch is insightful and absorbing.

This Pan is loud, colourful, busy and full of ideas. Not all those ideas work in sync – but most are bold and some are winningly eccentric.

Director Noyce's bravura camerawork conspires with Terry Hayes' spare script (adapted from the novel by Charles Williams) and some edgy cutting to exploit every ounce of tension, right down to a killer ending.

If it wasn’t so violent, the simplicity of the metaphor – how the abused and outcast will rise up – would work for young audiences. And you won’t beat it for dog acting.

Director Alexandra-Therese Keining clearly loves the book and tries to squeeze a little too much of it into her overcrowded film. But it is visually lovely – the transformation scenes are magical – and the young cast are terrific.

The original footage – devastatingly intimate; familiar yet alien – still stops us in our tracks more than six decades later.

Director Amber Fares strikes a perfect balance, telling a righteous, uplifting story of triumph against the odds without ever losing sight of the bigger political picture.

Here’s heavyweight French auteur Bruno Dumont demonstrating his gift for deadpan comedy.

In Between is a great film. The performances are fantastic – as the gorgeous, headstrong Laila, Mouna Hawa is mesmerising. It’s not always uplifting but it is compassionate and intelligent.

As a storyteller, Farr is bold enough to keep us guessing until the film’s final moments, but a late need to explain lets the film down a little.