The film's central irony is not the usual one of public success at the expense of private pain, but the complex one of success at the expense of personal knowledge. Streisand never looks into the mirrors that Wyler surrounds her with. Well worth watching.

De Palma’s grasp on King’s material is never in doubt: this is a truly throat-grabbing horror movie, sporting a handful of pitch-perfect set-pieces, not to mention one of the few examples of effective split-screen.

An enormously satisfying film: carefully observed and consistently compelling, it feels like an instant American classic, if a minor one.

The shattering downbeat ending is well earned and genuinely shocking.

The action is the attraction. If that means some of the film feels a little distant and chilly, it’s in the admirable service of avoiding simplistic drama or easy sentiment.

A caustically witty look at the American South and its still-surviving chain gangs, with Newman in fine sardonic form as the boss-baiter who refuses to submit and becomes a hero to his fellow-prisoners. Underlying the hard-bitten surface is a slightly uncomfortable allegory which identifies Newman as a Christ figure. But this scarcely detracts from the brilliantly idiosyncratic script (by Donn Pearce from his own novel) or from Conrad Hall's glittering camerawork (which survives Rosenberg's penchant for the zoom lens and shots reflected in sun-glasses).

Scott's sword and sandal spectacular is a bloody good yarn, packed with epic pomp and pageantry, dastardly plots, massed action and forthright, fundamental emotions.

Not just a cheeky stunt, Ferrara’s film is a genuine, worthwhile, thoughtfully unresolved attempt to understand the deepest, darkest mysteries of manhood and power.

This isn’t just the best-looking film of the year, it’s one of the most awe-inspiring achievements in the history of special-effects cinema. So it’s a shame that – as is so often the case with groundbreaking effects movies – the emotional content can’t quite match up to the visual.

Ignore the ridiculous [spoiler omitted] ending of this film, and you have a much more fatalistic exercise in which Coppola eschews easy laughs in favour of the exposure of feeling and the fact that these people's lives, however empty, matter to them. Turner is in the Oscar class.

For a film posing the metaphysical biggies, there is tenderness and laughs. Its bonkers approach to storytelling and life may drive some nuts. The rest of us will soar with the birds.

Overall, Logan is something rather special: a moving and mournful story of life at the end of the line, and the perfect blockbuster for these embittered times.

In the closing act, the film sharpens and becomes something far more compelling.

It's an endearingly loopy, occasionally half-cooked but always ambitious film.

Even just watching this impressive documentary, you feel a little unhinged by the scale of suffering.

We Are the Best! is a joyous celebration of youth, friendship and rebellion, and if there’s a nagging note of regret and bitterness it never manages to undermine the overwhelmingly compassionate tone.

A pleasure and an education.

This Macbeth is ferociously well acted. Fassbender’s prowling energy electrifies the film.

While it definitely takes its foot off the action, Mockingjay – Part 1 goes deeper and darker.

While Monsters University can’t claim outright originality, this is a far richer movie than most were expecting.

Events are still unfolding, so this is a snapshot in time, but Gibney’s conscientious, revealing document proves a mine of valuable information and affecting emotional insights.

The road movie/buddy movie situations and emotions gain an intriguing perverse edge from the setting, with its genuine freaks and sideshow illusionism, as well as from Alex North's wonderfully unsettling score and Harry Stradling's dark cinematography. Better on electric, eccentric ambience than for its final rush of plotting, but such risk-taking movies are a welcome rarity.

For this slick, beautifully paced documentary, director Marc Singer was given unprecedented access to everything from police tapes to trial recordings to Dunn’s own private phone conversations, and the result is a uniquely compelling real-life legal thriller.

This is all fun all the time, a dizzying carnival of wisecracks, fisticuffs, explosions, chases and truly eye-popping effects.

The Program offers no obvious new revelations and Armstrong remains elusive – but it has an unsettling air that carries us through its more pedestrian patches.

Timoner refuses to run fully with Brand’s elevated idea of himself, preferring to offer glimpses of a vulnerability and ruthlessness behind the clownish bluster.

Nine years in the making, this impressive doc pieces together the story of the biggest global protest in history.

It’s a deeply humane film, as well as a quietly hilarious one.