Though not top-notch Powell & Pressburger, an ambitious low-key wartime thriller that totally transcends any propaganda considerations, thanks to sharp characterisation and imaginative scripting.

It’s a reinvented romantic comedy, sassy and fun, that doesn’t necessarily rely on obvious tropes and is worth the wait.

One token racism subplot aside, it juggles big ideas of social justice with more intimate moments of family life beautifully.

Frances Hodgson Burnett's much-loved children's novel could all too easily come across on screen as the last word in period fustian, but the unforced approach of Holland and scriptwriter Caroline Thompson pierces to the emotional core of a still potent tale.

The energy of the music and of the supercharged Day just about prevail over the lethargy of Butler's (non-)direction.

This adaptation of the old Burke and Hare business (based on a Robert Louis Stevenson story) is still great entertainment, with Karloff, Lugosi and Daniell (Hollywood's greatest sourpuss) leaving no dead body unturned in 19th century Edinburgh.

Those unfamiliar with Verdi’s tragedy won’t understand why this production was significant, nor see much of the fruits of such hard work; those onstage may become La Traviata’s tragic characters, but it’s tough not to feel that we, the audience, leave only half-transformed.

It all loses a bit of its circadian rhythm with a tacked-on sci-fi storyline involving social media ‘dreamfluencers’. But as a giddy showcase for a bang-on-form Cage, with some needle-sharp observations about fame in the 21st century, this Ari Aster-produced dark comedy is the best kind of cheese dream.

By far the best of the '50s cycle of 'creature features', Them! and its story of a nest of giant radioactive ants (the result of an atomic test in the New Mexico desert) retains a good part of its power today.

The movie isn’t adventurous, but I’m sure glad it exists.

Herb and Dorothy are adorable enough, but Sasaki’s documentary really shines when she gives center stage to the grateful artists whom they helped nurture.

The animation is fluid and inventive, balancing action and slapstick with aplomb.

There's enough filmmaking talent evident throughout that you wish the journey were more satisfying overall.

The direction is sharp, the camerawork in-your-face, and the lilting synth score by Piotr Kurek recalls Drive – as do Sylwia’s neon outfits. And through it all, Koleśnik gives a remarkable performance that nails the public/private schism at the heart of Instagram celebrity.

Dree Hemingway, daughter of Mariel, commits to some unnecessary nudity, but also impresses with her subtlety.

If it weren't for the gimmicks (and the sadism is so gratuitous it could be nothing else), then the film could easily pass for a minor caper thriller of the '60s, all convoluted plot and calculated kookiness. But cyphers (both female leads) and question-marks (who'll get the money, who'll survive - who cares?) dominate the script as every labyrinthine twist becomes more plodding.

Genre fans will admire the ceaseless mayhem of this rare Indian entry to the carnage canon. It’s not The Raid, or even this year’s Monkey Man, but it’s got some slick moves of its own.

This time around, the director documents a 2011 Young solo show in Toronto (the musician's birthplace), but in an intentionally fractured way.

It’s both a sly piece of ethnography and a social satire that reads like a cosmic joke…right up until its climax makes the chuckle catch in your throat.

It’s a lot of passion and restless, sometimes misdirected energy to channel through this film, but Miranda marshalls it effectively, communicating Larson’s talent and drive without obscuring the fact that he could, sometimes, be a bit wearisome about it.

If the storytelling sometimes feels straightforward, it’s more than merited by its captivating story and powerful message.

What begins as a tense, inventive suspense film becomes, to paraphrase Doctor Who, a wibbly-wobbly, timey-wimey, mushy-wushy mess. That's decidedly NOT fantastic.

Immaculately composed yet skittish, edgy and surprising, this impressive debut by writer-director Michael Pearce emanates a chill that will have you hugging your sides.

It’s undoubtedly the consistency of the excellent musical numbers – from the opening ‘Oh, What a Beautiful Morning’ to the stirring ‘Oklahoma’ finale – that sustains the interest as two trios of lovers bicker and dally over their consummation.

Yet Green, as is his wont, too often strains for poetic effect through flowery voiceover and tone-deaf interactions — like those between Joe and his latest short-term girlfriend — that undercut the genuineness.

It’s an astonishingly assured and emotionally engrossing debut. Grisi’s background as an award-winning photographer is evident in the composition of every shot, almost any one of which could hang on the wall of a gallery wall. Yet his narrative focus is always on Virginio and Sisa, whose expressions of intimacy and love are largely non-verbal yet deeply felt.

Despite its reputation, a rather overrated police-procedure thriller which has gained its seminal status simply by its accent on ordinariness and by its adherence to the ideal of shooting on location.

In a world of portentous blockbusters getting ever darker, it’s a joy to see one throwing on the disco lights.