It’s a triumph of design, offering a creepy twist on such classic monsters as living dolls, the mummy and, in particular, the golem of Jewish folklore, a large clay figure that can be brought to life to do its creator’s bidding...

The film strips away ideas of heroism mercilessly.

A touching tribute interweaves with tough storytelling.

The one-liners are in evidence but this is more abrasive than you might expect. Blends rigour and vigour to join "Vicky Cristina Barcelona" and "Midnight In Paris" as the best of late-period Woody.

Based on a true story, it’s directed with beautiful, painterly restraint by Anne Fontaine (best known for pretty pieces such as Gemma Bovery), who lets powerful performances by Agata Buzek (as a nun of faltering faith), and fearsome abbess Agata Kulesza power the story.

An uncompromisingly bleak slow burn, it leaves the pulse frantic and nerves frayed.

It's clear Wassung and Trachtenberg just get it. Somehow, they're able to push the sci-fi envelope and offer up fresh images and ideas the series has yet to see, while also appealing to diehard fans with Easter eggs.

A full-on fourquel whose attempts to up the action ante yield frequently blistering results.

The sense of angry desperation overwhelms.

Audran is luminous as the centre of a gentle, generous film about grace. Oh, and grub.

A hugely powerful, moving study of a small village's stand against overwhelming state power. Despite all the suffering and injustice, the final message is one of optimism that feels neither facile nor tacked-on.

The film reveals how patriarchal values clash with the desires of its female characters to lead more emancipated lives.

Viewing the heightened emotion and drama of adolescence with an unjudgemental eye, it’s a reminder that schooldays are always the best.

A couple of scenes are perhaps too on the nose, but the naturalistic performances are faultless, the righteous anger controlled, and the bleakness dotted with moments of humour and small acts of kindness. I, Daniel Blake is, first and foremost, a deeply humanistic film.

A smart, stirring spectacle that faces down impossible expectations to pull off a hugely satisfying end to business.

With lush visuals, intelligent performances and a lingering lyricism, this is an instant classic that cements Hunnam’s star power.

Not quite as good as Infinity War, but wears its three-hour running time with ease and rewards the fans. Part of the journey is the end, and this goes out with a bang that’ll make you whimper.

A cunning, suspenseful thriller that bears comparison to the Coen brothers’ Blood Simple, Blue Ruin is an impossible-to-ignore calling card from writer/director Jeremy Saulnier. Hollywood awaits.

It plays like Frankenstein meets Blade Runner via Hitchcock haunted by the ghosts of Charles Dickens’ Great Expectations, in a film that’s both highly literate and steeped in tense cat-and-mouse chills. Thematically epic – it demands to be seen at least twice and should fuel hours of debate — structurally it’s as lithe as Ava’s perfect mesh frame.

Original, engrossing and extremely confrontational, The Tribe treads the dark path between misery porn and masterpiece.

Zootropolis is a witty, creative and entertaining romp with literally endless sequel potential and the biggest collection of four-legged critters this side of Noah.

A breezy but heartfelt Shakespear update that should put a smile on the faces of Whedon fans, Bard worshippers and anyone in the mood for a sharp, sassy romance.

This dreamily shot US indie is an insightful study of sexual repression and awakening, featuring a compelling lead performance from Brit newcomer Dickinson.

Cleaving closely to the source material, del Toro wants to explore the trauma that makes us, mankind's capacity for cruelty, the death we bring on ourselves through war, and the catharsis of forgiveness – all notions that make Frankenstein relevant in current world politics and social media savagery.

Wildly inventive, unpredictable, and unhinged, Riley’s genre-bender stands out from the comedy pack.

The music busts a gut straining for weepie affect, but you might shed a few yourself when the five-year battle reaches its jubilant, justified climax.

Sam Mendes audacious WW1 epic is a sensational technical achievement, grounded by George MacKay’s gritty intensity.

While director Ceyda Torun lets the focus meander too much, it’ll leave you, ahem, feline good.