Against the odds this is a sometimes droll and surprisingly tender affair, and a fitting end to Seidl’s magnum opus.

In Soderbergh’s self-aware hands, it’s a character-centric, director-driven, genre-savvy invitation to take pleasure in a job well orchestrated, right up to a judicious closing shot that leaves you wanting to linger awhile with its motley crew.

Nosferatu delivers a relatively straight re-telling of this classic gothic tale. It looks and sounds stunning and is packed with vampiric horror. It doesn't push many boundaries but if you wanted the classic Dracula narrative feeling exactly like it’s directed by Robert Eggers, you're going to love it.

Both smart political primer and tense cautionary tale.

A fleet-footed and boisterously enjoyable Dickens adaptation that breathes new life into a well-worn story. A winning Dev Patel leads a highly amusing cast.

Peele is three for three. You’ll spill out into the night jawing with your friends and gazing at the stars.

For all its attempts to expand the original’s ensemble and embellish its themes, Dory is cod in batter beside Nemo’s smoked salmon. But still tasty.

An engrossing, influential movie, which screams to be watched on the big screen. Few films will provoke your thoughts so fiercely.

The cumulative effect is overwhelming. Poetically shot by a dozen DoPs, including Christopher Doyle, a powerful portrait of horror, hope and humanity emerges.

The horrors, like Cage himself, are largely kept off-screen for much of the movie’s duration. Yet with its eerie soundscape and sepulchral visuals, Longlegs nevertheless succeeds as a deeply disconcerting experience, one that burrows into the brain as insidiously as the innocuous means its villain employs to disseminate his evil.

Maverick director James Toback (Fingers) and Alec Baldwin front this frequently hilarious insider doc.

Where family films so often falter, choking on their own contrived sentimentality and/or cool, Paddington is sweet and silly and, at times, edge-of-the-seat stuff.

Imagine all of D-Fens’ fury in Falling Down squeezed into one short, then times it by six. A gloriously crazed compendium that fizzes with OMG and OTT moments.

A genre-blender imbued with style and substance. Magnetic and elusive, Stewart matches her director.

If not wholly convincing as an ‘issues’ movie, this memoir is a triumph as an actors’ showcase; with McConaughey and Leto giving the performances of their careers.

Creepier than "Catfish" and as cinematic as "Man On Wire," this is an unnerving story immaculately told and a strong contender for documentary of the year.

You’re left marvelling at London’s capacity for renewal and reinvention.

The restlessness of the camerawork may drive you to distraction, but director/co-writer Calin Peter Netzer’s film is held steady by Gheorghiu’s staunch performance.

Like Tonya on the ice, this vicious black comedy is lean, mean and hard to take your eyes off.

As we’re steered from nightmares to raptures, the mix of horror, sci-fi, puberty fable and gender-twisting perhaps strains the narrative. But two certainties hold: it’ll stick with you, and Hadžihalilovic is in total command of her evolution.

“Ever since I discovered art,” laments one participant, “this cell has truly become a prison.”

Smith casts non-pro Venkatesh Chavan alongside Bollywood star Nana Patekar to achieve credible chemistry, enhanced by his choice of quiet observation rather than Slumdog -style pizzazz and the delicate emotional kick and finespun simplicity of a short story.

An accomplished and classy follow-up to A Star is Born then, and one that proves Cooper is more than a one-hit wonder. But as an examination of artistic temperament, sexual voracity, and the patient women who love conductors, Maestro’s thunder has been stolen to a degree by Tár.

Writer/director Rachel Lang’s film lacks cumulative dramatic punch, its appeal rooted mainly in its easy humour.

With stunning visuals, a beautifully emotional story, and a delightful central bond between Ryan Gosling's Grace and Rocky the alien, Project Hail Mary is large-scale sci-fi with tons of heart.

Right from the first frame the urgency rarely wanes as Lee juggles fireworks, firearms and feminism.

First-time writer/director Josh Margolin sharpens the film into a smart senior thriller, giving us tense geriatric POVs of the challenges that ensue (Thelma is seriously old, not the agile seventy-something of The G, another recent granny-get-your-gun outing).

More fever dream than film, Love Lies Bleeding shows that Glass is the real deal. Who knows what sights she has to show us next?