As unnerving as it is surprising.

This easily surpasses Fede Alvarez’s overrated 2013 reboot and suggests there’s plenty more life – and death – in the franchise yet.

Led by a trio of Oscar winners knocking it out of the park, The Little Things is a murky must-see.

The great thing about Arabian Nights is that if one story isn't to your liking, another pops up, so the decision to give this tale a feature-length running time is perplexing. But quibbles aside, this is daring, magical filmmaking.

Think Luis Buñuel spliced with Hieronymus Bosch.

Shot on 16mm for less than $50,000, Sam Raimi's visceral debut remains a benchmark of modern horror. Plot and acting are minimal - five stooges inadvertently awaken demonic forces - but then this isn't about intellect or intricacy: it's about intensity and intestines. [1 Oct 2001]

It won’t be for everyone, but Burgundy is rich, dark and could well lead to intoxication.

At the heart of both movie and boardgame is that deep sense of community and camaraderie, which bonds the quartet of misfits nicely.

From the texture of the underground havens to the idea that our leads have to – literally – cling to each other lest gravity tears them apart, it’s a wonder of detail and ingenuity.

Greta Gerwig’s warm, woke take on America’s classic girlhood novel takes liberties, but makes a tender, engrossing tale.

The gleeful nastiness will be too much for many. Fans, meanwhile, will rejoice as Art wraps intestines around a Christmas tree like tinsel.

Combining laughs and thrills with plenty of verve, Ben Affleck continues his smart directorial career with a stylish, gripping hostage drama.

A hypnotically disturbing triumph for Miller and his cast. Bruisingly intimate and psychologically nuanced, its spiral into savagery lingers like a bad dream.

Full of ear-pleasing lines and obscure R&B tunes, it’s colourful, casual and full of flavour. An unexpected treat.

Timestalker has something to say about romantic obsession: like a teenager, Agnes is slow to learn from her mistake of idolizing an unsuitable pretty boy. It’s also a neat switch on gender norms in Hollywood comedies past, to which Lowe has fun paying tribute: the '80s will be familiar to fans of everything from Working Girl to Back to the Future.

Aided by committed, awards-ready performance, The Sessions transforms 'taboo' subject matter into a humorous, humane and uncomplicated pleasure.

Pitched perfectly between microbudget miracle "Once" and all-star Aegean romp "Mamma Mia!" What these songs lack in recognition they make up for in feelgood factor.

Gyllenhaal is engaged and engaging in Denis Villeneuve’s adventure in psychological surrealism: let’s hope they stay friends.

Pedro Almodóvar fans may be wrongfooted by the writer/director’s first full-length English-language feature, an atypically austere entry in his canon that’s nevertheless as vivid and haunting as much of his other work.

The strong supporting gallery - including Gillian Anderson and Martin Compston - feels underused, but Meier and her ace DoP Agnès Godard make shrewd use of the dramatic alpine locations.

The Guardians get a welcome return to the big screen, which despite many positives, fails to match the dizzying heights of the original.

A lovingly balanced biopic that fends off award-gobbling clichés. Smarts + heart = a winner: it’s a simple equation, but Marsh makes it add up.

Backed by a sparing Philip Glass score, Elena eloquently shows how, in modern Russia, even family relationships are at the mercy of business.

With inventive action and a gag-rate that bests most comedies, Ant-Man and the Wasp is the kind of slick entertainment you’ve come to expect from the MCU, with Rudd and Lilly’s winning double act at the centre.

If it sometimes feels a bit overstuffed, put that down to Lim’s understandable urge to prove that a gal-centred, globetrotting comedy can offer diversity, sharp social commentary, and dick jokes.

Alongside Turning Red and Orion and the Dark, Inside Out 2 offers a timely reflection of the anxiety epidemic among kids. If it doesn’t have the sparkling originality of its predecessor, it has its big heart, keen to show us how complex and gloriously messy teens can be.

Seydoux again offers a frank turn, while Rahim and Ménochet add real class.

Mielants, who brilliantly conjures a dank, oppressive mood (even a shot of childhood fave Danger Mouse on TV fails to lift the spirits) skilfully avoids any overwrought confrontations; the film’s understated power only grows as it goes on.