Best of all...is the mini-animation fashioned out of Suskind’s Walt-inspired scribblings.

Wiig and Hader give winning, finely nuanced turns in a film that deftly mixes light and dark. Also features the best use of ‘Nothing’s Gonna Stop Us Now’ since Mannequin…

Matthew Akers’ document of the event skews close to hagiography but is consistently informative in charting Abramović’s career, and genuinely engaging thanks to his subject’s witty, unpretentious presence.

Mashing up Groundhog Day with Get Out, They Live, Sorry to Bother You, Westworld, A Clockwork Orange, blaxploitation films, "X-Files shit", and more, They Cloned Tyrone is a race-conscious conspiracy caper at heart, spruced up with some zippy patter and a razor-sharp cast.

Gomez-Rejon’s sardonic yet sensitive story of geek friendship is the best YA illness novel adap yet. And yes, you can stick that on the poster.

Does for Norman’s place what Room 237 did for the Overlook: reopens old haunts for welcome re-investigation.

Capturing the essence of the source novel, this is a superior adult drama. Harrowing, heartbreaking but utterly compelling.

Burton's finest, freshest film in ages is a welcome homecoming. You'd call it patchwork pastiche, if it weren't so zapped with energy, feeling and imagination. It's alive!

The flow of the date doesn’t roll as smoothly as Linklater’s best walk-and-talkers, but that doesn’t mar the effectiveness of this refreshingly smart date movie.

Driven by a committed turn from Witherspoon, Jean-Marc Vallée confirms himself as the go-to director for triumph-over-adversity character studies.

An extraordinarily grim and tender comedy from Jerrod Carmichael, On The Count of Three is buoyed by an exhilarating Christopher Abbott performance.

It might not venture into the unknown, but Raya takes spirited wing.

Great beginning, patchy middle, bum-note ending. Like the Roses’ 1980s-90s lifespan, Meadows’ loving report on a “live resurrection” is indeed alive and passionate, until too many gaps render it less than godlike.

Based on genuine cases, the film reveals its horrors in a matter-of-fact manner, taking care to show the characters grasping every chance for laughter - however inappropriate - amid the grimness.

McCullin emerges in David and Jacqui Morris’ accomplished film full of integrity, dignity and empathy.

It's a puzzler that holds the interest throughout the film, but there's plenty besides to enjoy, from Plaza's mysterious, comical appearances to Stella's candid chats with her friends – including West Side Story’s Maddie Ziegler as Ruthie – about life, relationships and everything.

Direction and cast pack a wallop.

Jackass Forever has laughs and thrills and will goose your nostalgia, but it’s like a modern-day Rolling Stones gig – the hits are replayed but satisfaction is elusive.

No, this isn't another tale about the son of the Almighty, but a perceptive, naturalistic study of disenchanted French youth, which effectively conveys the tedium and frustration of small-town life.

A winning mix of deadpan comedy, retro stylings and escalating insanity. Too idiosyncratic for some perhaps, but this one-of-a-kind indie makes ’80s nostalgia feel new again.

Playing out in real time, Theo and Hugo offers a warm, frank, unexpectedly romantic view of relationships today.

If Eric Rohmer were British, this is the kind of film he’d make.

Nodding to Badlands, Natural Born Killers, My Own Private Idaho, even The Lost Boys, Bones And All is as interested in loneliness, connection, self-identity, and fiscal invisibility as compulsion. Who misses the murdered if they don’t ‘exist’? And what adolescent hasn’t felt the creeping dread that their needs or bodies are out of step with society?

An astounding spectacle, vast in scale and ambition. Prepare to have your breath snatched away.

Utterly gripping. Aided by two punchy lead turns, an Oscar-worthy script and stunning in-car footage, Howard’s race film delivers top-gear drama. A piston- and heart-pumping triumph.

It’s a sensitive, sweet, frequently heartbreaking trip through deeply personal history, but there’s no getting round the fact that Gray had what most might consider a fairly typical childhood.

A meditation on repressed desire with deep secrets, Thelma throbs with hypnotic intensity: it burns slow, but its magnetism holds right up to the teasing climax.

Turtle Power is back, thanks to a potent combo of winning humour and gnarly animation. Cowabunga!