Farrier doesn’t overlook the amusing oddness of such a strange corner of the internet, but treats the subjects of the videos respectfully.

Skvortsov gives a scarily grim-faced performance, with biology teacher Elena (Viktoriya Isakova) increasingly beleaguered as the only one resisting him.

Offering a fascinating window into a world often distorted and oversimplified, this is informative, stimulating and moving stuff.

As a celebrity’s-eye-view apocalypse movie, This Is The End delivers huge guffaws and large-scale carnage with enough gusto to mask the indulgences. You’ll never look at Michael Cera in the same way again.

A huge, CGI-heavy popcorner that still feels personal. Come for the epic monster-on-mecha showdowns, stay for the likeable humans.

Some strained metaphors and character tics aside, this proves both Polley's perceptive eye and Williams' ability to explore life-scuffed emotions. Wry, risqué and real.

Submit to Corbet’s vision and you’ll find something original and unsettling.

Wes Anderson’s eighth feature has a heft beneath its icing, heart behind its artifice. Check in, and you won’t want to leave.

Alongside Sheehan’s charms, it’s Belleville’s intoxicating visuals that truly fire the imagination. India has rarely seemed so seductive.

A lot of thrilling, dazzling, sometimes frightening fun.

For most of the film’s running time, Wain refuses to give in to mush or melodrama, preferring to prod hopelessly dysfunctional characters into uneasy duels, just to see who blinks first.

Guileless performances, understated direction and bucolic Belgian scenery combine to create a quiet gem of a film.

Ends up an impressive addiction drama. Stay with it and it’ll stay with you.

A nice blend of Scandinavian sophistication and Hollywood slickness, Headhunters is an entertaining Nordic noir achievement – and sure to be tagged as this year's "The Girl With The Dragon Tattoo."

Slasher smarts with guts and heart. Town is no Scream but it’s still one of the most entertaining, enterprising remakes in recent memory.

The greatest trick he pulls is making you think he’s not genuine: beneath befuddling, bracing digressions on Picasso, Howard Hughes, biography, confidence tricks, growing beards and “girl-watching” lies a searching interrogation of ideas of authorship.

Anderson visits fresh frontiers with a close encounter of the quirky kind, holding wit, whimsy and sly wisdom in supple balance.

Third time’s the charm for a franchise that’s found its groove, ironically by changing the record.

Forgive the blasts of nu-metal. Forget the blunted satire. And allow for the obligatory, they-have-our-blessing cameos. This, as Snyder puts it, is Dawn Of The Dead on "steroids". And it's a blast.

Impressively acted and compassionately observed, it hovers intriguingly between reality and dream-state.

With characters you care about – principally Teresa Palmer’s appealingly edgy, cliché-bucking Rebecca – and a poignant denouement, this is horror with guts as well as gore.

A touching tribute interweaves with tough storytelling.

As time passes, a real sadness creeps in as we suspect that we might be witnessing the extinction of a species, though an inspired sight gag is never far away. This is a film that needs to be seen to be believed.

Series veterans may rue the lack of certain supporting players (the hot-headed Inosuke is largely absent, while usual comic foil Zenitsu is all gritted teeth and gripped swords here) and the lack of levity may sting in a series renowned for its malleable tone and endless charm, but Infinity Castle achieves the impossible by roaring past Mugen Train as Demon Slayer's best adventure yet.

Coupled with the extraordinary lush visuals and fluid camerawork – moulding the ocean’s many moods and textures till it’s practically a character – Moana essays a rich, vivid feel. It might not be a whole new world, but it’s a fantastic voyage.

Foster and McKenzie thoroughly convince in the hands of Granik, who moulds a subtle, assured, and often powerful tale.

The Dardenne brothers deliver a perceptive portrait of professional integrity under pressure.

Benson and Moorhead’s sophisticated sci-fi/horror features minimal SFX but more ideas than a TED talk. Uncanny, and uncannily good.