Not only has director Christian Petzold assembled a fascinating hill of beans, but there's a moonlit scene that almost alone justifies his Silver Bear win at Berlin.

This is a clever, all-ages charmer.

Not quite magnificent but certainly Fuqua’s best since "Training Day" and a rare remake that actually delivers. Yee-haw!

A Hidden Life is the most soulful war movie since "The Thin Red Line": elegiac, emotional and exquisitely shot. Malick’s back!

Hail, Caesar! is a love letter inked in arsenic, at once celebrating the artistry of Hollywood and cringing at the crass commercialism and rampant phoniness of it all.

Far better than we had any right to expect. Thrilling set-pieces, spine-tingling iconography and a Han/Chewie bromance to savour.

Warm, witty, and occasionally wild, Waititi’s bush-bonding romp is a kind, generous-spirited winner.

Fukada contrasts understated realism with haunting, dreamlike images. Unsettling and morally complex.

Wingard and Barrett’s surprise – and surprisingly strong – sequel earns its scares. An effective follow-up to a film that can’t be matched.

Cumberbatch fits Doctor Strange like a pair of snap-tight surgical gloves, in yet another MCU triumph. Beautifully designed, brilliantly executed.

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.

Fizzy, funny, heightened – Hit Man is a damn good time at the movies that will leave you buzzing.

In his feature debut, Swiss director Baran bo Odar counterpoints the tranquillity of the landscape with the mental torment of everyone involved, and what could have been just another serial-killer whodunit becomes a complex study of grief, obsession and the persistence of guilt.

Magical and melancholy, tender and robust: rippling reserves of theme and style compensate for wobbly pacing in Keiichi Hara’s adaptation of Hinako Sugiura’s manga Sarusuberi.

Nora Fingscheidt (System Crasher) directs with a slow and steady hand, taking time to explore both Rona’s moments of solitude and those in which she encounters others.

Drawing affecting performances from a fledgling cast, Defurne's film is a poignant snapshot of square-peg adolescent desire, vibrantly set against a colourful backdrop.

Green fashions a slow-burn charmer that’s a million miles from Pineapple Express in tone, pace and content. But just like that film, the odd couple interplay is beautifully judged.

This is the anti-Heat: no sheen, no shimmer, no obsessing over highly grandiose themes and precise compositions; just grime and desperation.

Kobayashi's films frequently puncture the legend of the ever-obedient samurai, scrutinising the value of such a rigid feudal system without completely dispensing with the adrenaline-soaked fun of a good old-fashioned sword-fight.

Leaner, meaner, and far superior to 2010's Clash cock-up. From top-grade 3D to a multitude of monsters and a welcome influx of acting talent, this is pure popcorn pleasure.

The tale is better than the telling – and the soundtrack's better still – but music this monumental demands its moment. Now go and buy the album.

Here is a film where every frame feels individually designed, with saturated colour and symmetry reflecting the texture and natural wonder of the environment.

Steeped in the bitter political divisions of the Civil War, Spielberg's thrilling film about hardwon freedoms is immersed in its own time, but speaks eloquently to ours.

Even a disappointing villain can’t detract from a bold, satisfying climax to Daniel Craig’s time in the tux.

Mission: Impossible – Rogue Nation might have its hi-tech gadgets, but it's a pleasingly old-fashioned affair.

With writer/director James Gunn off to DC and some of its stars signalling they’re done with their characters, there’s an inevitable air of finality – not to mention contractual obligation – about this third instalment in Marvel’s Guardians series. If anything, though, that’s more a strength than a weakness, all involved being seemingly intent on going out on an emotionally affecting, thematically audacious high.

Apatow's return creates a pleasantly sprawling, perceptive study of mid-life angst that never lacks for laughs. Promoting Rudd and Mann from Knocked Up's margins to centre stage proves to be a shrewd move.

The result is a shrewd look at classroom etiquette and an achingly sad study of grief-stricken solitude, built on ace performances by Fellag and the kids-especially 11-year-old scene stealer Sophie Nélisse.