Even in a crowded AI-movie market, Edwards’s stellar sci-fi is a terrific achievement. See it on the largest, loudest screen possible.

Between a fallen king and a rising threat, Marvel’s cinematic Phase 4 ends on a tender and – mostly - triumphant high.

What keeps gratuitousness at bay is Zhangke’s controlled style and empathy for the have-nots

The toe-tapping beats of this full-throated biopic will be familiar in more ways than one but Baz Luhrmann, like Elvis, knows how to put on a great show. Butler’s Best Actor chatter starts here.

Barker’s approach starts simplistic but gathers in complexity, insight and moral force with each story.

It’s flawed, yes – Frances is frustratingly underwritten, her psychological fault lines spoken of but never shown – but it’s also swaggeringly cinematic. And it has Tom Hardy vs Tom Hardy.

Romance doggy style, beautifully drawn by the best animators Disney could muster in 1955, and a true classic.

It’s a welcome spin on the once-dominant genre that now struggles for oxygen. It’s also less brutal a viewing experience than Mortensen’s punishing directorial debut, with plenty of shoots of hope, and an abundance of natural beauty.

A gripping, grimy and sensational street-level detective story, the Dark Knight’s triumphant return is exactly the fresh start needed after a decade of diminishing returns.

Filmmaker Jonathan Olshefski illuminates the rich, strife-filled lives of these extraordinary people.

It’s a relief to discover that the Lady Bird/Little Women director’s tale of a dress-up doll is profound, silly, moving, smart, existential and, to use Ken’s word, SUBLIME! (shout this (K)energetically, please).

Tiny Furniture announces Dunham as a talent to watch.

By swapping gaudy satire for introspection (without losing any of the franchise's trademark flamboyance), Wake Up Dead Man brings Knives Out back to its roots and makes for a sequel that's almost on a par with the original.

An animated film like no other, Loving Vincent is a staggering visual achievement.

Succeeding against the odds and adroitly blending its disparate elements, this is a fine entry into the Eurodirector-gawps-at-America subgenre.

Despite the warmongering title, focusing on the action would be doing The Battle Of The Five Armies a disservice. Even at its most talky, it's compelling stuff, reaping the rewards of characters built-up over two-and-a-bit movies (sometimes more), all of them flawed and with a convincing agenda.

Animated with exceptional depth and beauty by co-directors Jennifer Yuh and Alessandro Carloni (and given epic new heft by Hans Zimmer in the orchestra pit), it's a rare ’toon franchise that can grow up so quickly and still giggle at its own butt jokes.

Entertaining, engrossing and at times genuinely unnerving, Bruckner’s bad trip is one for horror fans to relish.

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!

Another work that could really only come from Anderson’s relentless imagination: exquisite detail, eclectic storylines, superb cast.

Enjoyably acted by a fine ensemble cast, it crisply skewers the hypocrisies of its left-liberal, middle-class characters.

There's much to relish here: a script which mixes pungent humour and tension, the pervading atmosphere of corruption and obsession, and a perfectly judged, tragically stoical performance from the sleepy-eyed Mitchum, not to forget Nicholas Musuraca's suitably shadowy cinematography.

A stark, sinister chamber piece built on atmosphere and performances. Morfydd Clark is a revelation.

What could be better than watching Doris Day reprise her signature role, whip-cracking away in buckskin as the deadwood stage comes a-rolling in over the hills?

Deliberately paced and expertly acted by a weathered ensemble including Hugo Weaving, Mystery Road also boasts some of cinema’s most gorgeous magic-hour photography even if, elsewhere, light is in perilously short supply.

Park Chan-wook brings operatic finesse to generic material in his tight-wound, wickedly weird US debut. And Mia Wasikowska nails it.

A fabulous first live-action effort, combining R-rated hilarity with skilled storytelling as it slips some real heart into the stuffing of a toy bear.

Scorsese blends his twin religions of Catholicism and cinema to considerable effect.