Rural life is familiar terrain for British cinema, but with Barnard as our guide, it remains an enthralling destination.

Family entertainment with death, limb-lopping and other horrors. If you go Into The Woods today, you’ll be surprised how faithful this is to the dark stage musical.

Slick but overstretched, Predestination deserves respect for what it tries to achieve rather than dismissal for not getting there. Either way, you will not be bored.

With its monochrome stylings and a plot laced with ennui, it might be the most French film ever made, but there’s no denying Garrel’s craft.

Tenet is a practically perfect (re)introduction to the big screen. Whether audiences are ready – where safe – to return to cinemas en masse is another question entirely. Certainly, Tenet’s a more challenging film than some may be comfortable with after a five-month absence, but this is an all-too-rare example of a master filmmaker putting everything on the table with, you sense, not a modicum of his vision compromised. The stakes have never been higher, but Tenet is exactly the film cinemas need right now.

Interesting, but others have explored similar themes far more effectively.

Gena Rowlands gives one of her bravest, most startling performances here, waging guerilla combat with the demands of a play she can’t abide, wrestling with demons so real they kick her in the teeth.

Denis’ sparse story delivers details on a need-to-know basis, right up to the finale. Strong on atmos, thanks to Tindersticks’ score, it’ll chill you to the core.

An impressive directorial debut – and acting turn – from Parker that deserves to be seen, despite the PR firestorm.

Another home run for the MCU that puts Pete’s responsibilities in a post-Iron Man world front and centre during a rib-tickling summer romance. Whatever you do, don’t skip the credits.

By turns dynamic, dangerous and bursting with passion, Out In The Dark is a stark, swoonsome romantic drama.

Spearheaded by a strikingly self-assured turn from Elle Fanning, this ’60s-set coming-of-ager follows two teenage girls whose bond starts to crumble under the emotional and political pressures of adulthood.

With Hill on co-scripting duties with Scott Pilgrim scribe Michael Bacall, 21 Jump Street was always going to live or die by its gags. Fortunately, it boasts that sweet-yet-dirty comedy that Hill revels in.

A sombre, ’70s-flavoured crime drama with strong, interior performances from Hardy, Gandolfini and Rapace. Feel the (slow)burn.

With a quality cast (which also includes Lena Olin as Winton’s wife and Jonathan Pryce as his friend), this is a finely crafted film that unfolds with great care, building towards a cathartic climax.

Fuelled by Cammell's whacked-out erudition and lensed with tyro brilliance by Roeg, this hallucinogenic deconstruction of identity writhes with sex, substances, ultraviolence and good ol' rock'n'roll.

Not up there with key US influences "Annie Hall," "When Harry Met Sally" and "Jerry Maguire," but a romcom Brits can be proud of. Make a date of it.

It might not sound much on paper, but it’s all in the delivery, the appealing lead performances combining with Wheatley's sudden tonal shifts to produce a film that’s funny, sinister and strangely moving.

Trumpeted by Netflix as a ‘new-school western’, The Harder They Fall in fact takes the staples of old-school westerns (bandits, bank jobs, train robberies, rowdy taverns, shootouts) but blends them all together in a manner that feels fresh and vibrant.

Justin Lin proves a safe pair of hands at the helm of the Enterprise. Powered by a spirited sense of adventure and a nice teamwork dynamic, it’s fun, but not essential, summer viewing.

What's remarkable is the lack of cheese. Tacky effects, corny dialogue and creaky performances are all shown the door. We repeat: not the new "Twilight".

Conceived on an unprecedented scale in ambition and technique, Otomo’s rich visuals and awe-inspiring action depict a post-apocalyptic dystopia where the threat of feral biker gangs is dwarfed by the rise of an uncontrollable psychic.

As crude as the oil it revolves around, Deepwater provides combustible entertainment without leaving the shallows.

Forceful and arresting, Ayer's follow-up to "Harsh Times" and "Street Kings" sees him confidently playing to his strengths.

A stupid film made by very smart people, Subsequent Moviefilm has a noble intent at odds with the loathsome figures that populate it. It’s never quite as gut-bustingly funny as the 2006 original, but you get the sense that wasn’t what Cohen was going for. By simply holding a mirror up to the rampant hypocrisy, division and hatred across America and giving bigots the rope to hang themselves, Borat feels more relevant and necessary than ever.

On form as both director and actor, Jones crafts a mournful but moving hymn to the western. The feminist subtext, meanwhile, brings a fresh slant to the old genre.

Thunderbolts* is a refreshing offering from the MCU that takes plenty of big swings and only occasionally misses. The movie cares more about the characters and relationships on screen than the franchise at large, and that means we do too.

A primitive concept (cavemen play football) generates unsophisticated laughs in an animated caper that’s fun but rather second division by Aardman standards.