The ambition is bracing, but critical hindsight obscures how exciting Malle’s noir thriller is on its own terms.

Like the Toy Story trilogy, Inside Out is about leaving childhood behind. It’s not quite as moving as those films but it is A-grade Pixar, full of Sadness and Joy.

I don’t want people to dislike me. I’m indifferent to if they dislike me,” says Jobs. Well, this won’t be for everyone but it dazzles. Markedly better than Ashton Kutcher’s Jobs…

Detractors may carp that Cronenberg is showing us nothing new, but Maps is so flawless in its execution, it vividly refreshes the subject matter. Never overcooking the setting, it’s a story right in his wheelhouse; a very human look at characters barely clinging to their humanity.

Largely lensed in the window between sunset and nightfall, it’s a magic-hour masterpiece. [26 Aug. 2011]

Weaving the Tulsa race riots, the KKK and the Masons into its tapestry, Scorsese’s opus questions the misdeeds of America in the last century while linking them to the pressing issues of today. Addressing racial violence, nationalism, the continued epidemic of missing and murdered Indigenous women and even our lurid obsession with true crime, Killers of the Flower Moon paints a robust picture of a moment in history that invites viewer introspection.

Let it be said that it’s such a fearless, fierce, menacing turn that comparisons with Jack Nicholson don’t come into it. This is the definitive Joker.

Will Richard E Grant ever get a better role than bitter thespian Withnail? Has anyone devised a more iconic comic notion than the Camberwell Carrot? Has any screenplay combined so many quotable lines with such tear-jerking pathos or blatant homophobia?

A compassionate, masterful work that deservedly won Haneke a second Palme d'Or after "The White Ribbon's" 2009 victory. Best to avoid on a first date, though.

Charming, spectacular, technically audacious… in short, everything you expect from a Peter Jackson movie. A feeling of familiarity does take hold in places, but this is an epically entertaining first course.

Mickey 17 is funny and charming from the get-go, building out a fascinating sci-fi world from its central conceit that ends up speaking to powerful and timely concerns through humour, satire and exhilarating genre elements. Bong Joon-ho's best English movie to date and arguably Robert Pattinson's best movie ever.

An excellent middle chapter bursting with wit, wisdom, emotion, shocks, old-fashioned derring-do, state-of-the-art tech, and stonking set-pieces.

Isabella Rossellini’s singer Dorothy is a heart-rending open wound, Dennis Hopper’s Frank Booth one of cinema’s great nutjobs, and Lynch’s control a thing of nightmarish beauty.

Dear everyone – stop whatever you’re doing and go see Dear White People. One of the freshest, funniest and most vital films of the year.

The ghosts of Scorsese’s past can be found in these gaunt GoodFellas. An engrossing and, yes, haunting epic.

This is the flip side to his samurai films, an introspective, naturalistic contemporary drama combining progressive social criticism with a universal humanist message.

The film’s power lies in its use of archive footage, voiceover and even Ebert’s computerised speech translator to keep the writer’s voice alive.

The plotting is elliptical and the sweep intoxicates, but the contrast between De Niro’s meditative Vito and Pacino’s soul-starved eyes brings piercing focus to Coppola’s resonating study of corrupting power.

From the pitch-perfect characterisation to John Williams’ soaring score to the magical effects, it’s every bit as good as you remember. [2002 re-release]

Visually astonishing, emotionally daring, this spectacular sequel has enough wit, imagination and thrills to fill several worlds. But prepare to be left hanging till the sequel hits screens.

After 30 years of gestation, Mank emerges one of the great films on the machinations of Hollywood

One great British artist pays tribute to another in a lengthy but rewarding homage that boasts a titanic turn at its centre. Rarely has watching paint dry been so fascinating.

A heist movie with serious bite, Widows is both brilliantly tense and strikingly relevant.

In its precision, perversity and stinging wit, Sunset Boulevard still has mighty sharp teeth.

Moving ever-onward from the sequels years, Pixar gets right back in the zone with Soul. Deep, witty, and fast on its jazz-loving feet, it doesn’t miss a beat.

Rosi offers a simple, stark contrast between quiet moments of everyday life and tragedy as mass fleeing results in sunken boats, horrific injuries and death.

Wonderfully whimsical children’s fantasy about a young boy’s journey through the space-time continuum in the company of six cantankerous dwarves.

A Different Man is in essence a meta-movie, one that cunningly examines issues surrounding beauty and artistic creation.