A warm, witty and welcome return – intelligently evolved and an absolute hoot. As Bridget would say: ‘v.good’.

Charming, poignant and often very funny, Baumbach and Gerwig’s latest collaboration is a joyous portrait of an unformed personality that should strike chords of recognition in all who watch it.

Sharply observed with a top-notch cast and a pleasing old-school vibe, The Instigators is tremendously entertaining.

Between bouts of partying and freeform dancing, newcomer Park Ji-min brings a near-musical virtuosity to this questing character piece.

An Oscar-aimed turn from Gary Oldman anchors this WW2 portrait of Churchill at his most beleaguered.

Portman’s Oscar-worthy work crowns an unconventional study of an icon, while Mica Levi’s score is sublime.

It’s heartening to find Fox so fearlessly unhumbled by his condition and the mobility problems that come with it. One of the star’s stipulations before consenting to this film was that it would have "no violins". By its end you’ll be happy to give him the whole flipping orchestra.

Rounding things off in grisly fashion, the Bristol studio manages to get away with a dark, tongue-in-cheek chick-flick that will have you thinking twice before ordering your next takeaway.

In an era when many schoolkids are more concerned about gun violence (in the US), cyberbullying and sending nudes than the seemingly more old-fashioned growing pains of who you are and whether the popular boy fancies you, Are You There God? It’s Me, Margaret. is a welcome, nostalgic throwback to simpler times.

Andersson’s movie reveals poetic ironies, surreal slapstick and melancholy truths, often all wrapped up together.

You don’t need to be a Swiftie to admire the astonishing staging, endless creativity, and the spectacle of an artist giving her all.

One of the decade’s most accomplished fantasy sagas signs off with a finale that’s exciting, moving and fabulous to look at.

It’s a straightforward morality story at heart, reminiscent at times of A Bronx Tale and with a sagacious neighbourhood DJ (played, rather fabulously, by ex-footballer Ian Wright) cut from the same cloth as Do the Right Thing’s Mister Señor Love Daddy. Yet it is such a stunningly and meticulously designed film that it continually captivates.

Equally cool and cruel, stuffed with subtext, this ‘Iranian fairytale’ weaves its spell to a flip, hip ending. Amirpour is one to watch.

Director Tim Story (Barbershop, Ride Along, 2005’s Fantastic Four) skewers Hollywood convention and urban stereotypes in a rapid-fire satire that manages to be both scathing and affectionate. If the plot ultimately feels a tad stretched - despite the 97-minute run time - you’ll likely be having too much fun to care.

A taut, chilling little horror-thriller making maximum use of minimal resources to tap into our primal fears of the unknown.

A surreal head-scratcher that'd make Luis Buñuel smile, it may not be perfectly formed, but there's no denying its fierce originality.

Powered by the magnetic Aaron Taylor-Johnson, it’s rough around the edges, but still intoxicating.

The armageddon-through-beer-goggles approach brings the chuckles, but The World’s End stands up as a great example of the genre it ribs. Nostalgic, bittersweet and very, very funny.

Fresh enough to engage newcomers, respectful enough to appease scholars, this is – for genre fans – pure period-drama porn.

There’s a neat final twist up [Attila Till’s] sleeve – and by casting paraplegics, he avoids the easy sentimentality that subjects such as this often invite.

The MCU’s self-appointed messiah might not have pulled off a complete course correction, but he delivers an action-packed, gag-stuffed crowdpleaser that gives the franchise a much needed lift. Jackman is worth his weight in adamantium.

While the biopic is determinedly feel-good, and sometimes a little over the top, Williams holds true to the spirit of someone who - like Gael García Bernal - was a born entertainer.

Nia DaCosta turns things up to 11 with an energized take on the 28 Years Later world. Come for the gore but stay for the surprisingly frequent jokes and a pair of astonishing performances from Ralph Fiennes and Jack O'Connell, whose sadistic Jimmy Crystal is utterly hateful but always compelling.

This classy, female-centred Omen prequel is devilishly good at keeping its nun on the run.

Based on genuine cases, the film reveals its horrors in a matter-of-fact manner, taking care to show the characters grasping every chance for laughter - however inappropriate - amid the grimness.

Weird, twisted and deliciously unique, Medina’s horror taps a dynamic vein in feminism and Giallo-esque gore.

Paul Feig makes a slight gear change for a slick thriller that’s best enjoyed with a martini in hand.