Besson is at his balls-out bonkers best in this genre-scrambling, mind-expanding exhilarator.

Think Luis Buñuel spliced with Hieronymus Bosch.

It's a must see for fans of roar footage.

2 Days is a sparky, crowd-cheering gem buoyed by Julie Delpy's smart writing and Adam Goldberg's tart whining. Less swoony than Linklater's "Before Sunrise/Sunset," but Delpy nails the relationship humour.

Lie Laas' furrowed lead and Nørgaard's taut orchestration of flashback-pumped plotting help flesh out old clichés – at least until the climax takes a glum turn for the overwrought.

An end-game disclosure that seems too neat a plot turn can be forgiven for the elegant way Wright and Birchir play it and the buoyant note of catharsis and hope that Land ends on.

The Raid star remains an electrifying, inventive fighter, even fending off a machete-wielding foe while handcuffed to a table.

Gyllenhaal is engaged and engaging in Denis Villeneuve’s adventure in psychological surrealism: let’s hope they stay friends.

The most action-packed Avatar yet still has the capacity to dazzle, with Oona Chaplin's Varang turning up the heat. Even if a frustrating lack of resolution and some repetitive storytelling choices make this feel more like The Way of Water part 2.

Bigger and broader than before, Ron’s return occasionally feels like autocue’d sequel-making. But it spikes old news with enough fresh comic zip to keep you hooked through the self-indulgent stretches.

Scrupulous but ponderous, this documentary account of avant-garde Spanish über-restaurant El Bulli's annual stint creating ker-aazy new recipes piques your interest but not your taste buds.

The style might cause whiplash, but it’s worth it for the thrilling momentum Chazelle brings to his revisionist filmdom fantasia.

An impish Peter and an enjoyable Hook shine in this comfy, occasionally inspired take on J.M. Barrie’s classic.

There are moments of sweetness and spontaneity with her BFFs (Alia Shawkat, Sarah Steele) but not enough to fill the hole where the film’s soul should be.

A classy ensemble (Charlotte Rampling, Harriet Walter) supports Jim Broadbent’s amusingly tetchy lead, while youthful flashbacks evoke a mood of romantic yearning.

Philippe Le Guay’s comedy promises an intellectual satire on how actors mirror their characters. Yet it’s compromised by indulgent pacing and ill-advised slapstick – leaving a cosy, middlebrow showcase for its stars to practise theatrical verse and fall off their bikes.

Packed tight, Jacobs’ straightforward sequel may boast less up top than the Soderbergh-directed original, but still bulges where it counts.

Christian Bale outstrips all his previous transformations.

Laying bare his characters, Seidl uncovers the doubt beneath the armour of religious belief.

Simply doesn't have the original's magic.

Thought-provoking rather than arousing, both films explore the director’s ideas about love, sexuality and loneliness. The organ he seeks to stimulate most is your brain.

Another silly but sturdy instalment that’s as well-oiled as The Rock’s muscles. If the ‘Letty in London’ story doesn’t exactly have that new-car smell, this is still the fastest soap opera on wheels.

It’s the fully invested leads and graceful, poetic direction that give this study of emotional interiors its subtly heartbreaking power.

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

The sight of SPECTRE’s alligator-jawed spacecraft, its maw opening like an evil steel bloom, is one of the single most brilliant visuals in the Bond canon.

Smartly spoofy rather than sweetly nostalgic, this distractingly star-studded jaunt is fast and funny, but short on emotional punch.

The animation is spellbinding as Onward builds into a galloping adventure full of amusement, excitement and enchantment.

For most of the film’s running time, Wain refuses to give in to mush or melodrama, preferring to prod hopelessly dysfunctional characters into uneasy duels, just to see who blinks first.