As the film glides towards its climax, Song dismantles your heart with the cool proficiency of a bomb-disposal expert.

Running from entertaining to tense as hell, Layton’s docu-drama heist flick grapples with something that most capers can’t even begin to compute: consequences.

A World Cinema Dramatic prize winner at Sundance, Hogg’s best film yet is an instant British classic.

A smart, stirring spectacle that faces down impossible expectations to pull off a hugely satisfying end to business.

Strikingly original, brilliantly acted, this serio-comic masterpiece constantly swerves expectations.

This is a Marvel movie that knows when to embrace the ridiculous and when to puncture any pomposity, and it's a delight from start to big finish. And yes, you do need to stay to the very very end of the credits.

You won't find a more bone-jarring set of fight scenes than the ones on display here, while Mifune's blood-letting drifter offers a masterclass in justice-dispensing cool.

Overall, Cregger’s twisted fairytale is not only the best horror movie to come out of an already impressive year for the genre, but Weapons is a positively terrifying, heartwrenching look at a struggling community.

Whilst there is plenty of swordplay involved, it's the war of words and ideals that really captures the imagination here.

Jamie Foxx is on awards-worthy form.

Writer/director Christopher Payne paints a credible portrait of life as a professional hoofer. But the leads struggle with an undernourished script, and there’s a cheapo televisual vibe throughout.

From niche subject matter, Fletcher's crafted a movie that's both universal but also unashamedly, gloriously British. Very funny, genuinely moving and endlessly good-natured.

Heartfelt and inventive, this documentary from exiled director Ali Samadi Ahadi chronicles Iran's abortive Green Revolution during the summer of 2009.

Fleet, funny, impeccably orchestrated: whimsical Wes returns on top of his game. Non-fans might call it over-familiar comfort cinema but with the craft so loving and new elements so well-integrated, his singular pitch remains a thing to cherish.

The stalk ‘n’ slash sequences, though decent, can’t match Craven’s mastery of mood and mechanics, but the new guys understand that Scream movies are sick as well as slick.

The breakneck pace leaves little room for meaningful character development... But there’s imagination, spectacle and thrills to spare.

Devastating and uplifting in equal measure, this emotionally draining film makes good on Shults’ early promise.

Powerful drama, driven by a powerhouse performance, Selma is this year’s Lincoln. For Oyelowo and DuVernay, it’s a career changer.

It’s actually a ruthlessly plausible thriller, stripped clean of music and melodrama, and all the more engrossing for it.

Debut director Mimi Cave and screenwriter Lauren Kahn maintain a sure grip over the tonal shifts, ensuring the messages don’t drown out the entertainment factor.

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".

Smartly executed, endlessly quotable and machine-gun quick, this is one of the funniest films of 2013. Accessible for Partridge novices and hugely rewarding for the faithful.

A feel-good charmer with an important message, Pride will have you clutching your sides, wiping your eyes and punching the air in triumph.

Bond 21 is refreshed yet faithful, any grumbles easily quashed by Craig's powerful presence. The suit fits. And he wears it well.

While sympathetic to their plight, the directors prove alert to the story’s wider impact, speaking to proud parents and outraged opponents alike.

Dastmalchian shines as Delroy, mugging to the studio audience as things spiral out of control, all the while rubbing his hands that he has managed to create the TV event of the decade. And along the way, the filmmakers pull off some rather nasty surprises.

Awkwafina and Zhao shine in a deft comedy-drama with a higher US per-screen take than Avengers: Endgame.

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.