Tense and thought-provoking in equal measure, this is first-rate – a modern-day Dr. Strangelove played out on video screens.

Task Force X has the X factor in James Gunn’s lively, funny, and very bloody improvement on a DC disappointment.

Even the devout, surely, will warm to Dormael's alt-gospel: one of compassion, oddball fish gags and cheerier skylines.

Good enough to survive evoking "Bicycle Thieves" and "The 400 Blows," this small story contains universal truths, told with irresistible force.

Chadwick Boseman gives this muscular film, Ma Rainey's Black Bottom, added punch and poignancy.

Loud, intense, violent, relentless, Fury doesn’t stop until the credits roll, thanks to Ayer’s cracking direction and a committed cast. The best WW2 movie in some time.

Miyazaki’s first film in 10 years proves that he’s still a master of the medium. And if it’s his last film, it’s a fine one to go out on.

Not perfect and not a patch on the original film, but the magic of Ridley Scott's direction and Denzel Washington's performance elevates Gladiator 2 into the epic spectacle it needs to be. But best to manage your expectations in comparison to the Oscar-winning film.

The Mitchells Vs. The Machines is as irreverently funny as 21 Jump Street and The Lego Movie. And, like Spider-Verse, it has a unique visual style that rewards close inspection.

Beautiful and bold, rebellious and riotous, its sexual frankness puts E.L. James in the shade.

Between its orgiastic carnage, orgasmic colours and very good dogs, Wick’s return gives hyper-stimulated action cinema a good name.

What distinguishes My Brother The Devil is El Hosaini’s maturity in avoiding faux-doc grittiness, political grandstanding or flashy glorification in favour of an intimate, closely observed character piece.

An intriguing forerunner to François Ozon’s Swimming Pool, it’s languidly paced and elegantly lensed, though its prize asset is Delon/ Schneider’s sexual sizzle.

Injecting fun and fairground thrills back into the spy movie, Kingsman is a blast. Firth is sensational, Jackson rules and newcomer Egerton surprises. Mission accomplished for Matthew Vaughn.

A great big bear-hug of a Britcom, with rhinestones on its shirt, salsa in its heart and dick jokes up its sleeve. Something for everyone, then.

Closer in metaphysical spirit to Kiarostami than to Leone, it lingers thanks to beautifully lit widescreen images of lived-in faces and barren, beautiful landscapes.

You’re left with the feeling that the film could have been made under another title, with no brand recognition, and be no less successful. Still, that’s Hollywood for you; at least the result emerges as a fine tribute to the unsung heroes of the movie business.

Compared to the average family-friendly animation, this is very much an upgrade.

Gibson returns to film’s frontline with a ferociously felt anti-war movie, while Garfield invests his Doss with tremendous conviction.

The initially cryptic plotting and low-key realism are familiar from Iranian dramas; what’s striking is how Rasoulof shifts into such a lucid, gut-punching tale of persecution. The film’s flaws are forgivable; its very existence should be applauded.

Unashamedly absurd, wildly entertaining and face-achingly funny, Love And Thunder makes Ragnarok look like Bresson. Another classic Thor adventure.

A Disney flick that feels like on-form Pixar, blending knowing humour and sophistication with a large helping of heart. You'll want another go.

Tracing how the world’s peaks came to be viewed as playgrounds, it needs to be seen on the big screen for its vertiginous images of high-altitude adventurers.

Kneel before shannon. His primal, powerhouse turn drives this criminal biopic. the film won’t win any prizes for originality, but its star proves he’s a real man of steel.

Mad, marvellous and all kinds of sci-fi magical, Guardians Of The Galaxy is Marvel’s riskiest but most surprising success yet.

The best horror remakes are not afraid to push the source material in new directions – exhibit a) The Thing; exhibit b) The Fly – and while Watkins’ movie is nowhere near the level of those masterpieces (few are), it’s shrewd, engrossing and pleasingly nasty.

Wiser, sadder but very much alive and kicking, T2 is a film that knows you can’t compete with the ghosts of the past. But at least you can dance with them.

An earthy, affecting and droll celebration of the unique alignment of influences that forged a great band – and the thrusting live footage rams Pulp’s greatness home.