Del Toro’s Valentine to boundary-crossing love pours from the screen in ravishing torrents of feeling and style. And Hawkins is sublime.

Smart, funny and emotional, Lady Bird is a Trojan horse movie – sneaking its way into hearts and minds via well-worn tropes.

This chilly thriller is another highly accomplished feature to add to a formidable body of work.

Confident, assured and athletic filmmaking. And with Boseman on such dignified, dynamic form, his Infinity War return can’t come soon enough.

For all their technical competence, the Spierig brothers don’t show great understanding of how ghost stories actually work.

A film that also aims for gangster grit, community awareness and emotional impact, but compromises on everything.

Anderson crafts another classic of obsession and strange love, played by dynamite leads: Day-Lewis retires in style, Krieps is revelatory.

Claflin and Bettany stand out among an impressive ensemble in a harrowing, powerful WW1 drama well worth enduring.

The story is predictable, but Simmons’ tighty whities and Delpy’s fish impressions compensate.

A primitive concept (cavemen play football) generates unsophisticated laughs in an animated caper that’s fun but rather second division by Aardman standards.

No small achievement. Alexander Payne re-confirms his position as one of US cinema’s premier filmmakers.

A salty road trip tinged with sadness, sensitively handled by Linklater and his cast. Unfocused in places, but never less than diverting.

Shot with doc-style immediacy, it expertly builds to a shocking climax.

The result is poetic but unfocused.

Cooper’s western may be too meditative for some, but its grit, beauty and honesty are too potent to ignore.

We’ve seen Stiller do ‘exasperated malcontent’ before, but this remains a perceptive portrait of fortysomething angst.

Scott steers his ideas-rich, character-based thriller with brisk authority. Plummer and Williams bring their all.

The shadow of subsequent events looms oppressively large, but Greg Barker’s film still speaks eloquently for diplomacy and selfless public service.

With its monochrome stylings and a plot laced with ennui, it might be the most French film ever made, but there’s no denying Garrel’s craft.

A solid if far-fetched thriller that still entertains, even as it goes off the rails.

It’s hardly fresh, but the spectacle is decent and the relationship dynamics absorb just enough to fill the lengthy run time.

It may lack the ingenuity of their finest outings, but this is Pixar’s best film in ages. Visually splendid, frequently emotional and culturally nourishing.

A timely look at a fight to be heard – in the boardroom or the press – that’s elegant without being electric.

McDormand is an unstoppable force in a fiercely intelligent, profanely poetic movie that shifts tonal gears at breakneck speed.

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

Bloom’s an extraordinary character, expertly played, and we gradually move from admiring her chutzpah to genuinely caring what happens to her.

Neither a satisfying treaty on diversity and 'race' wars, nor a fulfilling fantasy, it derails at the end of the first act with a confusing moment of anti-heroism, and never recovers.

Fans will find just enough heart-swelling moments involving friendships and family to enjoy one last group hug.