A lunatic vision, as hilarious as it is hellish. And some of the greatest action ever put on screen.

Drags in places and not always certain of its tone but with a sprinkling of eye-bulging visuals that wink to Spielberg’s heyday. Give it a shot.

It’s great to see a gritty girl-gang story that’s not a fingerwagging cautionary tale, or a grrrlpower fantasy. Sciamma finishes her coming-of-age trilogy on a high note.

A modest, moving film, Rosewater goes to show that quiet outrage can speak as loud as any atrocity.

Funny, foul-mouthed and frighteningly on-the-money, Top Five is relentlessly amusing even while it’s super-indulgent and selfabsorbed. Rock on.

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

A facepalm of a film that places no value on life or limb yet still expects the audience to, this sub-par shoot-’em-up plays out like Four Rooms’ fifth part.

Where Elmo proved to be spiky Kevin Clash’s alter-ego, this sweet if superfluous doc shows that Spinney is Big Bird, a tireless performer who refuses to retire.

Ambitiously staged and impressively shot, Monsters: Dark Continent makes a bold stab at mounting a franchise but lacks the vision and surprise of its predecessor.

Coherence croaks as Gout dishes enough jump-cuts, whip pans and slo-mo assassinations to make Michael Bay look restrained, but the multi-handed mood music offers meaty compensations.

Part horror, part love story, part morality tale, Age Of Ultron is a smart superhero smackdown that raises the bar once more.

This is not, we’d wager, the film its director intended. Yet it’s worth watching, if only to see Caine and Kingsley together for the first time in 25 years.

One of the strangest films you’ll see this (or any) year, it unsettles, bores, elates and amuses in equal measure. Not for everyone, but there’s plenty to chew on.

As a portrait of a privileged, narcissistic sex addict, its magnificence and messiness are intertwined, while Gérard Depardieu’s (literally) naked performance offers a gurning, grunting bedfellow to Keitel’s Bad Lieutenant and Brando’s butterfat Last Tango In Paris protagonist.

A classy, actorly affair, whose emphasis on bittersweet character drama over class satire is both its most striking feature and biggest missed opportunity.

Slasher smarts with guts and heart. Town is no Scream but it’s still one of the most entertaining, enterprising remakes in recent memory.

Not the deepest western you’ll ever see, but it sure knows how to pack a punch (and fire off a round). Fans of the genre will get their kicks.

Hardy is immaculate as Leo, from accent to demeanour. Now on his fourth film with Hardy, Oldman is a pleasure to watch, and even the smallest of roles have been carefully cast, with the likes of Vincent Cassel, Paddy Considine and Clarke all enjoying their moment.

Like a Cobain mixtape brought to feral life, Montage is scruffy, sharp and insightful on an oft-explored subject. The pay-off is terribly moving – it’ll drain you.

Coasting on charismatic performances and a quality crew, Gosling’s debut proves two things: screenwriting is hard, and stylish and stylised are very different things.

A minor-key appraisal of modern marriage that manages to be funny, sad and, sadly, true – just don’t watch it on your anniversary.

Required viewing as a critique of US foreign policy but forgettable as a drama, Good Kill is a timely warning, even if it lacks the power of the horrors it depicts.

A plodding, predictable script hampers this tale of a real-life legal battle. But it’s redeemed by a vital central performance – and some vivid flashbacks.

Overlords has its share of clunky moments yet nonetheless proves, like Monsters before it, what can be achieved when you’re short of cash but rich in imagination.

Laughs are few and far between in a comedy that proves the combo of talented performers and an intriguing concept are no guarantee of success. Dispiriting stuff.

Dreamworks’ sweet and cosy sci-fi comedy could have used more Oh-riginality but top-hole character design should ensure a Big Bang of Boov merchandise.

The Soska sisters’ feminist ‘T Is For Torture Porn’ has the most to say but everyone will have their own favourites (D, K, T, X and Z, since you asked).

The film’s only let down by its too-frequent recourse to narrative cliché.