A masterpiece of animation and imagination.

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.

One great British artist pays tribute to another in a lengthy but rewarding homage that boasts a titanic turn at its centre. Rarely has watching paint dry been so fascinating.

With measure and muscle, Lawrences Jennifer and Francis nail the job of selling the long, twisting road towards revolution.

It’s left to the leads to keep us engaged, a tall order given their film’s old-fashioned, fusty feel.

Every bit as compelling as any Hollywood political thriller.

Nolan reaches for the stars in spectacular fashion, delivering a mesmerising sci-fi epic that, despite a testing running time and few too many flights of fancy, is grounded by an on-form McConaughey.

Gyllenhaal is sensational headlining a pitch-black satire with its finger on the pulse.

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.

The heart-stopping climax offers no answers: just the lingering unease of uncertainty.

Though its influences (Badlands, early Coens) are writ large, and the denouement disappoints, the performances convince, the dialogue captivates and the sense of backwater boredom is overpowering.

MacKay is marvellous, delivering lines with a Lear-like intensity, in what becomes a fascinating meditation on myth and madness.

It’s nowhere near as subversive, stylish or witty as Guy Ritchie’s debut – hampered by thoroughly unlikeable characters that not even its talented young cast (Ed Speleers, Will Poulter, Alfie Allen) can make you root for.

Doesn’t have the heft of Zodiac or the verve of Se7en but Gone Girl is a masterful adaptation and a superior crime-thriller. As for Fincher changing the ending… See for yourself.

Impressively designed throughout, The Unbeatables also keeps the laughs kicking.

Exciting, in places, though a stranger to subtlety, it ticks all the genre boxes, but there’s something about its knowing noirisms that feels superficial rather than soaked-in.

Hardly the most original film of the year, but one of the most purely pleasurable. The ideal horror intro for fledgling genre fans – scary fun that definitely fills a hole.

Cool as you like one second, camp as Christmas the next, this entertainingly overpumped action-horror will have genre fans (and their mums) grinning from ear to ear.

It’s unashamedly broad, sentimental and clichéd, but Cox anchors proceedings with wit and tenderness, while Smith (who can act and shoot at the same time) adds wonder.

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

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

Lawrence’s mechanised menagerie and the directors’ stereoscopic smarts entertain most.

From the texture of the underground havens to the idea that our leads have to – literally – cling to each other lest gravity tears them apart, it’s a wonder of detail and ingenuity.

Amini’s film offers elegant pleasures and holds the interest – but it never grips as it should.

Rude, crude and packed with more laughs than Jay’s had lovers (6,004, apparently), Inbetweeners fans will lap this up. All this, and a killer twist at the end.

Boasts sporadically electrifying visuals but a frustratingly messy mythology.

Whether visual or thematic, Folman’s bold, eccentric ideas never fail to astound; but they also never truly cohere into a satisfying narrative throughline.

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