It offers a surreal slant on post-Fukushima Japan where aggression lurks in every scene - even the romantic ones between high-schooler Yuichi (Shôta Sometani) and his stalker classmate, Keiko (Fumi Nikaidô).

This strikingly original feelgood fable is artfully balanced between director Kim Mordaunt’s roots in documentary and a spellbinding magic realism.

Directed with straightforward economy, The Invisible War sheds much-needed light on a very dark secret.

The future as candy-coloured paranoid nightmare: not quite Gilliam’s best, but still the most satisfying movie he’s made for years.

You may not be sure what you've seen, but you've sure seen something. With neither a petticoat nor a wideboy in sight, this is one of the most original and exciting British movies in some time.

An emotionally rewarding reunion tour for established fans and a taut, sharp-tongued, character-driven thriller for all, Veronica Mars makes a compelling case for its heroine’s continued existence.

The cars are hot, the action is decent, but the characters and plot need a serious tune-up.

Filmed in garish colours like an explosion in a paint factory, it’s more style than content, but diverting all the same.

Just as bloody yet much more conventional, 300 #2 offers splashy thrills aplenty but fails to make a watertight case for its own existence. Green, however, ensures it stays afloat.

Despite top-notch visuals and versatile voice-work from Ty Burrell’s (Modern Family) doting doggy dad and Alison Janney’s monstrous social worker, it lacks the "Up"-style warmth to be best in show.

A nifty lift-off and a tense first hour lead us, disappointingly, to a very bumpy landing. While Neeson and co. do their best, the script just doesn’t deliver where it really matters.

As The Palaces Burn ends up as gripping and unexpectedly moving as anything John Grisham’s ever scribbled.

A solid enough war flick, but Spielberg doesn’t have too much to worry about yet.

An amazing story and an amazing cast don’t always make an amazing film. Too light for drama, not funny enough for comedy; it’s unlikely anyone will ever risk their lives for this.

Sagnier is appealing in her first real romantic role and there’s Gallic charm galore.

Sun, sex, psychosis, skinny-dipping: it sounds like genre tat, but Guiraudie’s dark, droll study of a risky attraction upends expectations. It plays by stealth, but its sly grip is sure.

A loving, very funny valentine to undead pleasures, with Swinton and Hiddleston on top form.

Thought-provoking rather than arousing, both films explore the director’s ideas about love, sexuality and loneliness. The organ he seeks to stimulate most is your brain.

With explicit sex and penetrating philosophy, this erotic odyssey requires close attention and an open mind.

Wes Anderson’s eighth feature has a heft beneath its icing, heart behind its artifice. Check in, and you won’t want to leave.

Offering a fascinating window into a world often distorted and oversimplified, this is informative, stimulating and moving stuff.

Mostly, this is empty, ugly and pretentious.

If not wholly convincing as an ‘issues’ movie, this memoir is a triumph as an actors’ showcase; with McConaughey and Leto giving the performances of their careers.

Denis’ sparse story delivers details on a need-to-know basis, right up to the finale. Strong on atmos, thanks to Tindersticks’ score, it’ll chill you to the core.

It’s hard not to be moved by the story, but it’s only a handful of great performances that save it from underwhelming. Steal the book instead.

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.

Taking the original and successfully transplanting it into an ambitious new world, José Padilha’s english-language debut is an exciting, pacey and thoughtful sci-fi actioner.

Ridiculously funny and meticulously detailed, The LEGO Movie is far better than a toy tie-in movie has any right to be. Despite a couple of dips, you’ll be grinning throughout.