Prepare to be shocked, disturbed, awed... and, if you expected justice to prevail at last, ultimately devastated.

Insightful, revelatory and profound, Moreh's Oscar-nominated documentary combines riveting interviews, archive footage and - yes - state-of-the-art photographic effects to offer a unique perspective on the Israel-Palestine issue.

An indie with real pedigree and smarts, Holofcener's comedy of manners is well-observered and well worth watching.

The Duplass brothers enter the mainstream with a touching, original and supremely funny film, whose improvisational style sets it apart from other comedies, and marks the emergence of two major new talents. Great performances, too.

A loopy joy from start to finish, Bradley Cooper proves that he's the real deal.

July's second film, while not quite as perfectly realised as her debut, nimbly avoids the 'sophomore slump', providing the curious with another window into her highly idiosyncratic world.

Sarah Polley's second film is a masterfully painted portrait of an ordinary marriage under threat, dominated by a central performance of exquisite subtlety and observation.

With his fourth film as writer-director, Judd Apatow has arguably made his most personal film yet, without forgetting to make us laugh.

Unlucky to miss out a Best Foreign Film Oscar, this moving war flick is a nerve-jangling odyssey into the underground world.

Six years after "Little Miss Sunshine," Dayton and Faris deliver a comedy that sparkles with wit and substance. But from the script to her portrayal of the title character, Ruby Sparks belongs to Zoe Kazan, who joins the likes of Sarah Polley and Brit Marling in the rarified ranks of actress/screenwriter double-threats.

A eye-popping visual treat and a journey into the creative spirit.

Christophe Honoré goes epic in a tale of interlocking lives that owes a debt to Jacques Demy. It won't be to everyone's taste but it's playful enough to win us over.

An extremely interesting insight, proving that rap music is an art form in its own right.

Beautifully performed and tough as nails, Vinterberg's social drama could not be any more timely.

It's hard to imagine that the prodigiously gifted Dolan is still in his early twenties. This is another work of marvellous maturity and assurance.

With a debut film, Katalin Varga, shot entirely in Hungarian, Strickland isn't one for the easy option. This excellent follow-up plunges into equally unusual terrain with similarly pleasing results

Walker was Oscar nominated for Waste Land this year, and while this occasionally unfocused doc doesn't hit those heights, it's still a valuable and scary film that should be seen.

Funny, whimsical and as warming as a big bowl of Irish stew.

Schnabel doesn't comes close to the quiet power of his last feature, "The Diving Bell And The Butterfly," delivering a story that can't match the scope or scale of Rula Jebreal's source material.

Taymor's winningly cast, imaginative take on Shakespeare passes the test of bringing the Bard to film. It may also be the only PG Disney film to contain the word "F---".

Weir couldn't make a boring film if his life depended on it, and for any other director The Way Back would be laudable. It's good, but from this director we have come to expect great.

Totally crackers but it gets powered by pure invention and eccentricity alone.

Better than "The Transporter" but not as much fun as "Crank".

Gregg Araki's sci-fi is a weird and, just occasionally, wonderful skew on the college comedy. Slight but fun.

A nasty little chiller from the Saw director with the evergreen De Mornay on top form.

There's undoubtedly comedy mileage in an irreverent sending up of the Signs/Magnolia school of everything-is-connected philosophy. Despite the calibre of the cast, the Duplass brothers mostly fail to find it.

Far from the giant mess you’d expect from the delayed release, late title change and a production history as muddled as the source material, Singer’s tall tale is snatched from disaster by an all-hell-breaks-loose third act.

It's gratifying to see Butler giving a proper acting role the old college try. Despite his best efforts, Forster's film, while pulling no punches, still somehow manages to miss the mark.

Fifty years after he first appeared, Donald E. Westlake’s antihero may have found his perfect avatar. Like Parker’s robberies, it isn’t entirely successful, but Statham and Lopez make enticingly mismatched partners in crime.

The ever-versatile Winterbottom's loose and limber adaptation doesn't entirely mesh with Hardy's more formal narrative, leaving this feeling disjointed and underpowered. Nevertheless, there's still plenty to enjoy in the director's customary flourishes.

Moving if low-key, Jim Loach's debut feature is proof that compassionate, socially conscious filmmaking runs in the family.

It's a surprise to see Wim Wenders embracing 3D in its full, feature-length glory but the medium works well to capture the graceful swirl of the German choreographer's work.

Another bravura performance from Juliette Binoche glosses over the flaws in a soft-focused glimpse at the seamier side of student life.

If weapons and wizardry get your blood up, and you prefer your movies dark and brooding and minus the sandals, Solomon Kane fits the bill. It may lack The Lord Of The Rings' majesty, but Robert E. Howard fans will lap it up.

Whether or not the metaphorical aspects excite you, an unshakeable tolerance for high camp and lowbrow humour may be required to fully appreciate Almodóvar’s broad, bawdy comedy — even for fans of his early, funny films.

Does to the medieval era what Cage's Wicker Man did to Anthony Shaffer. Hokum and not in a good way.

A desire to Know What You Did Last Installment is likely to be the biggest draw for Scream number four, but if this proves to be the last in the series, it's a bloody shame it ended not with a Scream but a whimper.

If this ‘power corrupts’ potboiler had been made in the 1990s — with, say, Andy Garcia, Gene Hackman and Kim Basinger — it would already have felt old-fashioned. Forget it, Jake, it’s no "Chinatown."