Daniel Green

The tributes paid to Yauch throughout by both Horovitz and Diamond are genuinely touching, and it’s here that Beastie Boys Story breaks through its inherent – often distracting – staginess. While there is still a definitive, impartial Beastie Boys film in the offing, devout fans should be more than satisfied by this nostalgic oddity.

An unmitigated masterpiece from start to finish, Carné’s epic love story through Parisian theatreland feels as fresh and effervescent today as it must have done on its initial release, brimming with perfectly-sculpted heroes, villains and wildly imaginative set-pieces.

There are several commendable performances in Richard Jewell – Bates’ among them – that lift an otherwise stolid, workmanlike entry into the filmography of the 89-year-old Eastwood.

Despite its slightly televisual veneer and sporadic bouts of mawkishness, as far as British costume dramas go, The Personal History of David Copperfield is better than the majority.

Uncut Gems is not only one of the tightest, tensest American thrillers of recent years but also a fine addition to the New York-set movie canon.

Those looking for a complex, funny and touching family will be more than rewarded for seeking this out.

Ad Astra provides the genuine thematic depth and real-world grounding so often missing from films of its ilk.

An epic yet deeply relatable human drama, Blue Is the Warmest Colour offers far greater riches than its public notoriety would have you believe.

The good news for those not enamoured with Suspiria (2018) is that they’ll always have the original. The even better news for those who do go with this daring, uncompromised reimagining of Argento’s occult opus is that it now has a sleek, satisfying sibling.

There’s just enough thrills and gills here to satisfy both monster-movie junkies and advocates of multi-million dollar US/Chinese co-productions.

It’s the impeccable performances of its central quartet and delicious premise that makes A Quiet Place such an exhilarating watch.

Thankfully, some typically rich voice-acting and a plethora of visual gags help to gloss over a number of uncharacteristic stumbles.

Featuring a breakthrough lead turn from Oscar Isaac as a struggling folk singer, the Coens have returned to the high watermark of such classic efforts as Miller's Crossing and Barton Fink.

Caution should always be taken when branding any film about an 80-foot ape "illogical", but such is the gross stupidity of the film's movable feast - and the abominable dialogue spewing from their mouths - that you'll likely thank the primate deity himself every time one is crushed, impaled or bisected.

A minor miracle in and of itself, Edwards' Rogue One somehow delivers on almost all of its weighty pre-release promises whilst at the same time besting The Force Awakens for sheer spectacle and world-building.

For fans of samurai cinema, 13 Assassins ranks right up there with Yôji Yamada's The Twilight Samurai (2002) and Takeshi Kitano's The Blind Swordsman: Zatoichi (2003) as one of the finer additions to the sub-genre in recent years.

Drunk on the visual majesty of Rome, just as Fellini once was, this is arthouse cinema at its most effortlessly entrancing, with life and art blending into one magnificent whole.

With Catching Fire, director Lawrence certainly isn't afraid to bide his time and build anticipation for the truly spectacular (and tropical-tinged) Quarter Quell, patiently reestablishing crucial relationships for maximum dramatic pay-off.

The Hunger Games looks poised to usher in a brand new hit franchise and deserves all the credit it gets for its confrontational subject matter, delicately-orchestrated fight sequences and sci-fi sensibilities. For teen audiences, films don't get much darker - or smarter - than this.

By utilising a Herzogian blend of existentialist narration with the addition of numerous well-structured interviews (both academic and candid), Guzmán opens up the floor - and skies - to a frank and painfully honest discourse on Chile's past, present and future.

Llosa shoots for the stars with her oblique pseudo-think piece, but unfortunately ends up dragging her latest offering down to the bottom of the coldest, darkest abyss of cod spirituality imaginable.

A harrowing but necessary insight into what the first Allied troops met as they stumbled upon the nightmare of the Holocaust.

The only thing Joffe's Before I Go to Sleep has going in its favour is that it's too brief to really lull you into slumber - despite its best efforts,

Though some artfulness is dredged up amongst the trash, there's plenty to perturb and perplex.

Short but sweet, Advanced Style goes some way towards reclaiming high fashion for all ages and backgrounds - not just the young, privileged and white.

Having constructed such a dramatically enticing set-up, it's thus disappointing to see Mackenzie fall back on familiar generic tropes with such a frustrating sense of inevitability.

Lilting looks set to linger on in the memory of those who seek it out for weeks, months and perhaps even years to come.

Slattery does at times struggle to bring anything new to the impoverished blue-collar, working-class trope. Relying heavily on several top-drawer character actors to lift his occasionally flat, even nihilistic story of love and death amidst urban decay, it's Hoffman and Jenkins that deserve the largest proportion of praise, while other characters quickly fall to the wayside of our interest.