Daniel Green

Glazer’s Under the Skin is his otherworldly opus.

A jolting cinematic experience, Wake in Fright bites like a dingo and kicks like a mule.

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.