Letterboxd — Your life in film

Tarantino's best film since Pulp Fiction, the first time in a long while he has managed to make his story interesting enough to completely justify its length, mainly achieved by humour and an unexpected dose of social conscience. More on the site.

Fun, but shallow. No character develops significantly, the best bits from each individual franchise are assembled out of the final offering and the plot is straight from superhero cold storage. Ruffalo and Whedon are good additions to the team. More on the site.

There have been problems throughout and they're more pronounced here; under-written characters and a deeply silly MacGuffin feature heavily. Still, the soaring finale is superhero gold and Gordon-Levitt and Hathaway keep up with Bale, Caine & Oldman. More on the site.

High expectations can kill a film but not one that moves this quickly. Refn finds new beauty in neon-lit scenes of murder and horsepower driven adventure. More on the site.

It's got an ill-advised scene with komodo dragons and a finale that manages to call to mind Home Alone but it is also a Bond film that tries plenty of new things and actually pulls a lot of them off. Deep and fun, in that order. More on the site.

Dirty, grime-flecked Sci-Fi with an unexpected structure. Seems to have plenty to say about violence in our culture and in our minds and how it threatens to destroy our next generation. More on the site.

After it went at least partially missing in The Town, Affleck again finds the tension that made Gone Baby Gone such a great film. The clinical structure is one of the film's best assets but the lack of individualism in much of the escape group leaves it reliant on the audience identifying with them as a whole. More on the site.

Changing Rachel and the computer-MacGuffin are errors but this is still a perfect enough film. Ledger's Joker works as the antithesis to Neeson's Ghul and Nolan manages to weave in musings on democracy to a superhero blockbuster. Set pieces improve flipping drastically. More on the site.

Song-singing and orc-beheading make for a curious mix in a film that struggles to find its place amongst greater ancestors. Radagast isn't so much a massive problem, but he is the biggest symptom of *the* problem. Officially bored stupid by waiting around in Rivendell. More on the site.

Should teach Rom-Coms that actually, honesty about your characters and their flaws might make the audience love them more. Won't, but it's a nice thought. The two leads are great fun to be around and the revolutionary treatment of Tiffany's depression in particular, noteworthy. Finale successfully makes you realise just how much you've come to care for the two protagonists. More on the site.

Mix Alien, The Tree Of Life and, erm... Resident Evil and you're somewhere close. The final half is hastily drawn in schlock but the first is painted powerfully in tension and awe. More on the site.

A curious mix of Anderson's usual vibe (everyone acts like they're on the most relaxing cocktail of drugs in existence) and a new-ish interest in awkward first steps into love. Occasionally appears to be going out of its way to be even more twee than the director has been in the past. More on the site.