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Nicholas Winding Refn's 'neon-noir' heist film Drive winds the speedo back 25 years to honour the spirit of 80s action films, but this fable about fast cars and mob violence isn't afraid to show its feminine side.

It's a film that has its finger on the pulse of what's current and in style, and one that has solidified its place as the coolest film of the year.

Although there's enough emotional manipulation here to fill a river with tears, it's hard not to be swept up...

Maybe it's all true. But one is always a little discomfited when life, or a movie, imitates weary melodramatic patterns this slavishly.

Blue Valentine has a rare emotional intensity. There is no way to prepare for its final frames, inevitable as they are.

A searing portrait of the disintegration of not just a marriage but, more importantly, the love that once fueled it.

Ryan Gosling's self-destructive teacher is easily the year's most mesmerizing character study. And he's hardly the only reason to see this film. Shareeka Epps anchors her scenes as Drey with a self-possession way beyond her years.

It's hardly a film which trumpets its virtues but that's part of the pleasure to be had from it. It doesn't know how good it is.

An exploration of what it means to be Jewish and what it means to hate - two separate subjects that happen to overlap in this case.

No polemic, the movie puts our own religious sensibilities and prejudices to the test. The result is arresting, prickly, vaguely funny, even - 'difficult' in the best sense.

An intriguing movie about how badly we really want to know the unknowable, what makes kids kill other kids.

A sidetracking subplot about Madison's adulterous fling with a co-worker goes nowhere; it is one of several unsatisfying, tertiary plot strands.