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1. Blade Runner 2049: A truly unique cinematic experience in every sense of the word, this extraordinary follow-up to 1982’s cult classic not only deepens and expands on the Blade Runner universe in exciting, subversive and unexpected ways, but delivers razor-sharp social commentary, a dazzling stunningly realised universe, emotionally profound explorations of the human condition and career-topping performances from Harrison Ford and Ryan Gosling.

2. Dunkirk: Christopher Nolan’s dazzlingly gritty depiction of the Allies’ attempted retreat across the English Channel from Nazi-occupied France is a visceral wonder. Dialogue refreshingly and almost completely disposed of, the film reeks with an almost infallible tension through grounded cinematography, extraordinary sound design and an interwoven, three-pronged, time-jumping storyline. This is no popcorn action-adventure pic; Dunkirk demands every moment of your utmost attention, and gets it.

3. Logan: Hugh Jackman’s (supposed) retirement of the character that made him a worldwide star is miserable, bleak, melancholy, and absolutely superb. Logan is imbedded with an emotional weight so far beyond any other superhero flick, in fact barely resembles anything we’ve seen on film from any comic book universe, and probably will again. This is a gritty, downbeat western down to its adamantium-covered core, and is a devastatingly powerful farewell for these legendary characters.

4. Baby Driver: Edgar Wright yet again proves that he is the next Tarantino. Hilarious, stylish, refreshingly unconventional and featuring an absolute killer soundtrack, Baby Driver is an absolute killer ride from start to finish. Not a frame of film or second of audio is wasted, every aspect is so carefully and lovingly constructed that you can’t help but soak it all in. Absolute must-watch.

5. Star Wars: The Last Jedi: The insanely highly anticipated sequel to 2015’s The Force Awakens had an impossible task– to please fanboys. Did it? Of course not! No one hates Star Wars more than “Star Wars fans”, however, the rest of the world seemingly adored it. Featuring a career-best performance from Mark Hamill as an aged, embittered Luke Skywalker, a brilliantly (although not always perfectly executed) subversive take on fan expectation and anticipation, and possibly the most emotionally resonant and satisfying climax to any Star Wars film since The Empire Strikes Back, director Rian Johnson deliberately leaves behind the family-friendly familiarity of TFA and is not afraid to get dark, emotional, and unpredictable. This is by far the most beautiful looking SW yet, and John Williams score, somewhat lacking in life in the previous film, comes back with a vengeance. For the first time ever I have no idea where the series is going now, and I love it.