Pretty good. Not the clichéd and safe adaptation one could expect. Manages to translate visually the style and tension, as well as dwell into the concepts and social allegories from Collins' books. The highlight, of course, is its Katniss, the books' heart and soul, played to perfection by Jennifer Lawrence.

A thing of profound beauty - at least to any true lover of the movies. Manages to pack everything - from childhood innocence to first love, old-fashioned adventure or simply trains - in two hours of pure, unadulterated fun and unabashed sentiment. A gorgeous ode to not only Méliès or cinema, but history itself and how it shapes what we love and who we are.

Yet another completely pointless 2-years-later remake, a near copy of an already great film. 80% of the whole thing is a straight-up replica (dialogue, characters, shots, you name it), none of which as ridiculous as putting American and British actors playing Swedes with ridiculous accents. Fincher's touch is there, but there's no point in watching a whodunnit thriller when I already know who fucking did it.

Pretty, formal, formulaic. Mostly an excuse to look at Michelle Williams and Mailyn Monroe at the same time.

Fantastic stuff. The most surreal and downright terrifying approach to the hitman formula I've ever seen, even if it does go for the Wicker Man-ish resolution. Tense, gripping and refreshing bit of horror genre.

A fine action film. Probably the best in the series, which isn't saying much but still serves as a testament to Brad Bird's filmmaking chops - and his gift to film action like few can, animated or live-action.

Fabulous family-drama. Up there with THE SQUID AND THE WHALE as the KRAMER VS. KRAMER of our time.

British from top to bottom. Finely tuned, perfectly structured, directed and acted (Oldman is a monster). Sort of like the KING'S SPEECH of 2011, only it's a slow-burning, meticulously-crafted thriller.

Much more interesting as an exercise in style (even when it gets a little too artsy-pantsy), really. The story itself is terribly threaded and tired. In its favour, it does manage to seem real and intimate enough. Good actors do that.

A deeply profound essay on depression and human bonds, brilliantly disguised as a "disaster movie". Nothing Von Trier does is by accident and indeed his entire career has been a magnified look at the world and people as he sees them. In terms of imagery and technical finesse, he's at his absolute best here. A stunning film.

So much fun. Built like an old-school Spielberg adventure film (in great need these days), it manages to pack so much from Hergé's books and still come out distinctively true and honouring towards them. The motion capture is, for the first time, spectacular and actually helpful.

Disappointingly non-Cronenberg. Way too factual and slow, always with more dialogue than it needs and not enough conflict. Not a bad film, just victim of its subject matter. Could have been much better had it been given to someone who knows how to make good talkative films.

Amazing mix of style and violence, ugliness and beauty, action and arthouse. Fantastically brave, uncompromising filmmaking.

By far Almodóvar's most violent and twisted film, lacking his sense of beauty and romance but charged with a deeply transgressive and provocative tone. He keeps on challenging my male preconceptions - and I kinda love him for that.

Great political thriller - always bouncing between thriller and drama, really. Amazing performances, skilfully directed by Clooney, almost masterful in the way he shoots his actors' faces. Sort of a neat - American - companion piece to GHOST WRITER in its brisk rhythm and formal construction.

The heart is all there, but so is the never-ending parade of clichés. Kudos for the lovely soundtrack and Mia, though.

Absolutely marvellous. An exceptionally brave, spirited and nostalgic homage to cinema itself and artistry. Films don't get any more special than this.

Walks the very fine line between generic blockbuster and complex comic book film quite dangerously - and ends up a kind of hybrid of both. Branagh, as would be expected, takes Stan Lee's story and tries to turn it into some sort of Shakespearean tragedy, but the film is always at its best when he embraces the campy and the over-the-top instead of the "serious", exploring quite cleverly the comic possibilities of a Viking god at loose on Earth. The 3D never helps - in fact, it constantly overshadows all the acting talent involved, as does the script, with great character actors like Tadanobu Asano and Idris Elba forced to play terribly under-written characters. In what matters it still delivers - read: Anthony Hopkins as a Viking king, Natalie Portman being lovely and pure summer blockbuster fun. There's more stuff going on, but the 3D glasses prevent you from seeing it.

A hell of an action thriller. Never less than exciting and entertaining, but also capable of toning it down a notch and make you use your brain cells. Doesn't begin - or even aspire - to approach the dark and minimalistic nature of Moon, but still re-establishes Duncan Jones as the go-to-man if clever, layered and just damn good sci-fi is what you're looking for.

Completely conventional, harmless and theatrical, yet totally absorbing and charming. While The Social Network relished on modern times and told the story of a brilliant, arrogant brat, The King's Speech takes refuge on classicism and tells a lovely story of friendship, love and perseverance, turning it into a lovely film. And there's nothing wrong with that.

A deeply sad and beautiful film. What Dreyer did in 1928 was beyond essential when in it comes to what Film would later become as an art form. You can see the influence he had in so many filmmakers though his camerawork, which dared to do unthinkable things for 1920s cinema. An absolutely essential film, both for its importance and beauty as for Falconetti's haunting performance. Her eyes will rip your heart out.

Just epic. A near-perfect adaptation of the comic and a love letter to geekdom and pop culture that's just as funny, clever, romantic and inventive. But most of all, it's an utterly sensory experience that exhilarates and rocks your mind from the inside out (and therefore NEEDS to be experienced in a big screen).

Mostly a great build-up for Part 2, especially for the book-readers. Completely Yates-esque in the way it focuses more on the drama and the characters than on the action, which also happens to be amazing and beautifully shot by Eduardo "Portugal's pride" Serra. Now stands as my second favourite of the saga, right after Azkaban.

Kind of average Apatow comedy. Brand and Hill work together, but the jokes become stale and tired very early on. Does not reach the greatness of Forgetting Sarah Marshall by a long shot, but it's still considerably fun.

Another little piece of whimsy and quirkiness by the king of the whimsical and quirky. Often recalls Delicatessen and City of Lost Children, but much funnier and lighter. Now there's just waiting for the next.

Like watching a 90s post-Cold War action thriller in which the Americans are ALWAYS the good guys. Except it's 2010 and no one believes the Russians plan on destroying America. Ridiculous plot, terribly predictable twist and an Angelina Jolie of endless energy fighting all of the above.

Deliciously psychedelic, cool and full of little priceless details that make it a must-see for anyone who loves rock history. Nice sort of companion piece to 24 Hour Party People. And Andy Serkis is fabulous as one of the founders of the true and only punk-rock.

Virtually indescribable. If there's a film that isn't 'for everyone' it's this one: bizarre, surreal at times, shocking, violent in more than one way, grotesque and yet oddly fascinating. I still have no idea if I liked it. Honest.

Pure, mindless, silly fun. Which is what it was always meant to be. Still lacks most of the series' charm and the explosions often get too ridiculous, but Neeson, Copley and Wilson make it worthwhile.

Above all a phenomenal action film, a fast, expertly constructed, magnificently scored action film. A maze, a canvas of dreams and gravity defiance that constantly demands and doesn't slow down for a minute. Always blinking its eye at perfection, but somehow never reaching The Dark Knight-sublimity. Another fabulous work by the most gifted filmmaker of his generation.