James Mottram

Kneel before shannon. His primal, powerhouse turn drives this criminal biopic. the film won’t win any prizes for originality, but its star proves he’s a real man of steel.

Depending on taste, you’ll be left either barfing or laughing.

Another silly but sturdy instalment that’s as well-oiled as The Rock’s muscles. If the ‘Letty in London’ story doesn’t exactly have that new-car smell, this is still the fastest soap opera on wheels.

Full of fizz, filth and fun, I’m So Excited! is like an ’80s retro-blast. Its scattershot comedy may not impress latecomers to Almodóvar’s career, but old-school fans will love it.

Funny, twisty and thrilling, this is shellhead’s most entertaining solo flight to date. It’s also an impressive pace-setter for this summer’s barrage of big movies.

Dolan never flinches across this bold, brassy piece; it’s confidently directed, stylishly shot, passionately acted and evocatively scored.

Utterly assured, breathtakingly executed and riotously funny, this is a delight.

But for the most part it’s Neanderthal compared to the Pixar stable.

To The Wonder doesn’t quite live up to the sky-high expectations set by his earlier films. But it’s still a brave, soul-stirring and sensitive work.

A grand folly that makes the Wachowskis’ "The Matrix" trilogy look prosaic, Cloud Atlas is a fascinating if flawed work that will leave you gasping one minute and gagging the next.

Typified by Penn's blustery performance, Gangster Squad is sleek, stylish but superficial. Easy on the eye, even easier on the brain, it doesn't last long in the memory.

A superior thriller, with Cruise and McQuarrie slotting together like a bullet in a clip. Like Reacher on the firing range, the aim isn't always true – but the misses are fractional.

It may lose its way on occasions, but thanks to a committed cast and a script that captures the Kerouac vibe, Salles' adaptation never ends up on the road to nowhere.

Two fine performances - particularly from an unhinged Winstead - almost elevate Smashed to greatness. But an under-worked script leaves you feeling groggy and bleary-eyed by the end.

A surreal head-scratcher that'd make Luis Buñuel smile, it may not be perfectly formed, but there's no denying its fierce originality.

Smart, literate and romantic, it's this year's (500) Days Of Summer, but with a few more shadows. Like Calvin, you'll find it hard to resist Ms Sparks.

The best sci-fi movie since "Moon." The best time-travel yarn since "12 Monkeys." And one of the best films of 2012. You'll immediately want to see it again.

Even if it lacks a stand-out turn it's still a grippingly authentic slice of life.

The finale, as Ai's Twitter tirades lead to a serious human-rights breach, will make your blood boil.

Childminders rejoice: the formulaic but family-friendly series is back and it's business as usual.

What emerges is a touching study (in more ways than one) of the trials, terrors and triumphs of living with physical disability.

You'd think Greta Gerwig's bones were hurting, so achingly hip is this irritating New York indie.

Cool cast, hip directors, but a movie that's less than the sum of both. Like its title character, Jeff is gentle, warm but a little forgettable.

Outrageous, outlandish and overboard, The Dictator will satisfy Cohen's army of fans. But it never feels as funny, full-on or fresh as "Borat" and "Brüno."

With Yakin's all-action plot operating like clockwork, an on-song Statham proves anything but expendable in a genre he dominates. Predictable, sure, but equally pleasurable.

Leaner, meaner, and far superior to 2010's Clash cock-up. From top-grade 3D to a multitude of monsters and a welcome influx of acting talent, this is pure popcorn pleasure.

Reversing his "Take Shelter" role, Michael Shannon convinces as her grounded husband and "Mad Men's" John Slattery offers good support as a fellow vet. But this is Cardellini's film, and she dominates with a terrific, tough-minded turn.

With Hill on co-scripting duties with Scott Pilgrim scribe Michael Bacall, 21 Jump Street was always going to live or die by its gags. Fortunately, it boasts that sweet-yet-dirty comedy that Hill revels in.