Odd, but intriguing.

Felicity Jones shines in Drake Doremus' deceptively simple romance, a refreshing take on an age-old dilemma.

Rough around the edges and too ambiguous for some tastes, this is grim but clever, insidiously creepy and affecting. And in Olsen and Durkin, it marks the arrival of two exciting talents to watch. It still should be called Mental Sex Cult.

Smart, honest, sickeningly funny and supremely well judged in the writing, direction and acting.

A quartet of pitch-perfect performances from a cast uniformly at its career best, together with a director on shockingly mischievous top form, this is a shot of pure, exhilarating cinematic malice. And if nothing else, it contains the most surprising puking sequence since Monsieur Creosote.

A marvellous follow-up to 2004's "Sideways" - well worth the wait.

Veers too close to hagiography, although it's visually arresting enough to carry you through sagging in the narrative.

Not a complete disaster, but also not the vampire / werewolf mash we've always wanted.

A well acted but unfocused study of one of the 20th century's most colourful characters.

An uneven study of a notorious love story, raised by some superb performances and nuances, but brought down by awkward direction.

Exciting, ironic, with assured direction, accomplished performances and the tension of topical themes, this is Shakespeare as relevant as you like it.

A fresh, muscular payback movie shot through with Soderbergh's mischievous indie-spirit. Whether Gina Carano is the new Angelina or the new Cynthia Rothrock, only time will tell...

Keiller's follow up to his cine-essays London and Robinson In Space is another intelligent, thought-provoking piece of filmmaking.

Brave, beautifully acted and emotionally revealing - an early strong contender for the most provocative and compelling film of the year.

Chock-full of terrific performances, Margin Call is the kind of gripping, grown-up film that these days is usually found on the small screen.

War Horse is bold, exquisite family filmmaking in the grandest Hollywood tradition. Be warned: whether you're a hippophile or not, it's a four-hankie moviegoing experience.

A startling performace from Findlay doesn't quite make up for a disappointing third act.

Powerful art cinema that challenges political and social unity in Iran.

One of Streep's finest-ever performances. But beyond that - whatever Morgan and Lloyd's intentions - it's little more than a myth-enshrining exercise.

Murakami's 'unadaptability' for the screen is self-evident to fans of his books, but this is a noble if bleak first stab.

A tough, post-punk Tintin-meets-Klute for the Occupy Wall Street set, this kinetic, hard-edged thriller is the perfect festive comedown for Fincher fans and dysfunctional families everywhere.

Still not an essential series like Bourne or Bond, but this entry has a refreshingly light touch and some of the best action of 2011. See it at an IMAX for optimal vertigo-inducing effect.

A sequel confident in what it's about - bigger, better, funnier, without stretching the joke.

An insight-filled take on prejudice in post-11/7 London that packs a hefty punch.

A small, personal indie with a huge cinematic and intellectual appetite. It may be too lo-fi for some tastes but it sparks the brain and moves the heart. It also introduces Marling as a bright new star - singular.

This never reaches the heights of Rudolph The Red-Nosed Reindeer or The Snowman in terms of classic seasonal fare. But there are a lot of laughs lurking within the shiny 3D wrapping and snow-covered silliness.

Storytelling of breathtaking scale and grandeur, even if the complex plotting may twist your synapses along the way.

Like most kittens, it's not always perfectly behaved, but at least this new Puss adventure doesn't have you reaching for the cinematic spray bottle. And thank goodness the spin-off does nothing to neuter the charismatic cat's appeal.