Josh Fox puts a fresh spin on a well-drilled - if continually relevant - story.

While perhaps a touch overlong and with plot strands that don't hang together as well as they might, this is remains a triumph, illuminated by a terrific leading man turn from Paul Giamatti.

Iñárritu has made a modern classical tragedy and, in Javier Bardem, he has found his first authentic hero; a character caught up in an intricate web of events he cannot extricate himself from.

Slow, ponderous and as shallow as it thinks it is deep, lifted only by an impressive opening and fine work from Damon and Howard.

Not just a pretty face; there's meat on its bones and a song in its heart besides. This deserves a place up there with the best of Disney's previous fairy tales.

Grubby and yet vital, it stays with you.

Hit-and-miss for Howard. The tone flits, sometimes uncomfortably, from Vaughn-fuelled laugh-fest to relationship drama, but it's a winner compared to many of the clunkly comedies out there.

Every one of its cues might be tele-prompted, but this is an assured, likable comedy. Ford is as good as he's been in ages, but the stand-out is McAdams. If there were any justice, the movie would send her stellar.

An extraordinary, intoxicating movie. Its hard, twisted edges may turn off some, but there's no faulting either Aronofsky's technical mastery or Portman's flawless performance.

Weir couldn't make a boring film if his life depended on it, and for any other director The Way Back would be laudable. It's good, but from this director we have come to expect great.

High hopes of magic from the Gondry-Rogen pairing are dashed. Some neat touches aside, this isn't so much eternal sunshine, more superbad.

Does to the medieval era what Cage's Wicker Man did to Anthony Shaffer. Hokum and not in a good way.

A touching and insightful black comedy that gracefully spans sixty years.

A raw but beautiful picture of love uniting and dividing: tender, real and heartfelt.

Not for everyone, but fans of Dario Argento will find plenty to like about this otherworldly study of sex and sensuality.

A surprisingly fun, effervescent against-the-odds drama that offers an upbeat moral without the usual punishing survival-story clichés. Not for the faint-hearted, mind.

Okay, but it lacks conviction.

Measured in pace, yet thoroughly gripping and completely accessible. The title soft-sells the picture, but it's among the best of this or any year. And Manville should clear some shelf space for well-deserved awards.

A low-grade comedy that'll have Jonathan Swift turning in his grave.

With all these folks in the same movie, there are inevitably moments when Hoffman or Wilson get a laugh, but on the whole it's the same again but weaker and with fewer good jokes. We're too tired of the gag even to think of a 'focker' line to sign off the review.

Like his plans, Megamind verges on greatness but has flaws. But it's fun, energetic and at times dazzling. Expect a stronger sequel - unlikely to be 'darker and grittier', though.

Another "Hangover" was too much to hope for, especially as this was scripted by committee. It's a bit funny but also quite a bit nasty.

Some days a runaway train movie just hits the spot.

There are a scattering of infallibly cringe-making horrors, but on the whole Saw 3D could do with more depth.

Claire Denis' drama is an overly fastidious but insight-filled look at post-colonial Africa.

Well above the standards of your average romantic comedy, it's funny, sexy and smart. It's just not smart enough to stick to its guns to the end.

An amazing achievement for a 'first-time' filmmaker, which measures up to the finest indies for performance and character-work, and the biggest blockbusters for jaw-dropping effects. And it has the year's best sex scene, too.

Intentionally or not, it might be the comedy of the year. The music and dance are thrilling and the costumes saucy enough to satisfy, but the whole is so camp and clichéd that it must be deliberate. Right?