Original, sad, suspenseful and involving: the kind of work that helps independent American cinema retain its good name.

An okay paranormal mystery, with solid work from the regulars – but please Mr Carter, next time, could we have liver-eating mutants or post-modern comedy like the really good episodes of The X Files?

It's no Anchorman, but it's several steps in the right direction.

Okay for those who dote on ‘classics illustrated’ in the Merchant Ivory line, but not as fluid as all that.

Ledger's performance is monumental, but The Dark Knight lives up to it. Nolan cements his position as Hollywood's premier purveyor of blockbuster smarts – and the Batbike is kinda cool, too.

Cute, clean, camp fun, full of sunshine and toe tappers. Guaranteed to put grins on tweenies who are in to High School Musical, grans with a pair of platforms still at the back of the wardrobe, and a lot of people in between tone.

Director Johnny To's previous flicks are slicker affairs, but there's still plenty here to please the fans.

As much Tolkien's baby as Mignola's, this has more heart and humour than most fantasy films can dream of. Hellaciously good.

Fraser on form, 3D dinosaurs, geology lessons, phosphorecent hummingbirds, killer flying fish, theme park rides, Icelandic babe - what's not to like? It skews young, but is everything an 8-12 year-old could want. Older siblings and parents will have nothing to complain about either.

An unlikely buddy comedy that comes to life whenever Kingsley appears - he doesn't so much steal the show as roll it into a fat blunt and smoke it.

See-saws between straight superhero movie and parody, with layers of soap-opera fudge in between. A lot of solid scenes - but Hancock lacks the power of super-coherence.

To call WALL•E Pixar's best film would potentially denigrate films that deserve no scorn. But this is their most ambitious undertaking since "Toy Story" and storytelling of such charm and visual wit that it can stand proudly alongside the studio’s best. Absolute heaven.

Not as dark as its source material, Wanted works exceptionally on its own terms. McAvoy crashes the A-list, Jolie finally gets to be as big a star on screen as she has been in print, and Bekmambetov proves the most exciting action-oriented emigré since John Woo.

Despite a plot that should be simpler, Get Smart is as big on action as it is on laughs and works because it?s less a tired spoof and more a quality comedic adventure movie in its own right.

A disappointingly slight offering from a filmmaker that we know is capable of so much more. Shyamalan says that The Happening was his easiest film to shoot. Sadly, it shows.

A franchise rebooted with efficiency, energy and sporadic invention, although Hulk 2.0 hardly smashes it out of the park.

Witty, moving and visually dazzling.

Rudimentary plot and merely decent gags aside, this is the finest DreamWorks Animation effort since the first Shrek, chiefly because of its astonishing visuals and kinetic kung fu sequences.

A strange, mostly enjoyable mix of big political questions and crude comedy, Zohan overcomes its skeletal plotting and uneven gag ratio through Sandler?s sheer commitment to nonsense.

With its breathtaking landscapes, bloody battles, bitter betrayals and an aching love story, Mongol is a sumptuously crafted epic.

Savage Grace is simply hysterical: a film as harsh, brittle and unbalanced as its characters.

If you are immune to the charms of Carrie and co., this will do little to convert you. Still, it has more than enough sass, style and sentiment to keep the faithful satisfied. Add a star if you're a fan.

A slick, fun film that has by no means sacrificed the fast action beats of the first three.

Significantly better than the first film or, say, the first two Harry Potters, but we still can’t love it as much as we do the books. That said, if they keep improving at this pace, Dawn Treader should be a fantastic experience.

Too many generic tropes for this downbeat, detached melodrama to convince as a work of social realism but a strong central performance and convincing depiction of the compartmentalisation of Argentina's women.

It'll split the ranks like a pizza cutter: you might admire it as a Warholian blur of pop art, gawp and gasp at its Hot Wheels-for-real dynamism, or get a headache.

Plenty of mileage is derived from Dujardin's dismissal of everything Arab, Michel Hazanavicius also throws in some supremely silly running gags, while keeping the plot moving at a clip and establishing a rapport between the hapless hero and his insouciantly accomplished assistant, Bérénice Bejo.

Bland enough to make millions as culture edges closer to oblivion.