Unimpeachably important, ambitious in its scope and handsomely presented, it has all the hallmarks of a trophy winner, for better and worse.

Taylor-Joy and Hemsworth are a great pairing and Taylor-Joy is an overwhelmingly convincing action heroine. She sells this sequel.

Cummings presents us with a guy whose heart is in the right place – he just can’t control himself. But, like me, others may find their tolerance for a clueless white man’s anger issues has maxed out.

It's a gem: gentle, eccentric, possessed of a distinctive sort of innocence – and also charming and funny.

There are serious points raised with wry obliqueness here: about police racism, land theft and, more positively, ancestral continuity. (Perhaps to keep the indigenous focus, Endless Cookie skirts the issue of Seth as a white chronicler.) But it’s also equal parts hallucinations in coffee froth of rutting caribous – and a palpably radiating love for community – in this often hilarious spawn of the likes of Fritz the Cat

It is a sombre, realist study of what day-by-day, moment-by-moment abuse actually looks like.

A little of the personality has been lost in adapting Shaun’s world for sci-fi (the Wallace and Gromit movie Curse of the Were-Rabbit pulled off horror with a little more finesse). It’s a minor quibble; Shaun is by no means past his prime.

Just as 2011's Rise of the Planet of the Apes surpassed expectations, so this sequel delivers on its promise and leaves us wanting more – which we'll almost certainly get.

Truly, this covers the whole spectrum of experience, all of it eloquently explained by the subjects, an assortment of women who tell their truths about clients who can’t be honest with themselves, their complicated relationships with friends, family and cis women, the legacy of slave culture, and their favourite portable electric shavers.

Lopez slinks through Hustlers with a deceptive ease, as in control of the film as her character is of her situation. It’s the sort of role that only a true movie star could pull off, so much of it reliant on a rare, intoxicating magnetism.

This is grownup film-making, more savoury than sweet, seductive, oblique and carried by a wonderfully smart and emotionally generous performance from Juliette Binoche – who delivers the material superbly, material which from almost anyone else would sound dyspeptic or absurd.

Hollywood has been waiting for this movie. Get ready for the year of the Tiger.

The movie is intensely acted, with a sense of interior longing possibly inspired by Terrence Malick, but it is also sometimes contrived and straining self-consciously for dramatic mood and moment.

With a cast largely made up of the director’s relatives as well as villagers from the landlocked province, this deeply personal work on the plight of rural farmers has a striking feel of authenticity and poetry.

This film is conceived as a showcase for its performers, and, as that, it is immaculate.

Sweeney’s smart and highly unusual film earns its boundary-pushing because he never loses sight of the inescapable, human sadness at its core. For all of its themes of identical mental and physical connection, Twinless is a true original.

Berger orchestrates marvellously tense, explosively dramatic scenes and with cinematographer Stéphane Fontaine and production designer Suzie Davies contrives some spectacularly strange and dream-like tableaux.

Every frame pulses with hard-gained experience: it may be the most lived-in film of 2012, and certainly counts among the most moving.

The story unfolds intriguingly within an intimate, almost claustrophobic environment. There is perhaps something ultimately undeveloped about it, but the film is a well acted, well presented piece of work.

The performances are persuasive and watchable, especially Mikkelsen, the guys’ alpha-leader, who ruinously makes being drunk look pretty acceptable until it is too late.

The film is maybe a little callow, but it’s an undoubtedly impressive and accomplished debut.

This movie might itself make a modest contribution to rewriting the history of white South Africa.

In the pantheon of invented languages, there have been many of studied, intricate beauty: Elvish, Klingon, Na’vi. Nude Tuesday’s language is not one of them. It is lewd and crude, landing somewhere between a bad ABBA impression and backpackers at Oktoberfest. It’s as though an alien learnt Swedish entirely through Ikea’s most misjudged product names – and it is utterly delightful.

Did you like The Commitments? Did you like We Are the Best!!? Well, Sing Street isn’t as good as either of those two, but it’s still pretty terrific.

Zahler’s film is entertaining, incorrigible and borderline incoherent – it is the violent drunk at the party, liable to lash out.

It’s a very funny film, sending-up human absurdities without being too mean. Cruz is a talented comedian, but she smartly plays it straight-ish here. You never doubt for a moment Lola is the real deal. Nor that Cruz is either.

It’s appropriate that this absorbing, tender documentary has been driven by a surge of fan loyalty and love.

The film ends with a terrifying question about the fate of one of the women. It spreads an existential chill.