Lima

Fortunately, it doesn’t follow the usual romantic template, and it’s also a very good mood lifter. The vital Rachel McAdams was, as always, a delight to the eye and spirit, but the main star, who through dryly delivered lines takes care of 90 % of all the clever humour, is Harrison Ford's utterly divine portrayal of the bumbling journalist. Harrison has needed a role like this, played with honest insight, for years.

I wouldn't be so strict, Kusturica at least tried another profession after his career as a musician, occasional footballer and director: anal spelunker.

I admire Joe Wright's work and I think that, despite his last two mediocre films, he's the greatest British talent of our time, but I just don't give a damn about delicate little girls who can beat up a guy a head taller and 50 kg heavier in hand combat. Such stupidly naive screenplays probably don't even belong in contemporary cinema (I hereby salute the 80s).

A missed opportunity with a not very dazzling joke (but at least not insulting to the intelligence), where one of the few things that sticks in the viewer's head are the occasional juicy guffaws and Simon Pegg's wig. Sigourney Weaver’s cameo at the end was great.

Singer's X-Men 2 is still unsurpassed, but in some aspects Vaughn's film comes close. If nothing else, Fassbender's performance defines the concept of "charisma" on the movie screen. We're gonna see a lot more from this guy!

Yes, sometimes I have slightly masochistic tendencies and wander into cinematic realms that are as close to my heart as Shakespeare is to Steven Seagal. It was a little less stupid than the genre-related Twilight, but that was only because of the colourful production design, something that could be described as "plot", and Gary Oldman's character, who probably needed to pay the rent for the year ahead. On a side note, I still don't understand Leonardo DiCaprio's name in the "producer" column.

Pattinson will have a hard time shedding the painful stigma of the awkward vampire, but he can give a serious performance if the script allows it. Films from the circus environment are scarce, so extra points for that, but unlike others I wouldn't praise Christoph Waltz's performance so much – when he’s playing a choleric jealous husband or a slightly sadistic guy (stabbing an elephant), it's all right, but I didn't buy his crying (worrying about his livelihood) at all.

I wouldn't have expected such stylish and inventive entertainment from the author of the schematic The Illusionist. And in the case of Bradley Cooper, all I can say is that he has worked his way up from an extremely unlikable jock in Wedding Crashers to a dependable lead. Charisma combined with acting talent, I have no fear for Bradley’s future.

A pleasant surprise and sheer pleasure from a smart film, and I'd say there have been few legal dramas of the same quality as this since Coppola's magnificent The Rainmaker. Matthew McConaughey has finally shed the jaded skin of the sunny boy on the surfboard, and after years (since his role in Schumacher's A Time to Kill) he has returned to what he does best: a passionate advocate who evokes ambivalent feelings – you want to kick him for his cockiness, but you're rooting for him at the same time. The clever script contains so many plot twists that they would be enough for three other films, and I nod my head in approval and highly recommend it.

Cinema magic. Finally, with Blu-ray, I was able to fully enjoy this immersive experience. At a time when Australian cinema was still in its infancy in terms of international recognition, the talented Peter Weir came up with a film that captivates with its visual beauty, hand in hand with gorgeous music (Mozart, Beethoven, Tchaikovsky, Bach and George Zamfir's incredibly haunting flute motif), and especially with its incredible atmosphere, which at times reaches horror elements without any boogeymen or similar trappings. All it needs is with one big mystery and atmospheric wizardry with image and music. In Australia, this film is seen in a similar way as Vláčil's Marketa Lazarová here: it also comes on top of all critics’ polls as the best Australian film ever, and rightfully so, methinks.