FILM: Mission Impossible - Ghost Protocol (dir: Brad Bird, 2011)

"How could that work?"

Tom Cruise is back with a bang, as the fourth Mission: Impossible movie sees him at the top of his game and giving 100% to this movie which at one point seemed destined never to happen and which was never likely to be this much fun.  Made secure by an exceptionally tight and effectively-constructed script, Brad Bird finds the balance between light-hearted caper and serious action which made the original 1960s series a success.  Right from the opening jailbreak, the action set-pieces are spectacular and at times dementedly enjoyable, and - as is acknowledged in the film itself - there is a real sense of 'team' at play here.  Simon Pegg is good fun but also shows he can handle the serious moments, and the addition of the excellent Jeremy Renner sees Cruise visibly raise his acting game.  The plot is light, but it carries through the whole film effectively, and the film is beautifully shot in strongly-used globetrotting locations both day and night.  Ghost Protocol definitely puts Cruise and the franchise back on track - a fifth entry in the series can now be looked forward to optimistically.

FILM: The Girl With The Dragon Tattoo (dir: David Fincher, 2011)

"....actions have consequences."

The Scandinavian lit-hit and David Fincher's film-making seem the perfect match: chilly, cerebral and utterly absorbing.  This lengthy adaptation is more straightforward and less flashy than some of Fincher's efforts, making it more Inspector Morse than Seven, but the director's grip on the viewer never falters, the interesting (and often British) cast is excellent - Craig and Rooney utterly inhabit their already-iconic roles and their on-screen relationship works well - plus the mystery at the heart of the tale unfolds carefully and effectively.  The Swedish backdrop across the seasons is beautifully shot, and Trent Reznor and Atticus Ross provide yet another superb soundscape.  It can still be argued that Salander's abuse sub-plot is unnecessary and its removal would not detract from the central investigative tale (and if Salander had been male, Hollywood would not have gone near it), but overall Fincher delivers another strong, fascinating and satisfying tale.

FILM: Sherlock Holmes - A Game Of Shadows (dir: Guy Ritchie, 2011)

"I don't want anything with a mind of its own bobbing about between my legs!"

Quite simply, the success of the new Sherlock Holmes movies rests on the inspired pairing of Robert Downey Jnr and Jude Law, both excellent actors whose laddish chemistry but pin-sharp timing is even tighter and more effective in this second movie and both provide much to enjoy.  The sequel's brisk romp around Europe has a broader scope this time round and hardly draws breath; if one scene is weak, no matter, the movie soon moves on.  Jared Harris gives a strong, coolly insane performance as Moriarty, although his threat works better as a personal vendetta than as a genuine powerful arch-villain, his manipulation of Governments coming across as narratively lightweight.  The rest of the cast get little to do, although Stephen Fry steals every scene as Sherlock's brother.  Never the tidiest of directors, Guy Ritchie delivers more of the same, with some lively set-pieces and the conceit of visualising Holmes's thought processes proving interesting but which defuse the momentum of every action sequence.  The last scene plays one final and funny visual trick, leaving the audience in no doubt that this latest incarnation of Holmes is one that we want to see more of.

FILM: New Year's Eve (dir: Garry Marshall, 2011)

"Where is your charm school?  Guantanamo?"

Like the traditional Christmas selection box, inevitably, New Year's Eve has bits you really enjoy, others that are acceptable and some that you would like to get rid of at the earliest opportunity.  Like Valentine's Day, here is fun to be had in the ensemble cast celeb-spotting, and some fare considerably better than others: De Niro is effective, the Michelle Pfeiffer/Zac Efron story hits the mark surprisingly well thanks to their game performances, and Halle Berry manages to remind us that she deserves another great role, but the rest are saddled with limp dialogue and such underdeveloped scenarios that even the best have little they can do (and the 'teenagers' strand is unwatchable).  What the film gets right in abundance is the over-expectant over-the-top fake USA Dec 31st stereotype, yet Lea Michele's sincere rendition of Auld Lang Syne is well worth the wait.  The film has more endings than The Return Of The King, but the amusing credits bloopers are good value, although they cleverly leave you feeling as if you enjoyed the film much more than is the actual case.  So, what next?  My money's on Thanksgiving....

FILM: Hugo 3D (dir: Martin Scorsese, 2011)

"Thank you for the movie today.  It was a gift."

If you love cinema, you will love Hugo with all your heart.  Give Scorsese and long-time associates Robert Richardson (cinematography) and Thelma Schoonmaker (editor) the 3D toybox and a massive re-creation of the Gare du Nord as a set, and James Cameron was right: this is possibly the most stunning use of 3D seen in recent times, allied to an utterly enchanting tale of loss and discovery, tied in cleverly with the story of one of the original pioneers of film.  Hugo is consistently staggeringly beautiful, from the gorgeously detailed sets to the extraordinary camera movements, all carried along by a charming Howard Shore score and numerous wonderful performances from both young and old actors alike.  The scenes of early cinema resonate beautifully with the modern filming techniques on display, and the whole film's nods to the Silent Era and European film (even the station's recurring character vignettes feel like Tati) are crafted lovingly.  A little narrative clumsiness creeps in later in the film, and Sacha Baron Cohen's Station Inspector feels forced at times (although the characterisation ultimately works in context), but these are very minor complaints; in Hugo, Scorsese provides one of the most emotionally and cinematically complete films of this year which is, quite simply, an utter joy to watch.

FILM: Puss In Boots 3D (dir: Chris Miller, 2011)

"Show him the golden eggs!"

For a movie that spins off from an exhausted franchise, Puss In Boots holds many pleasant surprises.  The film gives the Shrek series' Puss a sound Spanish-flavoured backstory that stands alone from the parent films, but cleverly uses the same fairy-tale world to tell a straightforward story of revenge with some neat takes on Jack and Jill, Humpty Dumpty and the Jack and the Beanstalk tales in particular.  This is an enjoyable children's animated adventure with a good grown-up sensibility in its script and film-making - and as is usual with Dreamworks Animations, there is some bold and adventurous use of 3D.  Antonio Banderas clearly makes this film work as the title voice, with Salma Hayek providing an excellent foil as the somewhat obvious rival/love interest Kitty SoftPaws.  This film is neither essential nor necessary, but it is generally good entertainment in its own right.

FILM: The Thing (dir: Matthijs van Heijningen Jr., 2011)

"You're not here to think."

This prequel needed to be an amazing film in order to come close to John Carpenter's 1982 classic, and whilst it is moderately successfully, its weaknesses stem from not only the weight of expectation but also from its own shortcomings.  There are commendable aspects on display: the creature's awakening and first attack are promising; leads Joel Edgerton and Mary Elizabeth Winstead do good work throughout; efforts to dovetail with details of forthcoming events are pleasing; and there is some good body horror on display (even if it is not as groundbreaking as it was back in the 80s, and the CGI is not too unpalatable).  The paranoia/horror-from-within angle kicks in rather late, but when it does, it lifts the film considerably from the straightforward monster-movie that is the first half.  This version lacks the gravitas of the original's small band of seasoned character actors, and the dialogue is nowhere near as sharp here.  There are many moments where the easy shock is used and tension is frittered away instead of making audience and characters suffer more, an obvious example being the substitute for the classic 'blood test' scene which, although a good idea, is less dynamic and considerably less nerve-shredding, and the movie's ending is vague rather than open.  The Thing 2011 is at best adequate, and it has some effective moments and ideas, ending up as an appropriate if slightly underwhelming companion piece to a movie classic.

FILM: Happy Feet Two 3D (dir: George Miller, 2011)

"Today is a victory for defeat."

It was inevitable that a sequel to the immensely enjoyable Happy Feet would be made (in spite of its extraordinary penguin-mental-breakdown section), but Happy Feet Two shows that the concept has nowhere else to go.  The first movie was not only successful solely because of dancing/singing penguins but also benefitted from a focussed emotional journey for the charming central character.  Here, a number of subsidiary characters are given more screen time (and to its credit, an expansive starry voice cast does sterling work), themes and narrative wander arbitrarily, and the attempt to make Will The Krill an appealing comedy character like Ice Age's Scrat is k(r)illed by excruciating puns.  The 80s pop catalogue is  plundered randomly- indeed, the whole movie feels less organic than the original - and whilst the baby penguins are cute, and the 3D/digital animation is never less than breathtaking, Happy Feet Two creates a disappointing lack of engagement in terms of emotion, comedy and general entertainment.