If you watched the news, 2009 was a dark and morbid year.

I could write a whole obituary, but you know it's 2010 and I don't have a lot of time on my hands. Thankfully lots of great films were released to counter those blues, and 2009 made up for the number I saw in 2008. But isn't it awkward when you're at the box office, on the spot over what eyeball-pleasing movie to see, and times a-wasting? Life is short!

In total I managed to catch 29 movies; shows what wicked!cool movies had me buzzing the most.

Released on British shores in the past twelve months, these are my picks of 2009...

It certainly was a vintage year for genre movies and animation.

Visual FX

With the digital 3D format, I found it adds depth of field; for example things like flies, falling leaves and debris are positioned on separate layer planes.

AVATAR takes the familiar ‘white man and Indian’ frame story updated with ground-breaking mo-cap technology. When people started comparing it to 2D-animated POCAHONTAS, that's when it hit me: this is how far we've got to in photo-realism, and it's at this stage we're heading. You don't ever want to turn away from the lovely, dangerous world of Pandora. Everything is so massive, like seeing the world if you're Ronnie Corbett. And I defy anyone who wasn't floored by that spectacular third act.

Prior to James Cameron’s opus, THE CURIOUS CASE OF BENJAMIN BUTTON has incredible make-up FX. Age and its ravages is an intriguing and personal subject. I try not to let the whole mortality thing get to me, though gradually it sinks in. There is nothing more profound than the notion that "we're meant to lose the people we love [so that] we know how important they are to us".

Animation

That idea is carried again in the latest offering from Them Pixar Peeps. UP seems to be the last of the CG buddy pictures that began with Woody and Buzz Lightyear, and ends with an old man and a boy scout. Lost in the wilderness, they team up with a cwchable Golden retriever to protect the closest thing to a Marshmarlow bird from a legendary old explorer-turned psycho. There’s a climactic action sequence with dogs flying airplanes, elderly folks fighting – what’s not to love? Honestly though, there are heartfelt moments of contemplation, which, IMO, are the best moments. I wept not once...twice.

Formerly 'American Dog', a Chris Sanders project, BOLT is a cute little film with a message about being yourself. The characters - whose designs have really grown on me - are charming, and blend nicely in the painterly backgrounds. This was my very first 3D cinema experience.

CLOUDY WITH A CHANCE OF MEATBALLS was a lot of crazy colourful fun, filled with yummy-for-my-tummy sight gags and a message about global warming that’s not shoved in your face. And Mr T.

All I can say about ICE AGE 3: SHAUN DAWN OF THE DINOSAURS is the animation was great (especially Buck). There were some inspired setpieces, and it was nice to revisit the saga once again. And as you all know, everything's better with dinosaurs and Simon Pegg.

FANTASTIC MR. FOX was so very different from what we usually get from studios. It deals with familial issues in its own sophisticated manner, and Wes Anderson does so in his idiosyncratic style while paying respect to Dahl’s story. Brought to life by Mackinnon and Saunders’ puppets – almost harking back to Rankin/Bass – MR. FOX is a warm, cosy delight. Full stop.

Another stop-motion marvel was CORALINE, a modern fable with edge. Henry Selick has dreamed up a colourful, skilfully crafted world(s) where the characters move in their own peculiar way, well defined by the 3D. The hypnotic title sequence is one standout moment, and the mouse circus made giggle cry with joy.

The year brought some of those one of those rare children's films, like CORALINE, where the protagonist has the balls to confront the dark, empty corners (of their soul) their parents warn them about. Spike Jonze’s adaptation of WHERE THE WILD THINGS ARE was no exception. The way it’s shot is Kurosawa-influenced; slow paced, though with as much or more violence than SAVING PRIVATE RYAN, and deep. If on any occasion your feelings and emotions toward your infuriating relatives are clawing your insides, this movie may reach you on that personal level.

Crowd pleasers, screen gems and dark horses

It is understandable that audiences turned their noses up at an art film like PUBLIC ENEMIES, but I saw it as a raw and tense filmmaker's film. It has both realism and an old-school kind of feel, even if it looks like it was shot with a handycam. The gunfights/chases, the performances (although there may have been a few boom mic issues), the design and a bit of sly humour make this otherwise confusing thriller a joy to watch.

With WATCHMEN, Snyder and co have achieved the 'unfilmable' in tone, style and spectacle. A thinking man's superhero text that's oh so faithful to the inherently cinematic source material, viscerally replicating panels and the political/cultural references. The theatrical version does omit a few key plot points, yet it gets away with it because it's so richly detailed and character-driven. And to be honest I quite like the slightly altered ending. Frankly it moved me. It also makes plausible sense that an unearthly entity is the perceived threat. Otherwise it would have been too blindingly far-fetched to take in.

Slo-mo is all about being in the moment, and again used for brutal and dazzling effect in SHERLOCK HOLMES. Despite a weird opening scene that got lost on some peeps, RDJ’s sharply observant sleuth heads a strong cast. Holmes and Watson’s affections for one another carry the all-action fun ride, that’s got an exquisite production design and dry wit. Sequel please?

Another reinvigorated and bromantic labour of love was STAR TREK. It leaves the promise of another kick-ass space adventure with a cast to die for. Those who studied the fandom at degree level can nitpick all they want but they'd have to be out of their Vulcan minds not to feel the least bit optimistic about themselves. Something for the noobs and trekkies to be pleased about, even if there's a rather ballsy time travelling element. Like CASINO ROYALE and other 21st century reboots we're treated to some old school winks and nods and pathos.

Sci-fi – high fantasy or low key – was prominent this year also with impressive directorial debuts. Neill Blomkamp’s DISTRICT 9 is a relentless mix of cinema verite and mockumentary style filmmaking, with gritty drama on top. The second half is pure carnage. WETA did a fine job on the visuals and crazy alien tech. Sure those prawns - a cross between BrundleFly and the Ood - look revolting, but they're sympathetic.

And then there’s Duncan Jones’ MOON, one of those peculiar, almost dream-like films that after first viewing creeps up on you making you realise how haunted and sorry you are for the Sam character.

SLUMDOG MILLIONAIRE was an exhilarating love story so visually absorbing and at times dark and shocking. I loved every minute of it.

Even 60 year-olds dig the comedy in both ZOMBIELAND and THE HANGOVER, with original stories and sweet sweet chemistry.

DRAG ME TO HELL has all the elements of disservice to me: old toothless hag with dirty fingernails and a dodgy evil eye; sacrificing a kitten (though it isn't nearly as traumatising as The Tale of Samuel Whiskers); death by falling into a rail road. Nasty, gross-out and absurd, I don't think I've ever shrieked in terror or laughed so much at the movies. Sam Raimi certainly knows how to give an audience a heart-attack every five minutes.

As with all of Quentin Tarantino's filmography, his period piece INGLORIOUS BASTERDS has its fair share of violence, obscure references and wordplay. Its veins flowing with Aldrich and Leone influences, he gets the best out of his casting; all a revelation, playing their parts muted, standoffish or cool and calm. There are moments where crossing paths builds up a sense of unease. Everyone here gets their comeuppance and reward. And no, Hitler doesn't spend his last days in bunker raging over Autodesk Maya (though he's no less a caricature).

If there's one movie that elaborates how heavy-handed relationships can be, it's music video director Marc Webb's experimental approach to the romcom with (500) DAYS OF SUMMER. Funny and moody, sweet without being schmaltzy, the friendship between the two leads unfolds in an non-linear narrative structure, their feelings expressed imaginatively with editing tricks and fantasy sequences, notably the Hall and Oates musical number - similar to the one in FLETCH LIVES - and a brief homage to Ingar Bergman.

Cheating a bit here, since LET THE RIGHT ONE IN is a 2008 title and I missed the available screenings in the area. Blu-ray or not, this is a beautiful and creepy film about a little blond boy with a runny nose, bullied at school, who befriends what appears to be a girl of his age. Minimalistic, the often tender and horrific images here stick with you long after. Brrr...

PARANORMAL ACTIVITY was another late release, brought to the public its demand. Despite feeling the odd kind of *presence* in my house, I still slept okay afterwards, probably because I'm half celt. That said, the ouija board scene and the ending freaked everybody out, myself included.

I was a bit torn on THE IMAGINARIUM OF DOCTOR PARNASSUS. Either the characters’ motivations weren’t explained too clearly, or, that Terry Gilliam has a wild imagination, he should pull back on the crazy visual ideas; the story would be still be twisted as hell, but less complicated. I did enjoy certain parts of it though.