Granted, part of that was down to the dross that was kicking about - but you try moving yet again, changing jobs and trying to keep up with all the new releases and then finding the time to actually write about them.
It's not easy.
But, there were some absolute gems released last year. Eye In The Sky saw Alan Rickman leave us with a gripping thriller, while Pride And Prejudice And Zombies was every bit as much fun as it sounds.
And Room was excellent, if only for not being the film the trailer said it was.
Even Star Trek Beyond wasn't terrible.
Of course, there was some utter doo-doo too. Jane Got A Gun bored rather than thrilled, while The Neon Demon failed to do anything other than look nice. Then there was Tarzan.
Let's agree to never talk of Tarzan ever again. Or Batman V Superman for that matter. Or X-Men Apocalypse. Or Suicide Squad.
They never happened. Agreed? Good.
Now on to the good stuff.
Nope, didn't get a chance to write the review - but that doesn't change the fact that a cartoon tackled adult themes in a grown-up way on a level children could enjoy. Laugh-out-loud funny in places, gripping in others... Why can't all cartoons be this good?
We got lambasted for our intro to this review by someone who didn't bother reading the rest of what we said, but that's not the only reason this is in the top 10. In a year when the apparent big-hitters missed by a country mile, Doctor Strange managed to deliver with great action and humour. Not perfect, but we've already ordered the blu-ray...
Along with Stranger Things on that there small screen, Midnight Special (which had to be watched on the small screen for reasons already discussed) was another love-letter to 80s sci-fi films. No, the story didn't hold up to close scrutiny. Yes, the references were writ large on the screen. Did any of that matter when you found yourself holding your breath, jumping out of your skin and being mesmerised by a small boy's compelling performance? Did it hell.
This one seemed to pass a few people by, to the extent that catching this on the big screen proved tricky - especially when we were already having issues on that front. But once we got hold of it, we were hooked. So tense it almost brought on an anxiety attack, Green Room just builds and builds and builds. And when you think you can't take it any more, it goes up another notch.
In a year light on laughs, thank feck The Nice Guys came along. Shane Black's script as dark and hilarious as you'd hope, Ryan Gosling and Russel Crowe buddying up a treat, people getting shot in ways that made you laugh out loud - this was just a boatload of fun.
We're not allowed to mention this film at home, or watch it in company, or play the soundtrack - certain people reacted rather badly to the horror and violence that unfolds. But that was what made this film. Like taking all the classic westerns, adding Predator and chucking the whole lot in a blender, Tomahawk was brutal, nasty and nothing short of brilliant.
It's easy to forget the storm and hysteria that surrounded Ghostbusters - both in the run up, and upon it's release. "No," wailed the fanboys. "Girls can't do this stuff, boys should be doing it. And you can't have a man being pointless eye candy, that's a woman's job." And, to a boy, they were wrong. Ghostbusters is a very, very faithful reimagining of a classic. It has all the references and nods you want. It has the strong leads it demands. And it has more jokes than you can shake a Ghost-catching gizmo at. Simply brilliant.
Some films are too clever for their own good. They try too hard. Then there's Arrival. A very clever film that we still can't quite believe actually got made. There's no car crashes, no explosions, no sex, no linear narrative - the audience actually has to concentrate, pay attention, piece everything together themselves. And it clearly worked, because it's was around for a fair few weeks, proving that if you make a film that is clever and intelligent, people will happily go and see it.
The second film in the Top 10 that made us livid this year, Spotlight - which hoovered up many an Oscar - tells the story of sexual abuse in the Catholic church and the ensuing cover-up. Pulling no punches, the film gently and quietly takes your hand and then refuses to let go. Squeezing more firmly as each layer is quietly revealed. No shouting (yes, apart from that bit), no big action scenes, just great, compelling drama.
And so we come to the other film that got our blood boiling. And, in this case, tears flowing. On the face of it, a film about the UK benefit system as told from the side of a claimant doesn't sound all that - but thanks to Ken Loach's gentle direction and Davy Johns' compelling, spellbinding performance, this film had us raving and ranting for weeks afterwards. And still does now. A must-see for absolutely everyone.
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