We mean some absolute belters.
In fact, our top 10 is so strong there are some crackers that we had to leave out.
Films like Justice League, Thor, Film Stars Don't Die In Liverpool, The Last Jedi and Mindhorn all entertained and impressed immensely - in at least two cases, far more than was expected.
Then there was Baywatch. Sure, never likely to be a top 10 contender, but who knew it was going to be that funny? or fun?
But, as ever, it wasn't all jam. There was some dross too.
How 47 Metres Down made it as far as the big screen will remain one of life's mysteries, while Kong: Skull Island and Atomic Blonde both managed to miss their mark by some distance.
Then there was Boss Baby. If you haven't seen it yet, don't.
So, if that's what missed out, what made it in?
Glad you asked...
There are people who's opinion I value who really didn't take to this film, but for us it was breathtaking and captivating. A western in all but name, the way it allowed the murder mystery to unfold while also highlighting the plight of today's Native Americans was brilliant. And the scenery was amazing.
Yes, we know this film has problems now we know what we know about Kevin Spacey, but one man's despicable actions shouldn't detract from what is a fantastic rollercoaster of a movie. The music is a character in it's own right, and Edgar Wright keeps the pace up and the energy pumping from the get-go. Oh, and Ansel Elgort steals the whole damn show.
Wolverine has never been a character who sat well in the sanitised Marvel cinematic universe - he's supposed to swear, he's supposed to be a bit nasty, he's supposed to be the dirt under everyone's nails. Now, thanks to Deadpool proving you could do swears and still make money we finally get a grown up Wolverine movie. Hugh Jackman is the titular star, delivering one of his finest performances, while Patrick Stewart is perfect as the ailing Prof X. It's brutal, it's bloody, it's sweary, and it packs serious emotional punch.
The year got off to an amazingly strong start, and one of the front runners for the awards (which it justifiably won) was Moonlight. Telling the story of a boy growing up, coming to terms with his sexuality, his mum's addiction and life as an outsider among his peers it captivates from the off and holds you close without ever getting mawkish.
What do you want us to say? This is a brutally violent film that pulls no punches and had us laughing our socks off throughout. A stellar cast, Ben Wheatley at the helm, bullets flying fast and free like early morning Trump Tweets - this is just a whole bunch of brilliant.
Two of my childhood heroes were to appear on the big screen this year, kinda, and both are bears. I grew up with Pooh, and so the chance to see the story of his creator A.A. Milne was one that warmed the cockles even before we sat down. What we were expecting was a gentle stroll through Bear's history, but what we got was a tale of lost childhood, traumatised war veterans and an ending that made the screen go blurry.
Oscar films, you can spot 'em a mile off. Worthy story, well told etc etc, but somehow always feeling a bit forced, like they're trying too hard. well, not this baby. The story of the black women who helped get Nasa beat the Russians in to space needs telling now more than ever, and Hidden Figures does such a good job that when you aren't laughing out loud you're getting angry at how black people were treated under segregation. This needs to be seen by everyone.
"Hey, have you seen that horror film yet" we got asked a while back by someone who couldn't remember the title. Turns out they meant Get Out, which while billed as a horror isn't one. It's so much more (as all good horror films should be). Again tackling the issue of race, Get Out eases you in gently before gripping you and refusing to let go in exactly the way 47 Metres Down didn't. Smart, witty, sharp - this could have been film of the year if it wasn't for...
Now, we thought long and hard about this. Possibly more so than would seem necessary, but this is a list and lists matter. And this could have been number one. It's better than the first Paddington. It's funny, smart, soft, caring, has a desperately needed central message, and an ending that was greeting with universal sniffles in the cinema every time we saw it. It's nothing short of magic. It would have to take something special to keep marmalade sandwiches off top spot, wouldn't it?
If you've waited 20 years to put out a sequel, the obvious question is why bother? Who cares this far down the line? The people who worshipped at the alter of the original will have grown up and moved on, no? Well, that was always the point - so have the characters. And so have we. None of us are the person we were 20 years ago, and to be honest I'm not sure we came out of this screening the same person we went in. In the hands of Danny Boyle, a potential disaster is turned into an unmitigated triumph. You'll laugh, you'll cry (there's one track on the soundtrack that someone we know still can't listen to) and if you're anything like us you'll be unable to speak after the film ends for fear of just bawling your eyes out. It's a simply wonderful, masterful piece of storytelling that can stand proudly alongside the original.
Right, onwards with 2018....
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