Chris Evans and Chris Hemsworth in Avengers: Age of UltronAVENGERS: AGE OF ULTRON

Whatever your feelings about Avengers: Age of Ultron, even if your feelings can be summed up in a succinct "Meh," you can't say that writer/director Joss Whedon is merely giving audiences an exact replica of 2012's comic-book behemoth The Avengers. There's some romance here, for one thing. There's also a lot more plot, now that we're spared its predecessor's hour-plus of super-team origin story. And rather than being granted all of his film's best, most thrillingly unexpected moments, that rampaging mass of CGI id known as the Hulk is instead stuck with the worst scene in the movie - which, unfortunately, also happens to be its most prototypical one.

Tom Hiddleston and Chris Hemsworth in Thor: The Dark WorldTHOR: THE DARK WORLD

As the comic-book demigod Loki, the nefarious thorn-in-the-side to the Avengers and adopted brother to Thor, Tom Hiddleston, in the Marvel Studios movies, exudes a teasing, seductive malevolence. With his sharp, angular features and chilling gaze that suggests he might prefer eating you to killing you, he's a wonderfully unstable and hypnotic screen creation. Yet the brilliance in Hiddleston's interpretation is that his Loki is also so damned charming. The character may forever be planning destruction or plotting revenge - specifically against the golden-haired preferred son with the red cape and hammer - but Hiddleston's bearing is so smooth and relaxed, and his wide grin so infectious, that you almost can't help rooting for him, especially because he also, generally, gets his movies' best jokes.

Scarlett Johansson, Chris Hemsworth, Chris Evans, Jeremy Renner, Robert Downey Jr., and the Hulk in The AvengersTHE AVENGERS

Prior to its national release, the scuttlebutt on The Avengers seemed to be that the Hulk totally stole the show. Having now seen director Joss Whedon's long-awaited, cinematic commingling of Marvel superheroes, I'm inclined to agree, because the angry green giant has been granted two fantastically unexpected, legitimately great moments in the film, and that's at least one more than anyone else has been given.

Rooney Mara and Daniel Craig in The Girl with the Dragon TattooTHE GIRL WITH THE DRAGON TATTOO

Although I haven't read the book and now have no desire to, my guess is that those who love author Stieg Larsson's The Girl with the Dragon Tattoo will likely love the new film version, which boasts exceptional style and (as I understand it) doesn't significantly veer from the novel's narrative. Similarly, those who genuflect at the altar of David Fincher - and I'm occasionally one of them - will find plenty to adore here, as the director's signature imprint is on every seedy, suggestive, sepia-toned image.

Chris Hemsworth and Natalie Portman in ThorTHOR

Prior to the film's release, I wouldn't have thought any director a worse candidate for helming the hugely budgeted comic-book adaptation Thor than Kenneth Branagh, that frequent interpreter of Shakespeare whose one foray into Hollywood-blockbuster(-wannabe) terrain was 1994's monstrously terrible Frankenstein. In retrospect, I'm not sure any director would have proved a better choice. Two days after seeing Branagh's grandly produced yet subtly frisky entertainment, I'm still a bit shocked at how strong the results are; against all logic, Thor's director has successfully melded his movie's wildly disparate elements into an action-packed thrill ride (in 3D!) that, incredibly, also manages to be emotionally satisfying, and oftentimes funny as hell.

Tom Hanks in Angels & DemonsANGELS & DEMONS

You may not necessarily know character actor Armin Mueller-Stahl by name, but you likely know him by sight, and almost surely by voice. Familiar from such thrillers as Eastern Promises, The Game, and the recent The International - and Oscar-nominated as David Helfgott's über-strict father in Shine - the 78-year-old German, with his closely-cropped gray hair and wizened eye slits, doesn't look much different now from how he did playing Jessica Lange's is-he-a-Nazi-or-isn't-he? dad in 1989's Music Box. And he sounds exactly the same, with that heavily accented, hoarse whisper of his; by the time the performer reaches the end of a sentence, he always seems dangerously close to running out of breath.