Richard Madden and Lily James in CinderellaCINDERELLA

Given its sumptuous production design and its array of multi-hued gowns so breathtaking that costumer Sandy Powell should just be sent her inevitable Oscar via express mail, Disney's new, live-action Cinderella has to be the most opulent deeply unnecessary movie ever made. Somewhat unexpectedly, it's also one of the more satisfying deeply unnecessary movies ever made. Director Kenneth Branagh's fairytale adaptation, with its script by Chris Weitz, may have no reason to exist beyond the obvious mercenary one, but it's strong and heartfelt and quite beautifully acted - proof that even in the revisionist age of Maleficent, it's not always necessary to re-invent the wheel.

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.

Jeremy Irvine in War HorseWAR HORSE

A grandly scaled adventure about a boy who gets a horse, then loses the horse, then joins the British infantry to find the horse, War Horse is the sort of triumphant, lump-in-the-throat epic that director Steven Spielberg should be able to pull off in his sleep. Consequently, the highest compliment I can pay the movie is that its helmer, at all times, appears to be fully awake here. There's palpable filmmaking energy in nearly every shot, and several passages in this World War I family drama are so thrilling and painful and spectacularly well-choreographed that they rank among the finest in Spielberg's career.

Mila Kunis and Justin Timberlake in Friends with BenefitsFRIENDS WITH BENEFITS

Modern romantic comedies are in such generally dismal shape that I feel ungrateful for wishing that Friends with Benefits were better than it actually is. But while it's impossible to fully dislike any movie that finds a nitwit shrieking "John Mayer is our generation's Sheryl Crow!" or features a couple making a solemn vow on the Bible app of the woman's iPad, I left director Will Gluck's latest thinking that the film had just missed its mark. And that, after two frequently hysterical features in a row (2009's Fired Up!, Gluck's directorial debut, and last year's Easy A), its helmer had just missed his trifecta. Damn it.

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.