Whilst the London Film Festival blossomed in the month (And a lot of reviews are published here), regular audience-goers were offered a variety of films, such as excellent teen drama The Perks Of Being A Wallflower, entertaining if cut teen-friendly thriller Taken 2 The Streets, brilliant indie dramedy Liberal Arts and Adam Sandler film number 3, Hotel Transylvania, which has more Golden Globe nominations than most actually good films.
Oddball comedy thriller Hit & Run trickled out, as did rom-com-thriller metatextual take on perfect female fantasies Ruby Sparks.
Wonderfully funny and intense Brit remake of Nic Refn's Pusher didn't find an audience like it deserved, however. Animation was a mixed bag indeed, the already mentioned Transylvania being the worst of the bunch, but Frankenweenie tried hard to be pretty awful, thankfully Madagascar pulled its socks up and made not only the first watchable film of the franchise, but a genuinely hysterical, entertaining, silly fun film.
There were some real failures, like Beast Of The Southern Wild, Fun Size and Room 237, but October's less of a place for indies, and more for horror. And horror found another cheap franchise-fest in Paranormal Activity 4, as well as Silent Hill: Revelation, the sequel not even Sean Bean asked for. Sinister was the most acclaimed horror of the season, mainly because everyone loves Ethan Hawke.
October really belonged to one man and three numbers, however. 007 doc Everything Or Nothing may not have delved in-depth behind the story of Bond's origins and the struggles of making a franchise so well known, but it was an entertaining, often funny, look at the past five decades, whilst Skyfall, of course, was a massive massive hit, despite struggling to be entertaining for a whole half of the film.
Whilst Bond topped the box office continually, indies were the mainstay of the releases. Paul Thomas Anderson's return was hardly triumphant, The Master split critics and audiences, but ultimately it was less of a talking point and more of an empty shell of cinema. Rust And Bone's most significant element was using a Katy Perry song in a French drama, but the drama was significantly lacking. Brit indie My Brother The Devil strived to find something to say in a dead sea of generic urban dramas, but found little more than obvious twists to add to the genre, whilst Amour found great performances and excellent directing in a tedious, monotonous look at old people dying. End Of Watch tried for found footage thriller putting the audience in the heart of action as LA cops do nothing for 90 minutes and then get involved in a Hollywood thriller all of a sudden.
French Canadian comedy Starbuck, about a man who fathered over 500 children through sperm donation, charmed the pants of anyone who saw it, whilst Sightseers had trouble finding real heart, charm or comedy.
Clint Eastwood sports drama Trouble With The Curve was as engaging as last year's Moneyball, whilst animation ended the year sublimely with Rise Of The Guardians, a painfully overlooked wonder of modern cinema.
Ben Affleck made his directorial hat-trick with Argo, a funny and intense satire of Hollywood by way of CIA mission only declassified some years back.
The Sapphires was a charming, if hollow, musical dramedy that didn't seem to go anywhere, whilst Kevin James vehicle Here Comes The Boom surprised and delighted. Lawrence of Arabia was re-released to remind audiences what a perfect film is, and documentary The House I Live In gave voice to the war on drugs, from the cops, the judges, the victims and the criminals, enthralling, horrifying and electrifying.
Bret Easton Ellis' pick for Best Picture, Silver Linings Playbook, may not be up to the calibre of that award, but the charming rom-com-drama offered 5 fantastic performances alongside an absolutely delightful final 90 minutes.
Of course the big release in November may have been the final part of Twilight, Breaking Dawn Part 2, but who cares?
No better way to start the Christmas season like a smug, self-indulgent mess of an LA-set film-writing meta film, Seven Psychopaths is a complete embarrassment in every way, so much so that you won't find a review by me anywhere, not worth the time or effort.
Similarly, indie anti-rom-com Celeste & Jesse Forever with leads Rashida Jones and Andy Samburg is a massive failure from delightful people, also smug, and unrelentingly dull.
The Hobbit being the winter's biggest release saw a wide variety of viewing opportunities, from 2D IMAX to 3D HFR and then some,a fun film though far too long, the reaction from many people has been interesting, but we liked it here.
Chasing Ice merged stunning time-lapses and cinematography with some very interesting facts that make it hard to disbelieve climate change, and man is it terrifying to see the results on screen.
Ang Lee's Life Of Pi was an astounding 3D release, full of depth and visual genius, as well as an interesting story, funny, intense, well handled and purely wonderful, it's a film that deserves attention.
Indie films wrapping up the year include stunningly achieved sci-fi lo-fi comedy Safety Not Guaranteed, wherein Aubrey Plaza is ridiculously cute for 90 minutes, and Midnight's Children, wherein Salman Rushdie finds his head up his bum for 150 minutes. Grabbers, an excellent horror comedy, gets a limited release pre-DVD, and deserves plenty of attention. Structurally simple yet filled with great effects, wonderful dialogue and lots of interesting ideas, it may not be Christmassy, but it's certainly lots of fun.
2013 houses lots of much-anticipated titles, early on the Oscar-bait like Django Unchained, Zero Dark Thirty, the rather awful Les Miserablés (I seriously disagree with this review) and considerably lacking The Sessions, whilst animated fun Wreck-It Ralph will make its UK debut next year. Also on the horizon are comedies This Is 40, The Incredible Burt Wonderstone, I Give It A Year and, erm, Run For Your Wife (Which I think is a comedy).
What else does 2013 hold? Who knows? But whilst 2012 was an interesting ride, the year ahead is far more exciting.
Thanks for reading.