When it premiered at the Venice Film Festival in September, Steve McQueen’s second film, Shame, got rave reviews from male critics. Michael Fassbender (who played Bobby Sands in McQueen’s splendid debut feature, Hunger) is brilliant as Brandon, a successful thirtysomething New Yorker. His screen presence is so appealing that one could ogle him for hours and if, indeed, that is his body sauntering naked past the camera, he is well hung as well as handsome.

Richly nuanced in its sideshot view of Uruguay’s film world and Montevideo street atmosphere, Federico Veiroj’s A Useful Life is a small film that picks up on suppressed emotions which are only released in its second half. Its black-and-white images (actually transferred from colour, in a manner consciously evoking previous eras) recalls something of European cinema of the 1950s and 1960s. The three non-professional leads live rather than play their parts, but it’s atmosphere, conveyed especially through its score, that gives the film its charm.

The thrilling does battle with the banal and just about calls it a draw, which is a synoptic way of describing the effect of Steven Spielberg's film of War Horse, based on the Michael Morpurgo novel that spawned the now unstoppably successful play. Those nay-sayers who said it couldn't be done will find their prejudices confirmed, preferring the imaginative reach infinitely more easily arrived at by the use of puppets on stage.

Margin Call, a smart, taut and brutally frank portrait of the money game, asks a lot of its audience. A movie about traders as, if not quite good guys, then at least rounded guys? It’s not a trick Oliver Stone ever managed to pull off, and he tried twice. Refusing to deal in the Hollywood placebos of idealism and redemption, this is not a product that the big studios would have gone anywhere near.

The Western image of manga comes from the thick volumes of knicker-flashing schoolgirls and lurid s.f. teenage boys pore over, and the anime (cartoon films) which adapt them. Singaporean director Eric Khoo’s animated adaptation of five stories by Yoshihiro Tatsumi, framed by details from his graphic autobiography A Drifting Life, reveals a radically different medium.

There is a moment some way into The Iron Lady when its titular heroine presides over a celebratory domestic soiree. Around the table are arrayed ageing Tory nabobs and their peachy consorts, one of whom at the evening’s end tremulously approaches her hostess, sitting apart in an upright chair. The guest (played by Amanda Root) sinks to one knee and, offering up a gaze that mingles concern and adoration, says, “I hope you appreciate what an inspiration you’ve been.” It’s as if she’s in supplication to Saint Teresa of Avila, not the woman who torpedoed the Belgrano and the NUM.

A capsule summary of Goon doesn't sound very appetising - slow-witted hockey player with awesome fighting skills helps lift the Halifax Highlanders out of their low-achieving doldrums. Yet within the film's oafish wrapping lies a touching little tale of oddball relationships and characters struggling to find their place in the world, set against a melancholy backdrop of small-town Canada in iron-hard winter weather.

In the year that Kindle electronic downloads surpassed book sales for the first time, the influence of literature on the wider arts is still as pertinent as ever. Cinemas have been filled with titles first read on the bestseller lists, from Kathryn Stockett’s The Help and Stieg Larsson’s The Girl with the Dragon Tattoo, to the second instalment of J.K Rowling’s final book, Harry Potter and the Deathly Hallows.

On Easter Monday, as the sun came down over the sea, a crowd of 15,000 – it’s not quite right to call them theatre-goers – followed Michael Sheen as he dragged a cross to Port Talbot’s own version of Golgotha, a traffic island hard by Parc Hollywood. The culmination of a three-day epic, The Passion of Port Talbot was street storytelling at its most transformative. The cast of thousands, including local am drammers and the Manic Street Preachers, were dragooned by WildWorks, National Theatre Wales and, above all, Sheen, whose year this was.

In a year of mounting turmoil and uncertainty, it was easy to fall back on safe bets and comfort-zone reassurance. Addictive TV series offered a welcome haven from the angst of financial meltdown: Sarah Lund’s melancholy airs in The Killing offered a homeopathic cure for the gloom of double-dip recession. Breaking Bad, the saga of the cancer-struck physics teacher who takes to a life of crime was dark, funny and endlessly surprising. Downton Abbey, by way of a contrast, was well made and watchable, in a warmly soporific kind of way.