Like recent films about the Anders Breivik terror attacks in Norway, Hotel Mumbai unavoidably raises questions of taste. Do audiences really need to be subjected to harrowing recreations of real-life suffering, when the events themselves are still fresh? However it does offer one very moving justification, which is to honour the courage that invariably surfaces during such carnage.

With The Laundromat Steven Soderbergh is trying to do for the Panama Papers what The Big Short did for the 2008 financial crash, namely offer an entertaining mix of explanation, exposé, black comedy and righteous anger. Sadly, it doesn’t come close. 

Proxima is a very special, very beautiful space movie, one of those that are more concerned with the bread-and-butter reality of getting people into space – practically, emotionally, psychologically – than with the starry shenanigans themselves.

The cancer weepie is knocked off its tear-jerking axis by Lulu Wang’s sly and heartfelt autobiographical tale.

There have been a number of excellent science fiction films of late – Gravity, The Martian, Annihilation among them. But Ad Astra may be the most complete and profound addition to the genre since 2001: A Space Odyssey. 

Three women decide to take over their husbands’ criminal activities, proving more than a match for the men who dominate the underworld. If this outline of The Kitchen sounds familiar, it’s because it was just last year that Steve McQueen’s lauded crime thriller Widows had much the same premise.

People who idly use the phrase “it’s like living in a war zone” when considering their domestic mess should see Waad al-Kateab’s documentary For Sama.

“You’re so meticulous,” says Astrid (Maria Bonnevie) to her teenage daughter Jill (impressive newcomer Yvla Bjørkaas Thedin) as they create a batik artwork together at the kitchen table. Little son Bo (Casper Falck-Løvås) looks on as he munches a jam sandwich. A happy domestic scene? Anything but. “Meticulous” isn’t even really a compliment, coming from this chaotic, mentally fragile mother.

The Shock of the Future is for anyone who's watched a music biopic and thought "that's not how it works!" Directed and co-written by Marc Collin of Nouvelle Vague fame, it's perhaps the most realisitic film about recording music ever made. But as anyone who's ever been in the studio will tell you, the legends are much more exciting than the reality.

When did Dorothy (Constance Wu) really want to be a stripper? Maybe it’s when she looks with love at Ramona (Jennifer Lopez) during her strutting set piece dance, as she descends to a carpet of cash.