Isabelle Huppert is famed for the chilly intensity of many of her performances, and a willingness to mine all manner of darkness and perversity – her recent, award-laden turn in Elle being a good example. So it’s surprising how rarely she’s played unequivocal villains. But now, 24 years after her shotgun-wielding psycho postmistress in La Cérémonie, the French legend is again letting her hair down.  

No one was waiting for another Hellboy film, but here this rude, crude reboot is anyway, stomping all over Guillermo del Toro’s 2004 original with freewheeling energy.

It was the fabled Nashville songwriter Harlan Howard who commented that country music is “three chords and the truth”. Rose-Lynn, the protagonist of Wild Rose, just happens to have the surname Harlan, and she has the “three chords” motto tattooed on her forearm. 

There’s an admirable modesty in the way Jonah Hill has approached his first film as writer-director.

The wilds of Maine have been favourite country for novelist Stephen King, and they form the setting for this new version of his 1983 supernatural thriller (previously filmed in 1989). Dr Louis Creed (Jason Clarke) moves his wife and two kids from big-city Boston and his stressful job as an ER medic to a rambling house in Ludlow, looking for more family time and a better quality of life. Dream on, doc.

Italy has a romance with rural grit and innocence and – perhaps not surprising in a country where the links between village and city are still very strong: Alice Rohrwacher’s Happy as Lazzaro (Lazzaro Felice) isn’t in any way derivative, but revisits some of the same territory as Olmi’s The Tree of Wooden Clogs (1978) and the Taviani Brothers’ Padre Padrone (1977) and Kaos (1984), all classics of the genre.

The DC Universe continues to back out of its dark dead end with this satiric kids’ film about the other Captain Marvel.

French director Jacques Audiard is a master at genre with a twist, most famously the prison drama A Prophet, but also a number of crime thrillers with atypical settings or themes, including The Beat that my Heart Skipped (classical music), Dheepan (political refugees) and Read My Lips (office politics). Audiard turns genre templates upside down, sometimes merges them, invariably with excellent results.

It's all go – no, make that Van Gogh –  when it comes to the Dutch post-Impressionist of late.

At the start of Carol Morley’s noir mystery Out of Blue, detective Mike Hoolihan, bleary-eyed and slow, is carrying some burdensome weight. “This burger from last night is not sitting right,” comes the weary female investigator’s first line.