Exposed is a film suffering from blunt force trauma to the head. Director Gee Malik Linton’s name only remains as screenwriter after his largely Spanish-language film – more meaningfully called Daughter of God and centring on Dominican-New Yorkers – had a helpful supporting role from producer Keanu Reeves greatly expanded by its US distributor, hoping to transform it into a Keanu cop movie.

Secret in Their Eyes is not a mystery-thriller that leaves us pondering for long “whodunit”. The focus is on how two investigators and a Deputy District Attorney can relinquish obsessions that have glued them to a murder case for 13 years. This is a story of longings, obsession, and the inability to move on from events unaccounted for by justice. 

The set-up behind Spanish film-maker Álvaro Longoria’s intelligent documentary on North Korea is almost as bizarre and unlikely as the regime he’s attempting to probe.

There’s always a slight sinking feeling when the first words to appear onscreen are "Based on a True Story". The first worry is that it’s a story you already know, and the movie will lack any narrative surprises, the second that it will be a Good Cause. Sadly, Freeheld doesn’t dodge these pitfalls, despite a quality cast. This has to be blamed on the predictable script by Ron Nyswaner (of Philadelphia fame) and Peter Sollet’s by-the-numbers directing. 

This is a film which, if you want to see it in a cinema, needs to be caught fast. It’s unlikely to please big crowds. Chronic won Best Screenplay at Cannes in 2015 and its elliptical narrative will certainly stay with you, but it’s not a joyous experience.

A "guests-from-hell" saga on a panoramic scale, Luca Guadagnino's A Bigger Splash is a reworking of Jacques Deray's 1969 sex-and-jealousy movie La Piscine. The action has been transported from the south of France to the island of Pantelleria in the Strait of Sicily, where rock icon Marianne Lane (Tilda Swinton) is recuperating after a throat operation with her filmmaker boyfriend Paul (Matthias Schoenaerts).

“It is a truth universally acknowledged that a zombie in possession of brains must be in want of more brains.” Miss Bennet has been a busy Lizzy. In recent years she's popped up in a British Bollywood setting (Bride and Prejudice) and in the present day (Lost in Austen), and solved a murder mystery (Death Comes to Pemberley). Her latest outing – as played by literary pin-up of the moment Lily James – is as a sword-wielding, pistol-toting scourge of the zombie hordes. Naturally, she’s very good at what she does.

This is the first feature by writer-director Stephen Fingleton, and has earned him a BAFTA nomination for Outstanding Debut. Set in Fingleton's native Northern Ireland, it's a pared-down tale of post-apocalyptic struggle, compensating for its lack of budget with rigorous economy and a watchful intelligence.

Trumbo depicts the 13-year struggle by the screenwriter Dalton Trumbo (Bryan Cranston) to break the blacklist imposed on him and the other members of the Hollywood Ten in 1947. By continuing to get his scripts produced throughout the Fifties, Trumbo made a heroic, if morally complex stand against rabid Red Scare-mongers like the gossip columnist Hedda Hopper (Helen Mirren) and John Wayne (David James Elliott).

Toward the end of Paolo Sorrentino’s Youth, a tough-as-nails Hollywood diva played by Jane Fonda informs Harvey Keitel’s creatively spent director that television has supplanted cinema as the home of screen drama. True or not, this has been the industry consensus for about five years, but Sorrentino demonstrates there’s life in cinema yet by orchestrating a flow of effortless-seeming sequences that combine widescreen grandeur with whimsicality.