Fifty Shades of Grey is upon us, more or less literally. It's a bit like the clamber-cam POV shot of Jamie Dornan materialising through Dakota Johnson’s spread legs. The teaser campaign has completed its titillating foreplay, and this weekend the fairytale fantasy franchise about fucking and slapping (but please, sir, no fisting) thrusts its entire length into the world’s cinemas. How will it be for you? The morning after, will audiences still be applying Arnica to their assaulted senses?

Among contemporary British documentarists Kim Longinotto has surely travelled the furthest afield internationally – Iran, Japan, Africa – to find her subjects. Love Is All brings her resoundingly back home to Britain, across a timeline that stretches from the very end of the 19th century when the moving image was born, right up to the present day. It’s a fluid anthology about human relations in every form you can imagine, drawn from both more formal feature and documentary films and informal footage from the archives of the British Film Institute and Yorkshire Film.

Ben (John Lithgow) and George (Alfred Molina) are two lucky people. They work in New York City where Ben paints and George teaches music. After they marry, the church school where George works fires him for being openly gay. Their life has come apart with the loss of one income. The couple must sell their co-operative flat and live apart - Ben with Elliot, his nephew (a convincing Darren E Burrows) and George with a couple of groovy gay cops (Cheyenne Jackson and Manny Perez) one floor below their old flat.

Your initial impressions of Hilla Medalia’s Dancing in Jaffa may be influenced by whether you go into it knowing anything about its central character, Pierre Dulaine. His is a name that needs no introduction to anyone familiar with the world of ballroom dancing: he has been a world star in that field for decades, who together with his dancing partner, Yvonne Marceau, set up the American Ballroom Theatre in New York in 1984.

A New York blizzard so intense that people can't get out the front door traps a random couple who have hooked up online into a rather longer mating dance than they had anticipated. That's the essence of Two Night Stand, the debut film from director Max Nichols (son of the late, great Mike, who died in November) that prolongs a wearyingly cute premise well past breaking-point.

Cynical writer Macaulay Connor (Jimmy Stewart) and pragmatic photographer Elizabeth Imbrie (Ruth Hussey) are the tabloid team charged with getting the undercover scoop on the society wedding of the year, between old-moneyed Tracy Lord (Katharine Hepburn) and a self-made industrialist. Their way into the party: Tracy’s ex-husband, CK Dexter Haven (Cary Grant). Will Tracy actually marry a social-climbing stiff, or fall for the angry young reporter with an unnatural capacity for champagne? Will Dexter be able to turn the tables on Spy magazine’s diabolical editor?

This almost-no-budget feature by writer/director James Ward Byrkit was created by gathering eight of his actor-friends in his Santa Monica living room, and giving each of them a daily page of notes about their character on which to base their improvised performance. Five nights of shooting gave Byrkit enough material for the finished product, but questions must be asked about whether the process justified the flick's 88 minute running time.

The Wachowskis' sci-fi blockbuster has been getting a kicking from the Stateside critics, but perhaps that's because it's a bit of a shape-shifter with multiple personalities. Part dystopian fantasy, part fairy tale, part cosmic epic, all rolled up in a whole lot of astonishingly vivid special effects, Jupiter Ascending is like spending a day at Alton Towers with your brain marinating in mescaline.

Bringing a real-life story with a well-known and shocking outcome to the screen has an inherent major difficulty. When the end does come, it won’t shock. Amour Fou dramatises the suicide pact of the German writer Heinrich von Kleist and Henriette Vogel, a woman at the heart of high society who had been diagnosed as terminally ill. They both died on 21 November 1811.

Few modern figures can match the towering legacy of civil rights luminary Martin Luther King, and any filmmaker should be rightly intimidated when approaching a biopic. Undaunted, Ava DuVernay has created something remarkable. She pitches her film perfectly, presenting an intimate portrait of a man struggling to live up to his own legend and maintain the momentum of a movement, filtered through the powerful story of a series of initially small, eventually seminal protests in the town of Selma, Alabama.