Tom Cruise has smugly saved the day in dozens of films. In Edge of Tomorrow, he utterly fails to save the same day dozens of times, dying and trying again, in a loop caused by being plastered in the time-warping blood of one of the aliens currently occupying Western Europe.

For an artist who famously can't travel to America, Roman Polanski would appear to have an unstoppable passion for filming small-cast Broadway hits. On the back of Death and the Maiden and Carnage, both of which diminished their stage sources, along comes Venus in Fur, adapted from the David Ives play that had no fewer than three separate New York runs, making a star of its husky-voiced young leading lady, Nina Arianda, who won a 2012 Tony for her work.

Nodding to John Ford, Shane and almost every other western ever made, baby-faced writer/director/producer/lead Seth MacFarlane (Ted) replaces the shocking genius of Blazing Saddles with swearing and jokes about bodily functions in a fast, funny, get-it-or-get-out comedy that will divide friends, ruin families and make a lot of people laugh. Whether you’re one of them, you’ll have to watch and see.

Ken Loach’s regular collaborators have said that Jimmy’s Hall will likely be the director’s last film, at least on the level of major projects. And his latest work is a big piece, both in scale and in heart; it’s not a defining work in Loach’s oeuvre, but more than a reminder of some of the familiar motifs that have recurred in a remarkable career that now spans half a century.

For the latest in a seemingly endless line of misunderstood cultural icons, meet Maleficent, the preternaturally smooth-cheeked anti-hero (or maybe not ) of the new celluloid blockbuster of the same name. As played by Angelina Jolie like some sort of Lara Croft-style visitor to the Disney live action landscape, this creature with the clipped wings isn't so much evil as she is ripe for revision in the public imagination - much as the wicked witch, Elphaba, in the book and stage musical of Wicked was before her.

This low-budget Parisian dramedy about doctor-patient relations is as odd, timid and well-intentioned as its socially maladjusted protagonists. Miss and the Doctors is writer-director Axelle Ropert's second feature after 2009's The Wolberg Family.

Not a lot gets spoken in Run and Jump, the gently eloquent first feature from San Francisco-born filmmaker Steph Green, a dramatic strategy that leaves the actors to charge the unsaid with meaning and the audience - not to mention Ireland, ah Ireland - to do the rest. That the result is as finely honed as it is honours not just the unforced beauty of a country that looks especially gorgeous soaked in rain.

There is a very old joke about a Hollywood actor, waiting to hear whether he has landed a plum role in an upcoming production, who gets a call from his agent. "I’ve got some bad news for you," says the agent. "Your mother has just died." "Oh, thank goodness!" says the actor. "I thought you were going to tell me I didn’t get the part." That says everything there is to know about the cutthroat world of the movie business, something that takes David Cronenberg almost two hours to say in this redundant and pointless evisceration of contemporary Hollywood.

 “Somebody had to be Bikini Kill, otherwise we would have culturally starved to death.” The quote typifies the deferential The Punk Singer, a bio-doc on the driven Kathleen Hanna, the feminist front-person of the American bands Bikini Kill, Le Tigre and, most recently, The Julie Ruin.

Any synopsis of Two Days, One Night is bound to make it sound like a worthy, sub-Loachian drama: A young mother, Sandra (Marion Cotillard), recently off work with depression, is made redundant from a small factory. In her absence, 14 of her 16 colleagues have voted to take their bonuses rather than let her keep her job. But she persuades her boss to host a second round of voting two days later, to allow her the weekend to persuade her fellow workers to support her.