The latest brainwave of director Richard Linklater is wonderfully simple: don’t do another remake of Jean-Luc Godard’s debut film, A bout de souffle (1959), make a movie about the making of the film that nails what the movement he helped launch, the nouvelle vague, stood for. And make it with a French cast and crew.

The typical Jason Statham character is a taciturn loner with a dark and secret past, maybe as a hitman, a safe-cracker or a former member of some special forces unit.

Kangaroo has promising ingredients: a Sydney TV weather reporter accustomed to soft city life is forced to reconsider his priorities (what, no sparkling Icelandic water or spa treatments?) when stranded in the Outback.

This is a tasteful but somewhat unmoving adaptation of writer Helen MacDonald’s memoir, which in 2014 won the Samuel Johnson and Costa book prizes. MacDonald was an academic lecturing in the history and philosophy of science at Cambridge, when their father, Alisdair MacDonald the press photographer, died suddenly.  

Lionel (Paul Mescal; played as a child by Leo Cocovinis) has perfect pitch and is able to name the note his mother coughs each morning. He can harmonise with the barking of the dog across the field. “Early on I thought everyone could see sound.” Sounds bring shapes, colours, tastes too: “B minor and my mouth turned bitter.”

To the rich but faintly melancholy strains of Mozart’s Piano Concerto no 23, the latest release from Korean director Park Chan-wook sets up its protagonists for us, a carefree family enjoying a barbecue in their garden, with a mischievous ironic tone from the outset.

The last GP in Britain tries to heal his Rage virus-ravaged country in this sequel not only to Danny Boyle’s 28 Years Later but his Olympics NHS tribute. Dr Ian Kelson (Ralph Fiennes) is civilisation’s softly spoken but ferociously principled keeper, stoking its embers even in the monstrous Infected, while confronting evil people visually and morally modelled on Jimmy Savile. 

The pitch for this movie might have been “Heat meets Miami Vice”, and it’s to the credit of writer/director Joe Carnahan that the finished result can stand toe to toe wi

Brendan Fraser’s mournful, basset-hound face finds a loving home in this affecting fable from director/writer Hikari.

State of Statelessness is the brainchild of the Drung Tibetan Filmmakers’ Collective based in Dharamshala, home to the Dalai Lama and spiritual heart of the Tibetan community in exile. Four short films, each by a different director, address what it means to live in the diaspora without a homeland. And like a short story, each film offers a glimpse into lives spent in perpetual exile.