Quentin Tarantino’s made a big deal of this being his nin^th film, while heralding his retirement after number 10 with the sort of nostalgic fandom he’s always ladled over his favourite directors and stars. Such self-consciousness (if not self-aggrandisement) is risky, because you’ve really got to deliver. 

Based on Savannah Knoop’s memoir Girl Boy Girl: How I became JT LeRoy, Justin Kelly’s film skims the surface of the sensational literary hoax of the early 2000s, that far-off time before avatars, gender fluidity and fake online identity were part of everyday life.

Modern children’s films wink knowingly over kids’ heads at their paying parents, as with the Lego movies’ rapid-fire pop-culture salvos. Lino DiSalvo (Disney’s Head of Animation for Frozen) could have sulked upon receiving the apparent short straw of rival Playmobil’s toys for his directorial debut. Instead, he finds modest charm in a simpler childhood world.  

Filmmakers have an obsession with the music world that is beginning to seem unhealthy. In quick succession we’ve had two Abba musicals, biopics of Freddie Mercury and Elton John, A Star is Born with Lady Gaga and the Beatles fantasy Yesterday, most of which feel pretty B-side. 

First-time collaborators Garry Keane and Andrew McConnell have tried to divert from the standard media narrative by looking at Gaza from the viewpoint of its inhabitants. The result is an observant documentary that attempts to avoid politics by collecting first-hand portraits, or what the directors call a “tapestry of characters”.

The English-language drama Holiday, Danish filmmaker Isabella Eklöf’s feature debut, is an anthropological study of the corrosive effects of absolute male power and calcified misogyny.

This is a scathing and heartfelt coming of age drama, though not of the adolescent kind. Tyler and Laura are soulmates and flatmates, two single women blazing a riotous trail of booze, sex and drugs through the bars and basements of Dublin. But with Tyler turning 30 and with Laura two years ahead of her, the spectre of delayed-action adulthood is looming.

“Movies are all the same,” says one character in Photograph, the latest film from India independent director, Ritesh Batra. It’s true, the plot feels familiar, but if stories are all the same, it’s how you play with the form that makes a film a success or not. Batra once again shows he knows how to craft a good story. 

“You know twinkle toes, in another life I bet me and you could’ve done some serious damage.” 

When Jason Statham’s bad guy turned good finally warmed to Dwayne Johnson’s cartoon-like lawman in Fast & Furious 8, it could well have been a cue for this spin-off focussed on the two bickering beefcakes.

With the vertiginous drama of England’s cricket World Cup victory still fresh, Barney Douglas’s documentary digs into the human cost of a previous ascent, when England’s Test team rose to No 1 in the early 2010s. Made in the dour image of coach Andy Flower, they seem ill-suited to Douglas’s intention of a “rock’n’roll” cricket film.