Set at the beginning of the 1970s, Catherine Corsini’s Summertime (La belle saison) is a story of love in a political climate, one in which the post-1968 assertions of a changing society have infused the public context in theory but do not ultimately translate into liberation for the film’s two lead women characters. The restrictions of tradition, especially in the rural world in which the greater part of Summertime is set, finally prove too strong for their relationship.

Half Man Half Biscuit have nothing on this. Splicing The Three Stooges and Island of Dr Moreau, this strange Danish film finds both slapstick and pathos in its grotesque premise. Part of the micro-genre in which adopted children search for biological parents, it takes its protagonists on some especially twisted country back-roads to get to where they’re going.

Ghostbusters 2016 has suffered from dire predictions on the internet from fans of the 1984 original. Scorn has been poured on the trailers, the all-female cast and the very notion of rebooting the much-loved 1984 comedy. In the end, it’s an enjoyable blockbuster, not great, but not disastrous either.

The Sunday preview audience – a mixture of adults and kids – which filled the 1700 seater enjoyed it well enough. Even my 12-year-old boy companion who had been predicting for weeks that it was going to be "the worst movie ever" came out of it very happy.

Weiner is the story of a rapid ride from comeback to meltdown. It’s an enthralling journey to witness, even if you sometimes feel like averting your eyes. What can be more inexorable than a political life – not to mention a private one – imploding on screen in a documentary where the subject has promised full access to the filmmakers, and sticks to that pledge regardless?

Her babyface spangled with tiny jewels and her lips painted fuschia, an adolescent with elaborately woven blonde hair lies on a silver velvet couch – round her neck and running onto her breast and down her right arm is a scarf of sticky blood as shiny as her blue vinyl (or cellophane) dress.

Accustomed as we now are to superheroes who can change size and shape, fly at nuclear speeds, levitate ships and vibrate themselves through walls, a bloke wearing pedal-pushers and jumping out of trees might be considered a bit of an under-achiever. Nonetheless Tarzan is back yet again (more than 200 Tarzan movies have been made since 1918), and Warner Bros are doubtless hoping to kick off a new big-budget franchise.

Rebecca Miller’s fiction and her previous films’ manifestly ambitious visual style and narrative structures led to high expectations from Maggie’s Plan. As a movie, it may appeal to audiences craving the kinds of films that Woody Allen, Noah Baumbach and Richard Curtis make – talky comedies revolving around middle-class professionals chewing over their relationship crises with their friends. But if that’s not your cup of decaf, it may just grate on your nerves.

Notes on Blindness is an extraordinary film that wears its original genius lightly. The debut full-length documentary from directors Peter Middleton and James Spinney, it may seem complicated in its assembly, but has a final impact that is luminously simple. And to speak of a film whose immediate subject is the loss of sight – and by extension, of the visual element that comprises cinema itself – in terms of luminousness is finally no paradox at all.

The last film to feature the Chilean coup was No from 2012, which explored the referendum that finally rid the country of General Pinochet and returned the country to democracy. There a genius adman plotted a brilliant campaign to get the right answer. Perhaps worthwhile viewing for those planning referendums?

There are often times as adults, that we feel ill-prepared for dealing with situations that arise. There is no equivalent of a Brownie’s badge for “taking responsibility” “progressing the career ladder”, “finding your life partner” or “coping with grief”. But by age 30, somehow, inexplicably, we’re supposed to have it all under control. Rachel Tunnard’s debut feature film departs from this social norm, and takes a look at what happens when the dream is derailed.