The TV series on which Guy Ritchie has based his new spy-buddies movie first appeared on the small screen (in black and white) in 1964, when Napoleon Solo and Illya Kuryakin welcomed us into their secret lair in New York and introduced themselves as "enforcement agents" for U.N.C.L.E., apparently a sort of UN/CIA hybrid. The grandfatherly Mr Alexander Waverly, resembling a retired bank manager in venerable tweed, announced himself as their boss.

People talk at and not to one another in Mistress America, the latest collaboration between director Noah Baumbach and actress Greta Gerwig and the first to make me wonder whether the unarguably gifted real-life couple might benefit from an outside eye to let them know when enough is enough.

The epic and the intimate combine impressively in Jordanian director Naji Abu Nowar’s debut feature Theeb. The epic is there is the scale of the stunning desert landscapes that are the backdrop – though the desert itself almost feels like a character here, and generic allusions to the Western abound – to his World War One story of complicated Bedouin loyalties played out on the edges of the Ottoman Empire.

Multiple stars are born in The Diary of a Teenage Girl, the conventionally titled film premiered earlier this year at Sundance that turns out to be unconventional in every way that matters. Adapted from Phoebe Gloeckner's novel about a 15-year-old's coming of age in the swinging, drugs-soaked San Francisco of the 1970s, first-time director Marielle Heller has made one of the most probing films yet about that painful journey we all make through what Henry James so succinctly titled "the awkward age".

When Al Pacino burst into the spotlight as Michael Corleone in The Godfather, his celebrated co-star was Marlon Brando, who for years had been giving eccentric performances and making a mockery of his talent, but was about to offer audiences a reminder of the innately consummate actor he was.

In John Ford’s rueful 1946 allegory about the human cost of America’s new role as global peacekeeper, Wyatt Earp (Henry Fonda) agrees to clean up Tombstone, Arizona, as a pretext for revenging his teenage brother's murder by Old Man Clanton (Walter Brennan) and his rustler sons.

An affectingly restrained Australian drama of adolescent development coloured by the repercussions of a parent undergoing gender transition, 52 Tuesdays may initially seem understated in its exploration of the balances (and imbalances) of family relationships under stress, but finally achieves something rather deeper than its innovative broken-up narrative style at first suggests.

Marshland is set on possibly the last section of the Andalusian coastline which doesn’t have high-rise condos planted all over it. Imagine the Kentish marshes of Great Expectations, but with a harsh sun cracking the parched earth, while overhead the sky throngs with geese and flamingos. It’s in this inhospitable corner of Spain that young women keep disappearing, apparently lured away to the big city, never to be heard from again.

Don’t on any account be late for the first couple of minutes of the woolly mammoth that is Russian director Alexei German’s last film, Hard to Be a God, since the opening narrative voiceover gives a rare suggestion of explanatory background to a work that, put mildly, does not greatly trouble itself, over a lumbering length of just under three hours, with much in the way of plot explication.

People who live in glass houses should be careful who they antagonise. That's the superficial starting point of The Gift, the directorial debut of actor Joel Edgerton, who takes the cuckoo-in-the-nest thriller template – which became ubiquitous in the early '90s with films like Pacific Heights, Unlawful Entry, Single White Female and The Hand That Rocks the Cradle – and, by introducing psychological depth and a streak of social conscience, fashions an intriguing morality tale.

Jason Bateman (pictured below right) and Rebecca Hall play Simon and Robyn; prompted by his fancy new information security sales job, they move from Chicago to an exposed modernist house high atop the California hills. She's a successful designer emerging from a depression brought about by a failed pregnancy, trying to build her business back up from home. When they bump into one of Simon's old schoolmates, Gordo (Edgerton himself), this awkward man takes a rather overzealous shine to them and starts showing up uninvited and leaving gifts on their doorstep.

Operating with a keen sense of the couple's vulnerability from the outset, both in terms of their easily penetrated abode and Robyn's fragile mental state, Edgerton skilfully ratchets up the tension and, along with cinematographer Eduard Grau – who did such beautiful work on A Single Man – crafts a cool, unnerving thriller, which contains a handful of decent jump-scares before it evolves into something more emotionally rich.

This first-time helmer (who has also penned the screenplay) fleshes things out admirably, showing an eye for incidental background action (a husband is chided by his wife after belittling her at a work party; we notice Gordo clock Simon in the street long before he makes his initial approach) and this care stretches to the casting, characterisations and performances. Allison Tolman (TV's Fargo) and Wendell Pierce (The Wire) are amongst the skilfully selected supporting players, while Edgerton the chameleon-like actor plays Gordo as an atypical, enigmatic psycho; still and subtly strange, he's the anti-Ray Liotta, right down to his dark, inscrutable eyes. He's difficult to read and interesting to ponder, with the audience invited to pick and puzzle over him as we size up the threat.

He's well matched by seasoned comedian Bateman, in a rare serious role, whose easy charm is shrewdly employed and who proves he has the dramatic chops to slip into the skin of a man whose slick facade is gradually peeled away to reveal something substantially more ugly. And Hall is compellingly sensitive in the film's most sympathetic role, bringing a welcome note of sweetness to the abounding cynicism and increasing aggression, and going from passive to active as her investigations lead her to uncover the uncomfortable truth about the state of her relationship. We also view events through her compassionate eyes, adding further complexity to our perception of Gordo.

The Gift is ostensibly about the power of an idea, but this thoughtful film encourages us to look afresh at our own behaviour and relationships, and it has plenty to say about the way in which women (or indeed anyone) can become victims of, or be diminished by, a domineering personality, about our failure to see what's right in front of us, about the far-reaching consequences of our actions, and about the take-no-prisoners world of big business where bullies and psychopaths rise to the top. This gift might be wrapped up in the paper and ribbon of a generic thriller, but what's inside will pleasantly surprise.

Overleaf: watch the trailer for The Gift