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.

Frankly, the idea of a female superhero flying solo at the front of a modern movie is becoming a bit of a joke. Despite there being a Wonder Woman film in the pipeline, that this relies on the success of "Batman vs. Superman" (both of whom have had their fair share of reboots) is disheartening. But going into an X-Men film there’s always the hope of both sexes having gripping storylines - a trend we’ve also seen play out in Captain America: The Winter Soldier - so step forward Jennifer Lawrence's Mystique. In a film that’s all about righting past wrongs you can't do much better than casting an Oscar-winner with a multimillion-dollar franchise under her belt right at the centre of your movie.

If the 60s-set X-Men: First Class was Mystique’s coming-of-age, then its sequel Days of Future Past (which sees Bryan Singer return to the helm) is her reckoning, with the chance for a peaceful future resting in her hands. When Mystique is given the chance to undo a destructive decision, thanks to the power of time travel, she is once again forced to wrangle with her beliefs and allegiances.

We meet Professor X (Patrick Stewart) and Magneto (Ian McKellen), who are firm friends in the near future, just as a vast swarm of sentinels approaches their hiding place. They come up with a last ditch attempt to save the world by sending Wolverine's consciousness (Wolverine is played once again by Hugh Jackman, who never seems to age) back to his 70s body, in a Back to the Future / Terminator 2: Judgement Day type mash-up. It's the era of the Nixon administration, with the president playing a key role here and, before you look it up, no Nixon is not played by Steven Van Zandt from the E Street Band (aka Silvio in The Sopranos) in prosthetics - it's actually Mark Camacho.

Of course Wolverine needs some help so he is tasked with assembling some old friends: a younger Charles Xavier (James McAvoy) who is constantly high on junk - well, a serum that allows him to walk but strips him of his telepathic power - and the soon-to-be Magneto, Erik Lehnsherr (Michael Fassbender, pictured above right) who has been imprisoned deep below The Pentagon, accused of assassination.  And so, we are taken on a prison break mission with the addition of young whippersnapper Quicksilver (Evan Peters from American Horror Story) whose super-speed power is introduced in one of the most inspired and fun moments of the film. It's a comic slow-mo scene that plays out to Jim Croce’s "Time in a Bottle" and works just perfectly. 

The fallout from the revolution plays nicely into the 70s setting, with many of the mutants in personal turmoil and suffering from raw wounds. Charles and Erik are at a stale-mate, sparring with one another over the sadness and regret of fallen comrades, which fits in perfectly with the film's Vietnam War backdrop. Fassbender and McAvoy excel at delivering bitter blows and heightened emotions, yet still manage to keep a twinkle in their eye when delivering fan service.

X-Men: Days of Future Past is convoluted and some of it doesn’t make sense but it’s a complete blast from start to finish thanks to a fine cast, good sense of humour and Fassbender spouting James Brown lyrics at random.

Overleaf: watch the trailer for X-Men: Days of Future Past