It might be putting it bluntly, but hell - American rom-coms didn't always suck. The screwball comedies of the 30s and 40s made bickering artful and aspirational and Woody Allen added his own neurotic spin in the 70s. Now the commercial end of the genre makes fools of us all with its desperate women, bland men and rigid, asinine formula. These films are an insult to the intelligent, ambitious or independent, and are at best a guilty pleasure.

Debut writer-director Gillian Robespierre strikes the perfect balance between humour and humanism in this New York set comedy about unplanned pregnancy and abortion which sees stand-up comedian Donna Stern (Jenny Slate) get dumped and fired from her job at Unoppressive Non-Imperialist Bargain Books in quick succession. At her lowest ebb she engages in a drunken one night stand with Max (Jake Lacey), a guy she meets in a Brooklyn bar, and we get to witness how she deals with the consequences of her actions whilst also trying to get to grips with the world around her.

A fresh take on the fish-out-of-water story, Kumiko, the Treasure Hunter finds a lonely Japanese woman reimagining herself as an adventuress and travelling to America in pursuit of a fictional fortune. As with others of the ilk, the film derives humour from confusion and the culture clash but rather than being primarily concerned with calamity David Zellner's fifth film (co-written with his brother Nathan) makes Kumiko's alienation and retreat into fantasy its heartbreaking focus.

It's been four years since Ryan Reynolds' one-man-show Buried, which saw the thesp prove his acting chops while six foot under in a box. The Voices gifts him a full and talented supporting cast but it's a film that he also shoulders, cast in a role which requires him to be both the good guy and the very, very bad guy - and the source of the titular voices - despite ostensibly playing just one part.

The bitterness and jealousy of a relationship on the rocks is superbly handled in this disconcerting, witty and sharp indie which poses moral quandaries galore. Ethan (Mark Duplass) and Sophie (Elisabeth Moss) are the couple at odds with one another. The abrasions caused by their long-term relationship have led them to therapy and as a last resort their therapist (Ted Danson) sends them off on a break guaranteed to cement their love and rekindle their passion.

A quick scan of the credits gives grounds for optimism about Transcendence, with Johnny Depp leading a copper-bottomed supporting cast which includes Rebecca Hall, Morgan Freeman, Paul Bettany and Cillian Murphy. Director Wally Pfister may be a first-timer, but since he's been Christopher Nolan's cinematographer since 1999's Memento and won an Oscar for his work on Inception, you might give him the benefit of the doubt.

There might seem to be a world of difference between Israeli director Eytan Fox’s last film, the coming-out-of-grief, intimate drama Yossi, and his new movie, the delicious, prove-what-you-can-do comedy musical Cupcakes. But both are about moving towards a better place, and overcoming the obstacles encountered along the way, with a little help from your friends.

Home is truly where the heart is in writer-director Joanna Hogg's extraordinarily astute and artistically alive third film, which takes in the minutiae of a marriage. Exhibition is the story of two artists as they prepare to move out of the beloved home they have lived in for the best part of two decades and it imaginatively illustrates how where we live can challenge and define us. The star of Hogg's previous films (Unrelated and Archipelago) Tom Hiddleston - who has since gone stratospheric - sportingly cameos as a smarmy estate agent.

We see the harshness of everyday life in Danis Tanović’s An Episode in the Life of an Iron Picker first in its snowy, subsistence landscapes, as hero Nazif goes out to the forest to bring in whatever wood he can find to keep the family home warm. But by the end of the film, which took the Jury Grand Prix at last year’s Berlinale, we have seen, much more chillingly, the harshness of human behaviour.

Even Emma Thompson's finely honed deadpan delivery can go only so far in The Love Punch, a caper movie (remember those?) that moves from the implausible to the preposterous before sputtering to a dead halt. A revenge comedy nominally steeped in a desire to right social injustice, writer-director Joel Hopkins's film soon abandons all loftier aspirations in favour of one jaw-droppingly daft sequence after another.