This debut feature by writer/director Thomas Ikimi was shot in 22 days on an infinitesimal budget, and while it's easy to point out some obvious flaws, it's far more constructive to look at what Ikimi has achieved. Chiefly, he wrote a script intriguing enough to lure Idris Elba on board, and he not only agreed to play the central role of Malcolm Gray, but additionally gave the project a hefty professional shove.

It is regularly cited as quite the grossest moment in the Top 1000 gross moments in gross-out comedy. Flooping out of Ben Stiller, dangling off his earlobe, whence Cameron Diaz takes a pinch to stiffen her hair flick: the world-famously icky spunk-gel sight gag. The Farrelly Brothers have never been ones to duck a gross-out challenge, and in Hall Pass they may have just knocked their own There’s Something About Mary off the Number One slot.

News junkies and connoisseurs of Iraq war conspiracies may be familiar with the true story of CIA agent Valerie Plame, which is earnestly converted to celluloid here by director Doug Liman. Part of Plame's work was infiltrating Saddam Hussein's weapons programme before the decision to invade Iraq in 2003 was taken. Her husband Joe Wilson, a career diplomat who had served a stint in Niger, was sent back there by the State Department to investigate rumours of the sale of enriched uranium to Iraq for use in nuclear weapons.

Ken Wardrop is a young Irish film-maker who has been winning awards since his days at the National Film School in Dublin. His & Hers, his feature debut, is no exception: it won the World Documentary Cinematography award at last year’s Sundance film festival. The title is deliberately misleading. We might expect a film with males and females in it, but instead this is a group of 70 girls and women talking to camera about the men - fathers, brothers, boyfriends, husbands and sons - in their lives.

To anyone less than familiar with a transatlantic migration of 150 souls which took place in 1865, a bilingual film with dialogue in Spanish and Welsh may look like a subtitled bridge too far. Any such prejudgement would be a mistake. Patagonia is a film rich in cinematic textures which visits not one but two ravishing parts of the world rarely celebrated in widescreen. The fact that it has a lovely little cameo from Duffy, making her acting debut and contributing (in Welsh) to the soundtrack, is an extra recommendation.

Upper-middle-class familial relations are placed under an unflattering spotlight in Joanna Hogg’s rich, resonant and often scathingly comic drama, which triumphantly harnesses the power of the unsaid and the unseen. Like its predecessor Unrelated, Archipelago is a superior, stylistically distinct work that is utterly, almost cringingly credible.

Shakespeare’s The Tempest is apparently a gift for the big screen. It's full of tricks, illusions, two half-humans and of course kicks off with a stonker of a storm: any film-maker might, particularly in this hi-tech epoch, give his or her eye teeth to unleash wildest imaginings on this magical text for grabbiest effect. “The isle is full of noises,/ Sounds and sweet airs, that give delight and hurt not”, says Caliban.

Over here we had our own obscenity trial in 1960. Before Lady Chatterley’s Lover made it into the dock, it’s always said that sex in the UK didn’t exist while no sooner had the judge pronounced it not guilty of obscenity than everyone was at it very promptly. Thus does the collective memory simplify. As is usually the case, America got there first. Literature of a provocative nature was put on trial when in 1957 Allen Ginsberg’s priapic epic Howl found itself up before the beak.

Ayub Khan Din’s belated sequel to 1999’s East is East moves the story on by five years as we revisit the Khan family in Salford in 1976. East is East (directed by Damien O’Donnell) concerned chip-shop owner George Khan’s determined attempts to marry off his sons to Pakistani girls, while West is West (directed by Andy DeEmmony) centres on Sajid, the youngest brother whom we previously saw permanently in a hooded Parka.

The animals 17-year-old Josh Cody has to survive are his own criminal family. The Codys are hardly the Corleones. Led by sweetly smiling, grandmotherly matriarch Smurf (Jacki Weaver) as they fume and feud in Melbourne’s suburbs, this motley gang of five’s only outstanding quality is their ruthlessness. Deposited with them when his mum overdoses on drugs, the shy teenager navigates between armed robber Uncle Pope (Ben Mendelsohn) and wired drug dealer Uncle Craig (Sullivan Stapleton).