Terence Stamp is back, guys. And this time, the highly-revered actor (“I don’t like to do crap [films] unless I haven’t got the rent”) sports a contemptuous scowl and a hard-hearted exterior, playing a grumpy old pensioner learning to cope with his wife’s terminal illness. Song For Marion sees Stamp as you’ve never seen him before; regularly putting on the kettle and for the first time, acknowledging his 70+ age in this heart-warming tale about discovering that it’s never too late to discover who you truly are.

Arbitrage is the feature directorial debut of writer Nicholas Jareck about successful hedge-fund manager Robert Miller and the consequences he must face when honesty is no longer an option. Richard Gere is on top form is a film about the morality of finance in post-crash America.

The Paperboy is a delicious piece of abundant cinematic melodrama set in sultry Florida in the summer of 1969. From writer and director Lee Daniels, who last brought us Precious, the film is based on the true events surrounding the murder of a sheriff in a small town, and a team of journalists and their associates who attempt to get to the truth.

This intense WW2 coming-of-age drama presents the events following the tracking down of the perpetrators of the Holocaust – through the eyes of a staunch Hitler Youth attendee. Utterly relentless and endlessly affecting, Lore is an absolute must-see…

Tom Tykwer (Run Lola Run) and the Wachowski siblings team up to adapt David Mitchell’s sprawling 2004 Novel About Everything into a film that’s crying out loudly to be called ‘epic’, and I feel I must oblige. It’s a sprawling transgenred character-filled wallop of a movie that will probably delight and infuriate in equal measure.

Community is a semi-zombie film with things to say about injustice, perhaps. Look out for Terry Bird, the security guard from Peep Show, who also produced this quite charming little foray into sink estate horror.

Shell is a sparse and uncompromising meditation on the problems and complications of the distances that can exist between people, both physical and psychological. It is a quiet, sombre and hypnotic piece of work as much about the environment its few characters inhabit as about the responses of those characters to their bleak and cold surroundings. Beautiful and terrifying.

Real life brothers Koki and Ohshirô Maeda star in this gentle, poignant film about the power of imagination and friendship, and the inevitability of growing up. Though a little slow in places, Hirokazu Koreeda’s film is an unusually powerful musing on the everyday joys and sadnesses of life, that delights in celebrating the small things. Drawing on the kids-on-a-quest theme at the heart of many child-centric films, Koreeda’s film is a far more subtle affair than your average Disney flick and, in the end, shows us that there are no easy solutions when it comes to the break down of a family.

Following Tony Manero and Post Mortem, No forms the final chapter in Chilean director Pablo Larrain’s trilogy of films woven through Augusto Pinochet’s 17-year reign. Appropriately, it details the final moment of the dictatorship when the 1988 referendum yielded a victory for the opposition, and signalled the end of nearly two decades of oppression and violence. Telling the story from within the opposition, Larrain wryly addresses the fickle nature of politics via the hugely popular ‘No’ campaign, fought with slick advertising and broad appeal.

What with Toby Jones playing Alfred Hitchcock in a new TV drama, there’s only question on everyone’s minds: who wins Best Hitchcock Impersonator, Toby Jones or Anthony Hopkins? The new biopic of the ‘Master of Suspense’ is certainly stylish, but lacks plausibility as it introduces a fictitious storyline between Hitchcock’s wife and Whitfield Cook. That being said, it’s entertaining and breathes new life into Alma Reville, ‘the woman behind the man’.