Thierry Guetta is obsessed with filming things. Whether it be the morning routine or a trip to the shops, the L.A. based Frenchman won’t let his camera miss it. But when his cousin, a French street artist known only as Space Invader, introduces Thierry to the temporary nature of his craft, suddenly his recordings take on new purpose. With street art fast becoming his obsession, Thierry sets his sights on the daddy of them all; Britain’s master prankster, Banksy. Little did Thierry know that it would be the elusive artist who ended up turning the camera on him…

It’s a sorry state of affairs when you realise you’re worth more dead than you are alive. It’s even worse when your own brother acts as your spokesperson, selling you down the river without giving you so much as a bodyboard to keep youself afloat. And who was it who said that blood was thicker than water? Peepli [Live], a comic satire, explores the notion of “farmer suicides” and how the media can expose a serious issue and turn it into a speculative event until everyone’s talking about it.

At the invitation of the Swedenborg Society, Best For Film is publishing a special series of reviews to follow its ‘Images of the Afterlife in Cinema’ film season, which will be exploring life, death and everything in between. This week we’re taking a trip down Suicide Lane with Goran Dukic’s unconventional rom-com Wristcutters: A Love Story.

Despicable Me is a kids film that may not have been made by Pixar but it could have been: The story of a supervillain struggling to control an army of minions and three orphaned girls will provide real heart and sardonic wit along with the zany animation slapstick.

Taking up direction duty for first time since his impressive debut, Gone Baby Gone, Ben Affleck makes his second contribution to the ever expanding sub-genre of Boston crime films. Giving a romantic charm to a story of master criminal versus determined cop that Michael Mann would be proud of, it follows the plight of bank-robber Doug MacRay. Desperate to get out, but hopelessly locked in, will Doug get the girl like Will Hunting, or bite the dust like John Dillinger? Most importantly, will he ever get to leave The Town?

A welcome return from director Joe Dante, The Hole is another fine contribution to the ‘family horror’ genre that helped make his name. Providing both laughs and scares, it credits its child viewers with an ability that too many kids films lack; the intelligence to be treated like adults. Bringing the darkness, but keeping things light, it will entertain both youngsters and grown-ups alike. And it all comes with the added benefit of 3D. So, go on – have a little fun and face your biggest fears.

Why is it that good guys finish last, good girls get the guy in the end and good dogs can save boys in trouble (stop looking so smug, Lassie)? Who knows, but it just keeps happening. Without wishing to give the game away, you can pretty much expect the expected in romantic comedy, Just Wright. But it’s not all bad! The good news is that this film, despite its formulaity, plays with your pleasure zones and leaves you warm and satisfied. Like tomato soup when it’s raining.

What happens if you’re a minor league hockey player who’s had his dreams dashed one too many times? Julie Andrews will turn you into a tooth fairy, that’s what. For two weeks, Dwayne “Tooth Fairy” (sorry, “The Rock”) Johnson has to turn good guy and teach positivity sprinkled with fairy dust to a troubled family. This lightweight comedy is strictly for the kids, but you know what? Don’t be a hater, yo. The kids are alright.

Adapted from the best-selling memoir by back alley boxer turned crime writer Kevin Lewis, The Kid is a harrowing tale of abuse, neglect, perseverance and ultimate triumph over adversity. Hyperboles like those are often used to describe ‘difficult upbringing’ stories, it is true, but with its exquisite performances, marvellous script and uncommonly sensitive direction The Kid represents the absolute apex of the genre.

“Acting is not creativity, it’s doing what somebody else tells you to do,” Joaquin Phoenix declares in I’m Still Here, a film that charts his decision to stop being a thespian, grow a massive beard and rediscover himself as a rap artist. Is he crazy? Contradicting his own soundbyte with the most intriguing performance of his career, the answer is a resounding no. The story Phoenix and brother-in-law Casey Affleck have crafted is not insane, but assured – a fascinating study of self-identity.