Gabriele Muccino of The Pursuit of Happyness fame brings us a new feel-good romantic pic produced by and starring Gerrard Butler, about a washed up former football star attempting to reconnect with his young son and ex-wife in a suburban community in Virginia.

It took Canadian Steve Kostanski three years and only $1000 to create Manborg, an homage to mid-80s VHS sci-fi and horror. By embracing their cheap production values and never aspiring to be more or less than hilarious nostalgia, Manborg is possibly one of the best cinematic experiences you’ll ever have, providing that you are old enough to remember the unique and exquisite sensation of pushing a tape into a VCR. MANBORG!

Lee Toland Krieger, well-versed in the doctrines of ‘indie’, offers us yet another spin on the rom-com genre. Written by co-stars Rashida Jones and Will McCormack, Celeste and Jesse Forever is, at certain points, an endearing and unique take on relationships and heartbreak, but at others resorts to the conventional mainstays of the genre. (Oh hello, embarrassing wedding speech, we haven’t seen you in a while, except from ALL THE BLOODY TIME.)

Releasing two classic albums in the early seventies to minor critical acclaim but non-existent commercial success in the US, reclusive singer-guitarist Rodriguez became something of a popular music myth. Examining his phenomenal popularity overseas and his music’s relative obscurity at home in the US, director Malik Bendjelloul goes in search of the story behind a man dubbed the ‘Mexican Bob Dylan.’

Weddings! Weddings weddings weddings. Everybody loves weddings and all films are about weddings these days aren’t they? It really feels like that’s the case. Take wedding themed film Our Family Wedding, for instance. Weddings everywhere! Only, why is there a goat running around eating Viagra and trying to rape people? And why are all the Mexican people so deeply, deeply racist? And why is Forest Whitaker in this film? So many questions! And by questions we mean weddings.

I don’t know I don’t know I don’t know something about vampires I don’t know I don’t know I don’t know I don’t know please please make it stop why why why why why why I don’t know I don’t know CGI devil baby no no no no no no no werewolves why why why oh god make it stop.

Whether you call it Desire to Kill or Enemy at the Dead End, this film is still about two nearly-dead men in a hospital ward trying to kill each other without the nurses noticing. You could roll a wheelchair through some of the plot holes, but this absurdist South Korean thriller is a true original.

No matter how much the phrase “art house” appears on the back of the DVD, or the flimsy references to “philosophie” in the director’s biography, this film’s intent is clearly to titillate. This it does not.

Having escaped the horrors of Martha Marcy May Marlene and Silent House, The Good Olsen changes lanes for this, the latest film from festival darling Josh Radnor. A celebration of the encounters, life-lessons and serendipitous moments that comprise university life, the film will inevitably appeal to some more than others.

“When one story ends, another begins” is the strapline for After the Wizard. Catchy, and often true, but that doesn’t make the story it accompanies any good. Here’s another quote for you: “Property of Breaking Glass Pictures”.You can keep it, mate.