Absence should make the heart grow fonder but has anyone missed Jennifer Lopez on the big screen during her four-year hiatus to raise fraternal twins with husband Marc Anthony? The slow-burning 1998 thriller Out Of Sight with George Clooney remains her best work, sandwiched between the camp B-movie Anaconda and numerous instantly-forgettable romantic comedies. Lopez makes her return to pouting in front of the camera in Alan Poul’s whimsical chick flick, which asserts that love happens when you least expect it. Excited? Yep.

She’s that character, he’s that other character, they end up in that situation and in the end, the thing happens. Congratulations, you’ve just watched Life As We Know It. Can we go and do some suicide now?

When the film Adulthood was released in UK cinemas in June 2008, its opening weekend grossed more money than the freshly released Sex and the City. In the wake of its success, a spate of new and gritty urban films has been drawing audiences to cinemas in increasing numbers, with films such as Shank and Dead Man Running bringing new vigor to the UK film industry. Despite their success, though, the issue of black representation is never far away. With a panel debate titled “The New Blaxploitation?” taking place as a part of London’s Across the Street, Around the World festival, Best For Film went to investigate.

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.

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.

Demonic horror The Last Exorcism is this week’s top grossing UK film.

Comedy veteran Drew Barrymore and an astonishingly buff Justin Long sparkle in this bromance/romance about all that stuff that rom-coms are about. Though it uses every trick in the book, fantastic lead performances, a killer soundtrack and a focus on comedy rather than fluff makes Going The Distance a cut above the rest.

In the last ten years, British film directors have tweaked the gangster caper, invented the zom-rom-com, updated the monster film and charmed audiences/critics alike. So if you’re into top 10 film cheat sheets, let’s wallow in the top 10 British movies of the last ten years. Top hole!

The Switch is arguably Jennifer Aniston’s best movie since The Good Girl. This no-surprises summer rom-com sells itself as “Jennifer Anniston turkey bastes herself a baby” – but if you don’t like rom coms then switch that with “gentle comedy about a shy man’s attempts to get to know his son” and then just don’t watch it. You weaselly genius!