A young woman faces a terrifying ordeal in J Blakeson’s accomplished feature directorial debut. The Disappearance Of Alice Creed is an edge of seat thriller that by its simple design – three characters trapped predominantly in one location – could easily have started life on the stage. The intimacy of the set-up works in the film’s favour, forcing Blakeson to develop his protagonists to sustain our interest and the dramatic momentum.

The directorial debut from Ivorian film-maker Katell Quillévéré, Un Poison Violent (Love Like Poison) is a classic coming-of-age tale which shows the conflict between human nature at its freest and most rigidly controlled extents. As its teenage protagonist struggles to make choices which will define the course of her life, the audience is forced to make its own decision between the extremes of passion and piety.

Pixar’s relationship with women has always had a slight question-mark over it- after all, its undeniable that they’ve yet to include a single lead female character in their impressive repertoire. Their next film, Brave would have been the first to have a female director. Power to the girls, and all that. However, rumour now has it that Chapman has left the studio, leaving the director’s chair empty. Is it simply a case of creative differences, or is there something more sinister at play?

No, no, NO! This cannot be happening. Why can’t they just leave The Rocky Horror Picture Show ALONE? And why in the name of all things good would they let Glee creator, Ryan Murphy get his horrible eating, praying and loving mitts on it? Lock him in a Coca Cola freezer, I say.

Though director Baz Luhrmann has yet to confirm whether he’ll make The Great Gatsby his next film, it has now been reported that he recently held a workshop of his adapted script. The question on everyone’s lips of course is; which stars were present?

Another Year, the latest devised-piece-cum-film from Vera Drake director Mike Leigh, has been widely acclaimed at Cannes and the London Film Festival. At the risk of turning Best For Film into some sort of underground band of critical mavericks, I really don’t see why. It may be a far cry from Leigh’s best work, but its extraordinarily realised characters do a reasonable job of balancing out a plot which ends up being more hollow than touching.

A purposely torturous experience, you don’t so much watch Winter Vacation as experience its time-bending nothingness as one of the characters yourself. A unique film that drenches you with the lethargy of youth, it thrusts you back into your most nail-crunchingly paralysed teenage years with a pace that makes Napoleon Dynamite look like Apocalypse Now. I’m glad such a film exists. And I never want to watch it again.

Five seasons in, and we’re still guiltily addicted to the demon-based trials and tribulations of the Winchester brothers. Mixing ghoulish plots, high tension, tongue in cheek comedy and damn fine cheekbone acting, we defy anyway not to get some form of dark pleasure from this genre-defying scare-fest.

Chitty Chitty Bang Bang is a magical car with more sass than KITT and more aplomb than Herbie – it’s the best magical car by far. This heartwarmingly anarchic musical is now available to buy as a Blu-Ray DVD combo set – ideal to bring colour and vitality to a wet Sunday afternoon.

The adaptation of Seth Grahame-Smith’s novel in which a plague of flesh-eating undead liven up the classic Jane Austen tale has had surprising difficulty getting off the ground, but could director David Slade and Scarlett Johansson be the people to change all that?