There are any numbers of reasons to ignore We’re the Millers, and many more to dismiss it as yet another platform for the world to check in on how Jennifer Aniston’s arse is holding together (very nicely, as it turns out). Like most comedies, we’re inclined to sneer outright unless it fulfils a number of…

Julia, have a word.

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.)

Roses are red, Violets are blue, John Cusack looks moody, like he’s stepped in some poo

The Art of Getting By, a film about New York teenagers dealing with the woes of negligent parenting, first love, and existentialism, is just as likeable as it sounds.

So indecisive you can’t choose what mug to use for your frothy morning energiser? Well hopefully this list will help you narrow down those options. But for films, not mugs. Hmm…although there might be a gap in the market for Best for Mugs.

Director Wes Craven and writer Kevin Williamson bring together a cast of new and returning faces for one more stab at the post-modern Scream franchise. With an abundance of recent horror history ripe for the picking, they succeed beautifully in rebooting the formula while staying true to the mission statement that started it all.

It’s Kind Of A Funny Story tracks five days in the life of a self-indulgent teenager who slowly (very slowly) realises he’s not that interesting. We could have told him that from the opening credits.

The weight of public expectation can be a heavy burden – it can cripple even the strongest men. In 2006, Noel Clarke wrote and starred in Kidulthood. His gritty portrait of disenfranchised youth culture raised eyebrows and two years later, he wrote, directed and starred in the sequel, Adulthood. The continuation of his emotionally damaged characters was a wake up call to the UK box office, taking an impressive £1.2 million in its opening weekend. Cinemas hurriedly arranged additional screenings and Clarke accepted his newly-minted reputation as the bright young thing of home-grown cinema. There were obvious concerns that he was a one-trick pony. Thankfully not.