Marvel favourites Tessa Thompson and Chris Hemsworth reunite in Men in Black: International; Diego Maradona's time in Napoli is told in a must-see documentary; and We the Animals offers us sublime American arthouse.
Men in Black: International **1/2
"The Universe has a way of leading you to where you're supposed to be, the moment you're supposed to be there," we're told - twice - as the MiB's London branch opens its doors for box office business.
Such wisdom may prove of little comfort to stars Tessa Thompson and Chris Hemsworth, who come crashing back down to Earth in this sub-par spin-off after enjoying the out-of-this-world success of Avengers: Endgame.
We the Animals ****
Indie and roughouse, but tender too, We the Animals is a boldly experimental work that approaches true cinematic greatness in its understated exploration of one American family under pressure.
Jeremiah Zagar's debut feature augurs very well indeed for future work from the young American director, blending an improv feel with a skilful, modest use of animation.
Based on Justin Torres's semi-autobiographical novel of the same name, what We the Animals has achieved must have involved an unusual degree of trust between the director and his youthful cast. Read our full review here.
Diego Maradona *****
"When you come out you think you knew the story, but actually you realise there was so much you didn't know."
That's what Asif Kapadia is promising from his latest study of wayward genius, which sees the director complete a stunning hat-trick after his documentaries on Amy Winehouse and Ayrton Senna. Good luck winning an argument over which of the films is the best.
Kapadia told RTÉ Entertainment that he considers Diego Maradona to be "a kind of sporting gangster film", and the unbearable tension of both genres is in abundance. If the story was fiction you'd say it was too far-fetched. Read our full review here.
Papi Chulo *****
John Butler's effortlessly engaging and genuinely moving comedy-drama Papi Chulo leaves an impression long after the end credits roll.
The Irish director's quietly ambitious third feature, after Handsome Devil and The Stag, follows the improbable friendship struck up between Sean (Matt Bomer), a lonely TV weatherman; and Ernesto (Alejandro Patiño), an affable Latino migrant worker he employs.
To say any more would be to scupper the joyful surprise of this unique unlikely-buddy-movie. Read our full review here.
Late Night ****
In one of the most memorable roles of her career, which was written for her by co-star Mindy Kaling (so obvious), Emma Thompson plays legendary chat show host Katherine Newbury.
After over 6,000 episodes and 43 Emmys, Newbury has just been told the current season behind the desk will be her last.
Enter Molly Patel (Kaling), the new face - and gender - in the writers' room with plenty of ideas about how both she and Newbury can keep their jobs. Read our full review here.
X-Men: Dark Phoenix ***1/2
It's basically a remake of the 2006 film X-Men: The Last Stand, and once again is an adaptation of the Dark Phoenix saga that ran in X-Men comics and centres on X-Men member Jean Grey.
The plot's straightforward: during a rescue mission in space, Jean Grey is nearly killed when she's hit by a mysterious cosmic force.
Back on Earth, the force makes her infinitely more powerful and increasingly unstable, which leads to tragedy and tension within the X-Men camp. Read our full review here.
Gloria Bell ***1/2
Julianne Moore plays the eponymous Gloria, a fifty-something California grandmother, divorced and back in the dating game. Less taut and focused than the Spanish-language original, Sebastián Lelio's own remake is nevertheless passably pleasant.
Gloria's idea of the dating game does not involve the internet. Rather it means going to discos to dance with grey-haired strangers to Seventies hits like, well, Gloria. Yes, you remember it, that sweetly pummelling, eh, gloriously-arranged piece of disco pompery.
This is a humorously touching and slightly wizened slice-of-life which will have you wondering how it all resolves. Read our full review here.
Halston was one of that rare breed, a one-name icon who lit up American couture in the 1970s and 1980s before it all went tear-shaped. Or should that be pear-shaped.
Although you mightn't think it listening to that cultivated New England drawl, Roy Halston Frowick, the subject of Frédéric Tcheng's absorbing new documentary, came from, well, Iowa.
Born in 1932, he grew up in a conservative Midwest family who also lived for spells in Kentucky and Indiana. Fashionista Hell, no doubt, to the future visionary of haute couture. Read our full review here.