Armageddon is here again, as Kathryn Bigelow’s first film in eight years examines the minutes before a nuclear missile hits Chicago from multiple perspectives, finding no hope anywhere.

Urchin feels like a genuine moment in British cinema. Thematically, it offers a highly original, thoughtful, affecting account of the endless cycle of misfortune and institutional ineptness that can trap someone in homelessness. At the same time, it marks the coming of age in the careers of two brilliant young talents. 

This genial oddity – its pithier French title is Complètement Cramé, meaning something along the lines of completely burnt out – stars John Malkovich and Fanny Ardant and is directed by best-selling author Gilles Legardinier, who adapted it from his own novel. Its goofiness works, some of the time, partly because of Malkovich’s French, which is fluent yet delivered in a halting drawl with an English/American accent so bad it’s almost good.

Fans of Alexandra Fuller’s fine memoir of her childhood in Africa may be wary of this film adaptation by the actress Embeth Davidtz, her directing debut. But they should not be. This is an equally fine, sensitive rendering of Fuller’s story, with a miraculous performance by seven-year-old Lexi Venter at its heart.

Paul Thomas Anderson’s frantic One Battle After Another is a storm warning for a fascist America and both a lament and a rallying call for revolutionary fervour.

What's going wrong with teenage boys and young men? Like the lauded Netflix series Adolescence, Steve – the second film collaboration between star-producer Cillian Murphy and director Tim Mielants – takes a bold and intriguing approach in its search for answers.