Roberto Saviano’s book Gomorrah shone a blinding light on the Camorra crime clans of Naples, and spun off an acclaimed film and equally admired TV series.

At a point in the early noughties, every third film was a teen comedy about a road trip to lose one's virginity. It’s a genre most were glad to see the back of. What a pleasant surprise Come As You Are is then, which brings much needed heart and relevancy to this tired trope.

Stylish, eerie and unexpectedly moving by the time of its apocalyptic finish, the strangely titled Good Manners makes for a genuine celluloid surprise.

“All we want is to be seen and heard,” explains a lawyer to a death row inmate, paraphrasing a line from Ralph Ellison’s novel Invisible Man, from which Chinonye Chukwu’s new film Clemency takes inspiration.

Characterised by jarring juxtapositions of intense, appalling violence and the serene beauty of South Africa, Oliver Hermanus’ fourth feature is the story of a young man coming to terms with his sexuality against the background of apartheid and prejudice.

The cakes look great, but it's back to the recipe books in almost every other way for Love Sarah, a subpar film from director Eliza Schroeder about the struggles of a west London patisserie in the age of Brexit. The emergence of Schroeder's feature filmmaking debut just now may benefit from a citizenry eager to get back out to their local baker.

Scooby fans have waited over 50 years for a proper big screen adaptation of everyone’s favourite cowardly dog (sorry Cartoon Network’s Courage). The 2003 live-action version starring Matthew Lillard and Sarah Michelle Gellar failed to capture the paranormal-busting mystery of the TV series, and although the follow-up Monsters Unleashed recreated the classic villains, it was still a slog.

Gavin O’Connor has made a career out of sturdy films that make grown men cry. His best was Warrior - a hulking, tear-jerking tale of male fragility and addiction. His latest Finding The Way Back is a potent, raw drama that explores similar terrain and reunites him with Ben Affleck (they last worked together on The Accountant).

Colombian director Franco Lolli’s debut feature Gente de Bien (2014) was a hit at several international film festivals, and Litigante should burnish his reputation further.

It’s hard to take The Old Guard seriously — it’s an action film about thousand-year-old immortal warriors. Pulpy flashbacks and fake blood abounds. But The Old Guard doesn’t need to be serious or even memorable: it’s a fun, feel-good film, a rare commodity these days.