The prologue to Greta Gerwig’s Barbie augurs well. A gaggle of young girls in a rocky desert are playing with doll-babies while enacting the mind-numbing drudgery of the early 20th century housewife. Then a new godhead arrives, a giant pretty blonde whose stilettoed feet turn slightly inwards. The girls go into a frenzy of old-doll-smashing, Also Sprach Zarathustra swells up and one girl throws her doll high in the air.

Early editions of Swiss novelist Friedrich Dürrenmatt's 1958 novel The Pledge carried the subtitle “Requiem for the Detective Novel”, the writer’s point being that murder cases can take years to solve (if at all) and that those doing the investigating make mistakes. The story has been filmed several times before, Sean Penn’s starrily-cast version (released in 2001 with a weather-beaten Jack Nicholson in one of his last decent roles) the best known.

A Kind of Kidnapping is a low-budget British comedy with a neat premise and satirical view of class and politics in the midst of a cost of living crisis.

“There are sex maniacs out there, sodomites, murderers, suicidal people, and communists on the loose! I vote for a curfew!” 

Isabelle Huppert is French cinema’s icon of icy transgression, from Bertrand Blier’s outrageous Les Valseuses (1974) to Paul Verhhoeven’s Elle (2017), in which her character Michéle denies rape’s trauma, instead seeking out her rapist for sadomasochistic sex and mind-games. Huppert was Oscar-nominated for the latter, though she was ultimately too much for Hollywood.

Searching for a coherent narrative thread in David Lynch’s Inland Empire (2006) is probably futile, so it’s best to begin with the movie’s nervy central performance by Laura Dern in multiple, overlapping roles as “a woman in trouble” – the movie’s subtitle. Or maybe many different women in all manner of trouble. 

British-Moroccan director Fyzal Boulifa’s second feature is a departure from his first, the brilliant and disturbing Lynn + Lucy of 2020. That was set on an Essex housing estate; this one takes place in Morocco.

This loose-limbed movie follows Shabu, a 14-year-old boy who is growing up on the public housing estate known as the Peperklip (Paperclip) in Rotterdam. It’s the summer holidays and he’d like to hang out with his girlfriend and his mates, but first he’s got to sort out some trouble. 

Shabu’s beloved grandma flew home to see her family in Suriname, and the lad took her car for a joyride and trashed it. Now he has to work out how to make enough money so his grandma can replace her car when she gets back.

After 27 years and half a dozen instalments of a franchise predicated on its ability to up the ante on itself to ever more dizzying heights of ingenious, character-driven, genuinely heart-in-mouth action, the killjoy or cynic may well be lining up an alternative title for the latest: Mission: Impossible – Anti-climax. But they would never get to use it. Not a chance. 

Writer-director Pat Jackson’s Western Approaches (1944), a Technicolor tour de force partly shot in turbulent seas by Jack Cardiff, is a stirring World War II story documentary that demonstrates the bravery, resilience, selflessness, and collective spirit of men of the British Merchant Navy during the Battle of the Atlantic.