Jenna Coleman has had a mostly upbeat acting CV to date, notably playing Clara in Doctor Who and the young Queen in ITV’s Victoria. The mood darkened with her excellent turn as the French-Canadian girlfriend of the mass murderer in The Serpent; now it turns to pitch with Wilderness.

The Saphead gave Buster Keaton his first starring role in a full-length comedy, but 1923’s Three Ages is the first feature film which he wrote, produced, directed and starred in. Two-reelers were a form where he could go, in his words, “wild and crazy”, the more outlandish the visual humour the better.

The journey from off-Broadway to central London has taken 15 years, but the multi-award-winning musical Next to Normal has finally made it. That time lag may lead to suspicions that its subject matter has become a tad outmoded, but this staging, directed by outgoing Donmar director Michael Longhurst, is fresh and affecting.

Funfairs and dance music, old world and new, should have guaranteed a corker of a second Prom from the Boston Symphony Orchestra with its chief conductor, Andris Nelsons. Glitter it did; but wit, drive and violence took a back seat to showcase sophistication, at least from where I was sitting in the hall (always a necessary qualification)

Optimistically billed as John Travolta’s comeback, writer-director Nicholas Maggio’s debut is an effective Southern noir, with Travolta an authoritative but peripheral presence.

CHOO CHOO! (Or... Have You Ever Thought About ****** **** *****? (Cos I Have)), Pleasance Dome ★★★★

Dark Noon, Pleasance at EICC ★★★★★

Netflix scooped up the rights to an armful of Harlan Coben’s standalone novels for a colossal sum, and now Amazon Prime has nipped in and signed up Coben’s series of Mickey Bolitar books, which fall under the “young adult” heading. Shelter is the first one off the blocks.

Thieves Like Us, Robert Altman’s 1974 evocation of 1930s Mississippi, wasn’t a commercial hit on its original release, even though Pauline Kael called it a masterpiece.

Blue Beetle is DC’s first screen Latino superhero, a recent development in the history of a D-grade character summed up here in his own film as “like the Flash… or Superman… but not as good”. Scraping the character barrel and first meant for cable, his debut also resists the grim “adult” gravitas routinely borrowed from Alan Moore and Frank Miller’s Eighties comics, popping with bright colours and breezy, communal humanity.