It’s not out until 8 June but fan excitement levels are already feverish. Ridley Scott, who directed the original, groundbreaking science-fiction-horror-classic Alien back in 1979, has said that his new film Prometheus – only his third ever sci-fi outing (the other was Bladerunner) - is not part of the Alien series and won’t feature the snap-jawed xenomorph, last seen battling fellow monster franchise Predator in a series of dismal B-movies.

The protean director Steven Soderbergh has offered us many things, from the art house individualism of his debut, sex lies and videotape, to glossy mainstream hits like Ocean’s Eleven and Erin Brockovich, the sci-fi of Solaris to the satire of The Informant!, and the meticulous biography of Che to the eccentric, experimental Schizopolis.

As fresh and enchanting as the first flushes of spring, Cary Joji Fukunaga’s imaginative retelling of Charlotte Brontë’s 19th-century proto-feminist novel captures the thrill of attraction with rare perception, sweep and tenderness. It foregrounds the book’s Gothic elements and the lovers’ links to the natural world, showing love itself as both a benign and devastating force of nature. Rochester’s voice is carried to Jane on the wind, their passion burns like fire and Jane’s heartbreak is as bone-chilling as the blanket of cold earth she weeps upon.

If there's one thing Hollywood hates more than people bootlegging its latest blockbusters on mobile phones, it's letting a lucrative franchise go to waste. Thus, after the initial three X-Men films and 2009's Wolverine spin-off, you are invited to roll up for the prequel, skippered by Brit director Matthew Vaughn, of Layer Cake and Kick-Ass fame.

It is, as the best cinema should be, always all about the image. Andrea Arnold's films are born, she says, with just this: a visual imprint - strong, unsettling, inexplicable. The stories then slowly unfurl in her mind from that starting point. On paper, they sound grim: the director goes for terse, no-nonsense titles, and her working-class world seems at first unforgiving. On screen, they are thrilling, intriguing, instantly gripping, the work of a natural-born, utterly original director.