[Here be spoilers.] If you have been glued to the second season of The Capture, just ended, does it bother you that its content is borderline science fiction? Probably not. Writer Ben Chanan’s depiction of artificial intelligence may outstrip the reality of what it can currently achieve, but he can sure spin a gripping TV series around AI's potential for creating chaos in the wrong hands. 

A black box with a red blinking light is being stashed in a cabinet under the seating of the Olympic stadium in Munich. Then a hoodie-ed man is seen in silhouette, the stadium in the background. We are about to be plunged into the darker corners of the prosperous Bavarian city where, 50 years earlier, as the footage in the opening credits recalls, the infamous massacre of 11 members of the Israeli Olympic team by PLO gunmen took place.

Directed by the fraternal duo Anthony and Joseph Russo, who have helmed several of the colossally successful Marvel Cinematic Universe movies, The Gray Man ought at least to be entertaining and stuffed with blockbusterish thrills.

The BBC publicity department doesn’t want reviewers to reveal too much about this three-parter in advance, so the description of its content here may seem skimpy. If you watch this mini-series, you will sort of understand why – its plot relies on coincidences (or are they?) and unexpected twists (or just implausible ones?), flashbacks to past traumas (are these reliable?) and nightmarish scenes (real or imagined?)

Pickpocket regularly makes it into the list of best films of all times. It is a film-maker’s film, more of an essay on the art of cinema and a discourse on crime than a thriller. Much French art house cinema is characterised by serious intent and intellectual rigour, and Bresson may be, more than any other auteur, the pioneer of a cinema in which reflection and thought play as much of a part as the display of narrative or emotional excitement.

Death on the Nile, Kenneth Branagh's second visit to Agatha Christie's oeuvre, was supposed to be released in November 2020 but Covid, a studio sale and some embarrassing revelations about one of its cast members put paid to that. Was it worth the wait? Not really.

They’re back, the Lord and Lady Macbeth of the Ozark District, otherwise sleek-seeming middle class Chicagoans Marty and Wendy Byrde. And thanks to the super-subtle performances of Jason Bateman and Laura Linney, we hate them more than ever – except when they’re up against worse.

The name of Neville Chamberlain and the term “appeasement” have become indelibly linked, thanks to his efforts to accommodate Adolf Hitler’s bellicose ambitions in the run-up to what became World War Two.

Based fairly closely on Sally Wainwright’s 2009 ITV series Unforgiven, The Unforgivable replaces the former’s star Suranne Jones with Sandra Bullock and has airlifted the action from Yorkshire to Seattle.

Is it a thriller? Is it a character study? Leopards, Alys Metcalf’s two-hander about a middle-aged white charity executive – male – and a young job applicant of mixed race – female – goes under the colours of both, but falls short of either genre.