Batman v Superman: Dawn Of Justice, Mapplethorpe: Look At The Pictures and Sicario: Your Week In Film (August 1-7)

Super friends: BVS:DOJ is shambolic... in a good way

Monday 1st: Picking holes in the critically reviled Batman v Superman: Dawn Of Justice (DVD, Blu-ray and VOD) is about as difficult as picking holes in every other film made by director Zack Snyder. As one particularly acerbic critic had it, "[It's] a ponderous, smothering, over-pixelated zeppelin crash of a movie scored by a choir that sounds like it's being drowned in lava", and even though the film (which now comes as an 'Ultimate Edition' featuring 30 extra minutes) made almost a billion dollars at the worldwide box office, many of those who paid to see it didn't seem too keen either. But, here's the thing, whilst being no fan of Snyder's past work, I do have a genuine soft spot for BVS. Here are five reasons why...

1. The opening sequence is a flashback to the tumultuous finale of Man Of Steel, in which Superman and General Zod lay waste to Metropolis. Only this time it's seen from the perspective of the citizens in the buildings destroyed by their fight. It's here in this mini disaster movie within a movie that we first see Bruce Wayne (Ben Affleck), dodging huge chunks of falling debris in a bid to save his employees. As well as being a genuinely thrilling and clever way to kick off the film, it sets up the coming superhero conflict very nicely. 

2. On the subject of Affleck, he makes an impressive debut here as Batman. This Dark Knight is older, jaded and more ruthless than we've seen the character before (at least on film) and the decision to abandon Christian Bale's silly guttural 'Batman voice' is a good one, too. In fact, Affleck brings a real gravitas to the role.
3. Even better than Affleck is Gal Gadot as Wonder Woman. You can keep your Visions, Scarlet Witches and Black Panthers, hers is the most memorable superhero debut in years, a perfect blend of nobility, serenity and face-punching might.
4. Some of it is utterly eccentric, with dream sequences/visions/future plot points shoehorned haphazardly into the story so you're never quite sure what the heck is coming next. At a time when the Marvel Cinematic Universe has got a bit too slick, machine-tooled and committee-led for its own good, it's refreshing to see a superhero blockbuster that is a bit ragged around the edges. Yes, BVS is shambolic - but in a good way.
5. BVS gives us a proper, classic Superman villain - and I'm not talking about Lex Luthor (Jesse Eisenberg). I won't give the game away by saying any more but the big punch-up at the end has a real sense of jeopardy (with good cause) and is worth the wait, despite some occasionally shonky CGI. 

I could write another list of things that BVS gets wrong (Superman, mainly) but I think the film has taken enough of a critical shellacking without me adding to it.

The Lex factor: Batman and Superman battle Luthor  

I was going to say you couldn't finder a starker contrast to BVS: DOJ than Mapplethorpe: Look At The Pictures (DVD) but maybe the late US photographer's homoerotic images aren't a million miles away from the leather-clad shenanigans on display in your average superhero movie. Regardless, this is a fascinating documentary chronicling the life and controversial career of Robert Mapplethorpe, who died of AIDS in 1989. As well as presenting an honest portrait of his many relationships (including with Patti Smith), Fenton Bailey and Randy Barbato's film expertly charts the increasing sophistication of his work. There was an awful lot more to the man than a dozen or so notorious S&M shots, including beautiful and intricate pictures of flowers, hundreds of commissioned portraits and even a TV ad or two. He was a very difficult person in many respects but also a fascinating and prolific one. I'm looking forward to seeing Sicario (Netflix UK) again. On first viewing last year I found it a real curate's egg - great soundtrack, gorgeous cinematography and some bravura performances (most notably from Emily Blunt) but rather let down by its decision to turn a potentially fascinating exploration of the Mexican drug war into a bog-standard revenge thriller. Various critics spoke of its complexity and nuance but all I saw was a film keen to simplify a subject that is, quite frankly, beyond simplification. I like director Denis Villenueve (Incendies, Enemy) a lot, though, so am more than happy to give it a second chance. Donald Trump’s The Art of the Deal: The Movie (Netflix UK) is a fake biopic of the Republican presidential candidate. Johnny Depp as Trump heads an all-star cast which also includes Alfred Molina, Patton Oswalt, Henry Winkler, Stephen Merchant, Christopher Lloyd and Kristen Schaal. At this point, surely Trump is a walking, talking parody of himself so I shall be interested to see how the Funny Or Die team behind the film tackle their subject.

American idiot: Trump gets the Funny Or Die treatment 

Tuesday 2nd: In Blades Of Glory (23:30, BBC1) Will Ferrell and Napoleon Dynamite's Jon Heder star as rival Olympic ice skaters forced to pair up when, after a brawl, they are stripped of their gold medals and banned from single competition. A lot of the humour is predicated on just how hilarious you find the idea of two men skating together in bright, tight-fitting spandex but it has its moments, helped enormously by Amy Poehler and Will Arnett as oddball rival skate pair the Van Waldenbergs. Conan The Barbarian (23:10, Film4) gives us a slice of 'peak Arnie' from 1982, as Mr Schwarzenegger brings Robert E Howard's creation to sword-swinging, vengeance-craving life in John Milius's entertaining fantasy adventure.

Skate expectations: Blades Of Glory brings the funny

Wednesday 3rd: The Accused (00:30, Channel 4) is not easy to watch. Jonathan Kaplan's powerful and harrowing 1988 film stars Jody Foster as a waitress who is gang raped by a group of men in a bar one night. Although Foster's character had taken drugs and was behaving provocatively, prosecutor Kelly McGillis sets out to bring the three rapists - as well as those that encouraged them - to justice. Nearly 30 years on, it is astounding and depressing that we are still having the same arguments about sexual consent and no meaning no. 

Thursday 4th: Antonia Quirke presents The Film Programme (16:00, BBC Radio 4) with guest Alex Cox talking about his 1986 biopic of punk icon Sid Vicious - Sid And Nancy - which is about to get a 30th anniversary cinema re-release. And, in a new series, award-winning poet Don Paterson talks us through some of the greatest speeches in cinema history, beginning with Marlon Brando in On The Waterfront. He coulda been a contender, apparently. Wild At Heart (22:15, Sky Cinema Select) is David Lynch's darkly entertaining slice of Southern gothic starring Nicolas Cage and Laura Dern as lovers on the run from the latter's deranged mother (Diane Ladd) and the gang of killers she's sent after her daughter. Willem Dafoe steals the film from under the lot of them, though, as the deranged and dangerous Bobby Peru. After 2004's bloody awful I Heart Huckabees, I avoided David O Russell's films for years but was drawn back in by The Fighter (01:20, Film4), the director's biopic of professional light-welterweight boxer Micky Ward (Mark Wahlberg) and his older half-brother Dicky Eklund (Christian Bale). Eklund was a fighter of some renown himself but an addiction to crack put paid to his career and sent him to prison. Eventually freed, he tries to inveigle himself back into his brother's life but there is inevitable conflict. Yes, it's a boxing film and we all know how those usually play out (strife and heartache give way to redemption and victory) but Russell's film boasts some fine performances (Wahlberg has rarely been better) with the sparring siblings' fractious relationship particularly well handled. 

Hunted: Cage and Dern are on the run in Wild At Heart

Friday 5th: I've written quite enough about comic-book movies for one week so I'll only mention Suicide Squad in passing. David Ayer's film about a gang of super-villains being forced by the US government to undertake dangerous black ops missions in return for clemency hits cinemas today. Margot Robbie and Will Smith star. The aforementioned Sid And Nancy gets a limited theatrical re-release to mark its 30th anniversary. In one of his defining roles, Gary Oldman plays Sid Vicious, Chloe Webb is Nancy Spungeon. The Man From U.N.C.L.E. (14:30 and 20:00, Sky Cinema Premiere/NOW TV) is a lot better than you'll have heard. Guy Ritchie's reboot of the 1960s TV spy show stars Henry Cavill as CIA agent Napoleon Solo and Armie Hammer as his KGB opposite number Ilya Kuryakin. Rarely has the Cold War been so much fun or looked so stylish. Edith Bowman and Robbie Collin sit in for the usual hosts on Kermode And Mayo's Film Review (14:00, BBC Radio 5 Live).

Blonde ambition: Alex Cox's Sid And Nancy

Saturday 6th: Is it just me or does Skyfall (20:00, ITV) seem to be on telly rather a lot lately? Not that I mind as it's my favourite of the Daniel Craig-starring Bonds. This time 007 has to confront M's past as well as his own when MI6 comes under attack from Javier Bardem's mysterious bad guy. We have JJ Abrams's Super 8 (21:00, Channel 4) to thank for the current vogue for all things '80s. As someone who thought Midnight Special had its moments but fell apart in its final third, and gave up on Stranger Things after three episodes, I'd much rather watch the original films (E.T., Stand By Me, Close Encounters) than these lukewarm homages to Mssrs Spielberg and King. I was going to talk a bit about Super 8's plot but am struggling to remember a single thing about it. There's a monster and some kids on bikes, I think. Trance (23:15, Channel 4) is a bonkers Danny Boyle heist thriller starring James McAvoy and featuring Rosario Dawson's shaved vagina as part of the plot (I'm not joking). The late, great Christopher Lee is Dracula (02:10, BBC2) in the 1958 Hammer horror. Online subscription service MUBI is this week showcasing a short season of films by US director Kelly Reichardt. From tonight, you can see her 2010 alt-western Meek's Cutoff, starring the excellent Michelle Williams.

Hair-raising: Danny Boyle heist movie, Trance

Sunday 7th: Today boasts a triple whammy of classic movies. Very recently back in cinemas, Stanley Kubrick's Barry Lyndon (11:25, TCM) sees Irish rogue Ryan O'Neal embarking on a series of 'misfortunes and disasters', as he battles his way from nothing to become part of the English aristocracy. Then there's The Third Man (13:00, BBC2), a cracking British spy thriller set in shadowy post-war Vienna, directed by Carole Reed and starring Orson Welles and Joseph Cotten. John Ford western The Searchers (15:00, TCM) stars John Wayne as a Civil War veteran out to rescue his niece from a Native American tribe (I suspect some of the attitudes on display may not have aged well). If you're more into modern movies, there's Crimson Peak (14:20, Sky Cinema Hits). One part ghost story, one part gothic romance, it isn't one of Guillermo Del Toro's best films but it is gorgeous to look at. As is Japanese animation, The Tale Of The Princess Kaguya (15:30, Film4).

UK box office top 10
1. The BFG
2. Star Trek Beyond
3. Ghostbusters R
4. The Secret Life Of Pets
5. Secret Cinema: Dirty Dancing
6. The Legend Of Tarzan R
7. Ice Age: Collision Course
8. Absolutely Fabulous: The Movie
9. Now You See Me 2 

10. Central Intelligence

R = Recommended

All information correct at time of publication

2015 in review: The disappointments

The worst films of the year – Get Hard, Pixels, the 20 minutes of The Wedding Ringer I could stomach – aren't worth the hike in my blood pressure it would take for me to discuss them, so let's do something different. Here are 10 movies I expected good things from in 2015 but which, for me, failed to deliver on the hype. Some are irredeemable turkeys (Black Mass, Pitch Perfect 2), others are watchable despite their shortcomings (Trainwreck, Sicario)...

1. Crimson Peak (pictured above)

Visually stunning but ultimately vacuous gothic horror/romance from director Guillermo Del Toro. It lacked the punch (both political and supernatural) the director had brought in the past to Spanish-language films such as The Devil's Backbone and Pan's Labyrinth. 

2. Sicario

The complexities of the Mexican drug war reduced to clumsy macho revenge fantasy. A pity because elsewhere there is much to admire in Denis Villeneuve's film, not least a fine leading turn from Emily Blunt (Edge Of Tomorrow) as an in-over-her-head FBI agent. Probably this year's most overrated movie.

3. Black Mass

Johnny Depp abandons silly cartoonish roles in movies such as Mortdecai and The Lone Ranger to play an, erm, silly cartoonish role as real-life gangster James 'Whitey' Bulger. Depressingly one-note throughout, Black Mass is a mess of witless confrontation, murder and misogyny. Goodfellas for dummies.

4. Trainwreck

Amy Schumer's US TV vehicle - Inside Amy Schumer - is one of the finest sketch comedies to appear on either side of the Atlantic in the last 20 years. Trainwreck (co-written by and starring Schumer) was director Judd Apatow's attempt to refashion her schtick for the American mainstream and it smoothed off far too many of the comic's sharp edges. In fact, the film's boozy, promiscuous journalist was like something out of 1990s Britain - a story about a ladette, only 20 years too late.
5. Pitch Perfect 2

The original film about an all-girl a cappella group starring Anna Kendrick and Rebel Wilson had charm by the bucketload and plenty of funny moments. The rotten sequel was lumbered with one of the year's worst scripts and generous lashings of casual racism. Witless tripe. 

6. Southpaw

After Nightcrawler and Enemy, I couldn't wait to see what Jake Gyllenhaal did next. Unfortunately, it was this absurdly melodramatic boxing flick that contained plot holes so huge you could manoeuvre Starkiller Base through them with no danger of touching the sides.

7. Star Wars: The Force Awakens

After all that hype and anticipation, J.J. Abrams' bow as Star Wars supremo had its moments but far too much of it felt secondhand. Nods to the past were inevitable but The Force Awakens too often seemed like a nostalgia-soaked mash-up of A New Hope and The Empire Strikes Back, with Abrams even wheeling out a pimped-out Death Star in lieu of a decent or original plot. Admittedly, Finn and Rey were intriguing new characters but Kylo Ren was like Harry Enfield's Kevin The Teenager in Darth Vader cosplay. 

8. The Overnight
Limp sex comedy that manages to squander both its great cast (Adam Scott, Taylor Schilling and Jason Schwartzman) and intriguing premise (a vanilla married couple are invited to dinner by their new friends, who may be swingers). Despite being barely 80 minutes long, The Overnight runs out of steam long before the end. 

9. Me And Earl And The Dying Girl
One of those quirky US indies that arrives on UK shores every year having been the "toast of Sundance". I genuinely can't remember the last time I loathed a lead character in a movie the way I did Thomas Mann's Greg (the titular Me), an irritating little twerp full of fashionable ennui in need of a good, hard kick up the arse. 

10. Avengers: Age Of Ultron

2014 was probably the best year for superhero flicks to date with Guardians Of The Galaxy, Captain America: Winter Soldier, and X-Men: Days Of Future Past all impressing. Unfortunately, it was back to earth with a bump this year as Fantastic Four stank the place out, Ant-Man was a curate's egg, and Joss Whedon's Avengers sequel was overlong and cluttered. Let's hope 2016's Deadpool and Captain America: Civil War stop the rot.  

**Next up: My 10 favourite documentaries of 2015**

Sicario is a slickly entertaining thriller but is undermined by a clumsy revenge plot and one-dimensional characters

No '5 For Friday' this week. Have a review instead...

Sicario

Director: Denis Villeneuve

Starring: Emily Blunt, Josh Brolin, Benicio Del Toro

Running time: 121mins

A caption at the start of the film tells us "In Mexico, Sicario means hitman". By the end, I was wondering what Mexico's equivalent of ‘less than the sum of its parts’ might be. Yes, Sicario has an awful lot going for it – lead Emily Blunt is excellent, the direction crisp, the pace breathless, the score suitably industrial and foreboding, and Roger Deakins’ cinematography is never less than sumptuous. But, for all that, Denis Villeneuve’s drug war thriller is a frustrating piece of work that certainly has its moments but ultimately isn’t half as sophisticated as it thinks it is or needs to be. In fact, Sicario is surprisingly by-the-numbers, with thin characters (despite the efforts of a fine cast), a simplistic plot and a clumsily administered twist.

The versatile Blunt (Into The Woods, Edge Of Tomorrow) plays Kate Macer, a by-the-book FBI agent fighting a losing battle against powerful and ruthless drug cartels on the US/Mexico border. She is recruited into a special taskforce headed by Matt Graver (Josh Brolin), a cocky and evasive spook who struts around in flip-flops like he’s fresh off the beach. The gung-ho team’s aim, as Graver has it, is to “shake the tree” enough to flush out the cartel’s Mr Big so he can be captured, his operation destroyed. Kate doesn’t trust the taskforce’s motives from day one, an attitude proved entirely correct by the highly illegal tactics they employ and the arrival of Alejandro (Benicio Del Toro), a former prosecutor turned mysterious, enigmatic badass with a big secret.

Sicario is at its best early on. The opening raid on one of the cartel’s desert safe houses is probably the movie’s finest scene – action-packed, horrifying and climaxed by an explosive exclamation mark that punches you right in the guts. Almost as effective is a sequence after the taskforce has travelled into Mexico to extract a senior cartel member from prison. On the way back through the border into the States, Graver and Co’s convoy gets stuck in traffic and they quickly realise they are about to come under attack by cartel members in other vehicles. It’s a beautifully staged scene, rich in suspense and paranoia. Blunt is at her best here, too; a perfect study in confusion, fear and fury as she starts to realise the true magnitude of the madness she has naively volunteered to be a part of.

The film’s problems begin soon enough though. You quickly realise this isn’t going to be a story about a brave young FBI agent overcoming enormous obstacles to earn her stripes but yet another of those ‘necessary monsters’ tales, perhaps done best recently in US TV shows such as The Shield and True Detective. In fact, Matthew McConaughey’s character Rust Cohle from the latter drama’s first season sums up this trope perfectly when he says: “The world needs bad men. We keep the other bad men from the door.” And that’s pretty much what we have here – Graver and Alejandro are the bad men, the only real defence against the cartels’ utter unflinching ruthlessness. No rules and laws can apply to them because to restrict these “bad men” in any way would be to hand their enemies a crucial advantage. The only way to win is to give them carte blanche to deceive, to threaten and to kill. “You are not a wolf and this is a land of wolves now,” Del Toro tells Blunt, somehow keeping a straight face amidst the tsunami of ridiculous macho bullshit. I’m not saying Sicario is sexist or misogynist (the fact the only woman in the entire film is shown to lack the required grit to properly compete in this ‘land of wolves’ speaks more to her humanity than to her gender), just that the film's descent into a fairly unremarkable revenge story, full of absurd testosterone-fuelled confrontations and simplistic solutions (killing the bad men who aren’t on our side), critically undermines what was a promising set-up. 

Blunt’s role in Sicario is a strange one. On the one hand, she’s supposedly the lead character; on the other she’s almost peripheral to the plot as Graver and Alejandro go about practising their dark arts and refusing to reveal their real intentions or ultimate goal. The film’s revenge story isn’t even her revenge story. The fact that, despite all that, Blunt is the film’s only truly believable or empathetic character says a lot about her ability as an actor and the flimsiness of the writing elsewhere. I often think the mark of a successful fictional character is one whose life you can imagine away from the story in which you first encounter them. It’s easy to conjure images of Kate Macer as a mother, daughter, lover, friend or neighbour, impossible to do likewise with one-dimensional ciphers like those Brolin and Del Toro do their best to portray.  

My other problem with Sicario is that I’ve seen a couple of other films recently about the Mexican drug cartels that handle the subject matter rather better. Amat Escalante’s 2013 film Heli is a work truly deserving of the word visceral (a term many critics have used to describe Villeneuve's movie). The titular character is a young Mexican whose family is targeted by a local cartel after his 12-year-old sister and her older boyfriend conceal stolen packages of cocaine. When the crime is discovered the revenge perpetrated upon these kids is terrible to behold (torture, rape and murder), and stands in stark contrast to Sicario’s rather clumsily inserted subplot about a Mexican policeman similarly in over his head. Escalante’s film shows how the cartels’ mephitic presence seeps into every area of their victims’ lives and the ways in which it foments hatred and criminality. If you want to see a drug war story with vengeance at the centre of its jet-black heart, it’s really Heli that you should be checking out.

Better still is Cartel Land, Matthew Heineman’s documentary about two vigilante gangs – one in Mexico, the other in the US – that have organised to fight back against the cartels. The American group are Fox News-addicted halfwits for the most part, driving around the desert in a tiny convoy trying to find newly-arrived illegal immigrants like characters in one of Donald Trump’s wet dreams. Far more intriguing are Mexico’s Autodefensas, a veritable army operating successfully in the Mexican state of Michoacán and led by small-town physician, Dr Jose Mireles. ‘El Doctor’ is a fearless but flawed man; a serial philanderer not afraid to order his foot soldiers to put their cartel enemies “in the ground”. You could go as far as to call him a “bad man who keeps other bad men from the door” but, here’s the thing, unlike Alejandro or Graver he is a multi-faceted real person rather than a jumble of character traits straight out of a ‘How to Create a Brusque Tough Guy’ screenwriting class. Sicario’s biggest fault, then, is one it can do precious little about – the reality of the drug war is far more interesting, disturbing and complex than any movie drama (however slick its direction, however accomplished its actors) could ever hope to match.

Cartel Land goes on to show the connections between the vigilantes, the authorities and the cartels and how, ultimately, it becomes difficult to tell them apart so interdependent are they. The cartels’ tentacles are long, their influence pernicious and pervasive. They certainly can’t be beaten by a brooding antihero with a tragic backstory and a hard-on for guns. Truth is not only stranger than fiction, it is stronger too.

Rating: WW

Ratings

WWWW = Wonderful
WWW = Worthwhile
WW = Watchable
W = Woeful

5 for Friday (October 9): Trailers, new releases and box office

This week's five most intriguing cinema releases...

1. Sicario 

What is it? Denis Villeneuve's visceral thriller stars Emily Blunt as an idealistic FBI agent battling brutal drugs cartels on the US/Mexican border. Benicio Del Toro is the mysterious hitman brought in by Josh Brolin to fight fire with fire. 

Where in the UK can I see it? Everywhere.

Critical consensus? An addictive 93 per cent fresh on Rotten Tomatoes.

My take: Sicario has crossed the Atlantic with the kind of buzz only the likes of Whiplash and Birdman have been able to match this year. Roger Deakins' sumptuous cinematography and Blunt's gripping performance have been particularly singled out for praise. To say I'm looking forward to seeing it would be an understatement.

2. Red Army
What is it? The story of the Soviet Union's all-conquering Red Army ice hockey team as told by its players, particularly captain Slava Fetisov, who went from national hero to despised enemy when he left the USSR to play in America's NHL. Imagine the Cold War on ice and you're most of the way there.
Where in the UK can I see it? It's getting a limited cinema release in key cities only but is also available from today on VOD.
Critical consensus? A stick-busting 96 per cent fresh on Rotten Tomatoes.
My take: Fetisov is a fascinating character and has lived an extraordinary life. I'm happy to put aside my lack of interest in ice hockey to give this a go.

3. Suffragette

What is it? Carey Mulligan, Helena Bonham Carter and Anne-Marie Duff are working class women battling a hostile state for the right to vote in early 20th century Britain - valiant foot soldiers in Emmeline Pankhurst's Suffrage movement. Blowing up mailboxes and putting bricks through windows, they play a cat and mouse game with the authorities whose response becomes more brutal and uncompromising. Meryl Streep lends a bit of Hollywood glitz to proceedings as Pankhurst.

Where in the UK can I see it? Everywhere from Monday.

Critical consensus? A vote-winning 80 per cent fresh on Rotten Tomatoes.

My take: Before now there has always been a certain middle class, 'BBC1 on a Sunday evening' cosiness about Suffragette dramas. Sarah Gavron's film looks set to blow such notions out of the water and about time, too.

4. The Nightmare

What is it? Part-documentary, part-horror story, Rodney Ascher's film explores a disturbing medical condition called sleep paralysis. Victims - and there are thousands of them - are unable to move and subject to terrifying hallucinations involving 'shadow men' and other nasties. Some sufferers even believe their condition isn't psychological but paranormal. Ascher recreates the experiences of eight sufferers using actors, probably guaranteeing himself the director's job on a proper horror movie in the not-too-distant future.

Where in the UK can I see it? In just a few London cinemas.

Critical consensus? A dreamy 72 per cent fresh on Rotten Tomatoes.

My take: One of the things Ascher - himself a sufferer - points out is that a lot of the imagery from these hallucinations and night terrors have, over time, seeped into art and literature, informing movies such as A Nightmare On Elm Street. As a horror fan, that's reason enough for me to see it right there.

5. The Walk 

What is it? Robert Zemeckis (Cast Away) directs the story of Frenchman Philippe Petit (Joseph Gordon-Levitt) who, in 1974, strung a high-wire from one of the World Trade Center towers to the other, then walked across it. If this real-life story sounds familiar it's because it formed the basis of the excellent 2008 documentary Man On Wire.

Where in the UK can I see it? It should be pretty much everywhere now after getting an IMAX-only release last week.

Critical consensus? A perfectly-balanced 87 per cent on Rotten Tomatoes.

My take: Unfortunately, Gordon-Levitt's Clouseau-esque accent has been getting more attention than the film's extraordinary, vertigo-inducing CGI. As someone who gets a nosebleed from going upstairs on a double-decker bus, I definitely won't be seeing this in 3D.

Also on release this week

Addicted To Fresno

A Haunting In Cawdor

Dildariyaan

I Believe In Miracles (from Tuesday)

Jazbaa

Leading Lady

Madimak: Carina'nin Gunlugu

Monty Python And The Holy Grail (reissue – from Wednesday)

Regression 

Rudhramadevi (3D)

Unbreakable: The Mark Pollock Story
Zarafa

UK box-office top 10

1. The Martian
2. Legend
3. Everest
4. The Intern
5. Macbeth
6. The Maze Runner: Scorch Trials
7. Miss You Already
8. Singh Is Bling
9. Inside Out 

10. Dragonball Z: Resurrection Of F

US box-office top 10

1. The Martian
2. Hotel Transylvania 2
3. Sicario
4. The Intern
5. Maze Runner: The Scorch Trials
6. Black Mass
7. Everest
8. The Visit
9. War Room
10. The Perfect Guy