Another day, yet another period drama. The genre can singlehandedly thank Miss Keira Knightley for its recent re-emergence, with her olden resume building through Pride and Prejudice, Atonement, and The Edge of Love before her latest offering, The Duchess. Although her early roles were far from a past era there is the increasing view that she’s being typecast – after all, what was her last general romcom? Why she continues to choose these roles may be a mystery to many (particularly males who would rather her out of the corsets), but the archetype of the headstrong yet flawed woman ahead of her time can teach us a lot about the human condition.

This week, it’s a sorry looking line-up with Babylon A.D, Disaster Movie and The Duchess. So read on, and feel my wrath.

I approached Martin McDonagh’s In Bruges under the guise of complete ignorance. I couldn’t have even told you the genre of the film prior to seating myself in the cinema, let alone divulge a basic plot outline. The opening montage of brooding Gothic architecture, juxtaposed with a hauntingly bare piano composition, gave me the impression I was about to endure through a profoundly morose drama. However, I couldn’t have been more wrong. If you are just as oblivious to the nature of this film as I was, then stop reading right now and, as long as you are not easily offended, just go see this truly special film. The supreme unexpectedness of In Bruges works towards proving that ignorance really is bliss.