Three members of Hong Kong Cantopop band Mirror feature in this fiendishly watchable crime caper which steals much from Ocean’s Eleven and, oddly, ASMR videos

Here is a very silly and yet fiendishly watchable heist thriller that features three members – Edan Lui, Anson Lo and Keung To – of the Hong Kong Cantopop boyband Mirror in major roles. That’s worth knowing not because they break into song at any point, but because that explains the film’s prepackaged feel and why at least one of the actors, Keung To, feels so weirdly miscast as a ruthless gangster. But as with much of the plot mechanics in this film, it’s best not to think too much and just roll with punches.

The obscure objects of desire here are vintage watches: specifically a trio of timepieces owned at one point by Pablo Picasso and a fourth watch alleged to have been the first watch on the moon, worn by Buzz Aldrin. (Turns out Neil Armstrong left his watch on the spacecraft when he took those first small steps.)

Director Devashish Makhija slowly ramps up the tension with a sharp eye for oppressive realism and social satire as a father tries to out run his oppressors in this gritty thriller

Where many thrillers programmatically crank up tension with every scene and every beat, Devashish Makhija’s third feature feels different; this manhunt is weighed down by an almost agonised oppressiveness. Joram’s protagonist Dasru (Manoj Bajpayee) is barely able to choose a course of action until compelled out of desperation, and his police pursuer Ratnakar (Mohammed Zeeshan Ayyub) is not much better. There’s no escape in this pressure cooker from omnipresent societal exploitation and cynicism – with only Makhija’s compassion for the marginalised to compensate.

A tattooed member of the “scheduled tribes” from the eastern state of Jharkhand, Dasru lives in exile as a Mumbai labourer. When Phulo Karma (Smita Tambe), a tribal leader from the same region, pitches up on his construction site electioneering, she recognises him from his former life: a jungle rebel fighting against the appropriation of local lands by her husband’s iron-ore mining outfit. Dasru is bewildered when he comes home to find his wife Vaano (Tannishtha Chatterjee) brutally murdered and trussed upside down, forcing him to flee into the streets with his three-month-old daughter Joram in a sling.

The actor is ‘buzzing’ to be making a film about drug-taking and football hooliganism directed by his old collaborator Nick Love. Does this mean his time as an unexpected national treasure is nearing an end?

Lock up your mugs and chain down your slags, for something proper naughty is on the horizon. Danny Dyer, the UK’s surliest and most unlikely national treasure, is making another film with Nick Love.

They said it wouldn’t happen. They said it couldn’t happen. They definitely thought it shouldn’t happen. But despite everything, here it is: next month, Dyer and Love will start production on a film called Marching Powder.

Brisk addition to the British gangster franchise dials down the misogyny and ups the dramatic stakes

This is the sixth instalment in this very British, peripheral gangster franchise set in the 1990s, and maybe I’m going soft but it feels like the quality of the film-making has gone up a skoosh since the last effort, Rise of the Footsoldier: Origins . There is still a lot of repetitive fighting, stabbing and killing sequences – the fans wouldn’t watch if there weren’t – but this time round the script by Andrew Loveday and Jason Maza has more focus and dramatic heft. There’s less crude misogyny (although ladies in lingerie still abound on the fringes of the screen thanks to scenes set in strip clubs), and there’s even an outright queer-sympathetic plot line about a boxer named Billy the Kid (Ben Wilson) who moonlights as a drag queen but is afraid to tell his butch Scottish dad (Stephen McCole).

Nevertheless, the bulk of the movie trudges around Essex and London’s Soho in the wake of the franchise’s now regular protagonist, Tate (Craig Fairbrass) – who is yet to meet the gruesome fate foretold for him in the first film , made in 2007 but set in 1995 and inspired by the real-life Rettendon murders . This film unfolds in the early 1990s so there can’t be many more films to go, even though the ending sets up another sequel. Anyway, at this point in the larger story, Tate is pulling armed robberies with his associate Kenny (Josh Myers), who is none too bright and nearly gets them both pinched in a hit on an armoured vehicle early on. But someone kills Kenny (you bastards!) and Tate sets out to reap, as per the title, vengeance.

Golden Globe-nominated actor starred in a string of films including Hair, as well as taking a lead role in TV series Everwood

Treat Williams, whose 50-year acting career saw him appear in a string of films including Hair, Prince of the City, Things to Do in Denver When You’re Dead and Deep Rising, has died aged 71 after a motorcycle crash in Vermont.

In a statement released to Deadline , Williams’ family confirmed the cause of his death, saying: “It is with great sadness that we report that our beloved Treat Williams has passed away tonight in Dorset, Vermont after a fatal motorcycle accident. As you can imagine, we are shocked and greatly bereaved at this time.”

Rico Verhoeven’s Dutch-produced acting debut is a slapdash meeting of illogical storylines amid meaningless plot points

This hapless Dutch-produced thriller almost redeems itself with a decent final sequence staged in the neon-doused John Wick style, but it is too little, too late. Gigantic 6ft 5in kickboxer Rico Verhoeven blows his shot at action stardom with a showing of anti-charisma best described as if Lenny from Of Mice and Men had become a special forces operative. And the Amsterdam tourist board – for whom this at least lustrously shot film serves as a long commercial – must hold serious dirt on Frank Grillo for him to have signed up. Even by his snap-your-hand-off-for-a-paycheck standards, he has a binfire on his hands.

Verhoeven plays Matteo, former crack point man for a tactical unit of vague remit, who is licking his wounds after a hostage rescue at the German national opera goes south and his boss is killed. Recuperating at a Romanian sawmill, as you do, he returns to Amsterdam to make contact with bereaved wife Helene (Marie Dompnier) as well has his goddaughter (Pippi Casey). But the former’s new husband Paul (Peter Franzén) is siphoning money from Saban (Grillo), a “Eurotrash Tony Montana” who runs the local branch of a global crime syndicate. Which puts the family in the line of fire, and forces Matteo to dust off his particular set of skills.