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Guillaume Canet writes, directs and appears in 'Tell No One' from Harlan Coben's novel, a dizzyingly complex thriller that will keep you guessing right to the end. There is a big cast of characters to keep track of, to the point that confusion will definitely creep in if you are not concentrating, but Canet's excellent film deserves your full attention. François Cluzet is highly watchable as the pawn at the centre of the mind-boggling machinations that spiral around him (French crime drama pun intended), and there is an excellent array of Gallic thesps all in good form. Worthy of particular note are Marie-Josée Croze very engaging as Cluzet's screen wife; André Dussollier as his terminally grumpy father-in-law; Kristin Scott Thomas his sister; a beautifully laconic François Berléand as the dogged cop; and the wonderful Gilles Lellouche with a convincing gangster turn. The film's plot is every bit as labyrinthine as LA Confidential or The Girl with the Dragon Tattoo - if crime thrillers are your bag, this is an excellent example.

Bradley Cooper's character does not evoke much sympathy in the first act, but that is probably the point, he's a rather tiresome nobody, suddenly transformed by the wonder drug that he acquires from his brother-in-law (isn't it always the way). Neil Burger crafts a pacey, good looking film from Leslie Dixon's screenplay from Alan Glynn's novel "The Dark Fields" stimulating some interesting questions in the viewer, as the best films do. It's an interesting idea, played out with great style and high energy. Cooper's narration is well handled, managing not to annoy, allowing us to concentrate on the action. There are some dizzying visuals that are highly effective, adding to a feeling of freshness. The main characters are all engaging, with good support from Robert de Niro (not stretched), Abbie Cornish, Andrew Howard, and the very watchable Anna Friel. There are perhaps a couple of minor gripes - for one thing, there's a feeling of rampant wish fulfilment about some of the sequences which, even in a fantasy film, seems a bit of a stretch. Also, as any writer knows, blank page syndrome in the very literal way it appears here, is utter nonsense. If you are sitting in front of a blank page in the past clichéd way that Cooper's Eddie Morra does here, you are not a writer, but again, maybe that was the point. This film is well worth seeing, meanwhile, I'm off to the pharmacy.

Jon Favreau's film Chef is a simple joy - confirming that less is usually more effective and that it is okay to make a film that leaves the audience smiling, laughing and tapping its feet. However, arguably, Chef is deeper than first glance suggests. It touches on very modern themes of the power of social media (constructive and destructive) and the impact that glib online criticism (positive and negative) can have on real lives, and it's to Favreau's great credit that he does not gloss over these things. The film's use of Tw***er is ingenious and effective, if somewhat similar to at least one previous treatment of texting (the BBC's extraordinary Sherlock), but it is not a throw-away gimmick, rather an important part of the story, showing that - like a loaded gun - social media's power derives from the will of the user.

Chef has a highly likable cast in great form. Dustin Hoffman, Scarlett Johansson and Fav's Iron Man mucker Robert Downey Jr. provide very effective cameos. RDJ is his quirky self, and Johansson is at her most charming, while Hoffman's superbly forceful turn ensures that it's not all sweetness and light, as do chef's scenes with Oliver Platt's restaurant critic. Sofia Vergara, Bobby Cannavale and the excellent John Leguizamo provide enthusiastic and likable support, but it is Favreau and Emjay Anthony's delightful central relationship that is the beating heart of the film, their scenes are so wonderfully natural that you can only root for them both.

The film features something of a flying foodie travelogue through the southern states, but it is much more than that. Favreau's direction feels light and empathetic, a man confident in knowing exactly what he wanted, and Chef is clearly a film made with great care and affection. The soundtrack is superb, infusing the film with a rhythm that makes it difficult not to be swept along, but why would anyone not want to be carried away by Favreau's wonderful film, which tells us it is okay to take pleasure in what we do, feel the rhythm and love life.