Hot on the heels of her 2019 triumph Portrait of a Lady on Fire, Céline Sciamma’s fifth feature continues a perfect track record; this is yet another gorgeous and perceptive film, told from a determinedly female perspective but with a wisdom that is all-embracing. 

There was always something a little diffident about teenage Marion Elliott-Said, who created her on-stage persona Poly Styrene after putting together her band X-Ray Spex from a small ad in the back pages of the NME in 1977.

Eddie Murphy – one of the biggest stars of the 1980s – has taken his time in making a sequel to the enormously successful Coming to America, which was released in 1988. In that film, directed by John Landis, Murphy played another of his cheeky, quick-talking and knowing comedy roles; as Akeem, a prince from the fictional African nation of Zamunda.

Can a film be both too long and too short? If so, Into the Darkness definitely fits the bill. Anders Refn’s long-nurtured family epic follows Karl Skov (Jesper Christensen, more famous as a Bond villain), a self-made Danish industrialist who struggles with his conscience when his country surrenders to Germany in 1940.

The Romanian director Radu Jude invariably serves spicy satire that challenges his compatriots to face historical crimes and present failings. The latest is an erudite and daft, raunchy and knockabout, endlessly provocative film that, for sake of brevity, we’ll call Loony Porn.

A teen comedy with a thematic difference, Moxie has enough memorable moments to firmly establish comedian Amy Poehler as a director worth reckoning with in what is her second film, following Wine Country in 2019.

One of the sadnesses of covid is that films like Judas and the Black Messiah have been held over for release in the hope that cinemas will reopen. Immersive, intense features like this deserve to be seen in a darkened theatre with no distractions. But as the pandemic drags on in the UK, distributors are forced to debut big films on the small screen and it’s a real shame in this instance. 

Sure, Roald Dahl wrote Charlie and the Chocolate Factory but is that any excuse for a film quite so saccharine? He of all challenging and complex men, with a temperament to match, seems an odd subject for the sort of weightless, paint-by-numbers biopic that would be hard-pressed to muster much attention even as TV filler on a particularly dead night.

What did Sia want to achieve with Music, her deeply confused first stumble into filmmaking? The reclusive Australian has enjoyed years of global fame for a successful music career. Was it never enough?

An initially off-putting erotic comedy thriller about the relationship between a webcam dominatrix, “Scarlet” (Julia Fox), and the Internet gambler, Jack (Peter Vack), who becomes obsessed with her, Ben Hozie’s sexually graphic PVT CHAT becomes increasingly resonant as it proceeds – and surprisingly endearing.