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. 

Pushing 40, Simple Passion’s Hélène (Laetitia Dosch) lectures Paris college students on poetry and is single mother to pre-adolescent Paul (Lou Teymour-Thion). Blessed with a bountiful Deneuve-ian mane, she’s a pale but unfallen bloom in her late thirties passionately entwined, as often as she can be, with the younger Aleksandr (Sergei Polunin), a vulpine, taciturn Russian Embassy security operative (i.e. muscle), who sometimes flies home for marital vacations.

Kiwi and Aussie screen legends Sam Neill and Michael Caton have teamed up in this heartfelt and humorous remake of Grímur Hákonarson’s 2015 Icelandic original. The template of Hákonarson’s story has been transplanted but all the details and fillings have changed. Director Jeremy Sims pitches us in Australian sheep country, a sunny and laconic world where life flows at a pretty breezy pace.