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.

Bliss gets off to a powerful start. Stressed-out Greg Wittle (an endearing Owen Wilson) is in his office, trying to do several things at once: draw his dream seaside home in great detail; talk to his daughter; renew his painkiller prescription by entering long lists of numbers in response to maddening robotic prompts, and get himself out the door to see his boss, whose assistant keeps demanding his presence with increasing urgency.

Do you want to spend 105 minutes trapped in a house with two people arguing, or do you already feel that your life under lockdown is quite quarrelsome and claustrophobic enough? If your answer is the former, then Malcolm & Marie is the perfect movie for you. Everyone else might be happier escaping elsewhere (I’d recommend Call My Agent if you want to enjoy actors talking about their trade. At least you get some exterior Paris scenes and lashings of wit). 

The 2017 killing of Kim Jong-nam, older half-brother of North Korea’s leader Kim Jong-un, was a chilling expression of merciless Pyongyang realpolitik. Labyrinthine planning by a team of North Korean undercover agents went into the attack, carried out by a pair of seemingly unwitting women at Kuala Lumpur airport by smearing Jong-nam (pictured below) with VX nerve agent.

"A candied tarantula" is one of the many great descriptions of Truman Capote that light up this conventionally made but enjoyable profile of the American author most famous for Breakfast at Tiffany’s and In Cold Blood.