"Television and I grew up together." As a baby boomer born in 1947, Susan Bordo is roughly the same age as our beloved gogglebox, which began life as a broad box with a ten-inch screen, chunky and clunky and encased in wood. With the rapid changes in technology in the years since, "television", as Bordo points out, has become estranged from its material status.

Lana Del Rey has turned pop’s volume down, returning hushed intimacy to the music’s heart. Her collaborator Jack Antonoff was also heavily involved in Taylor Swift’s Folklore reinvention, but Del Rey’s idea of Americana remains very different.

“David, don’t run,” is the refrain that runs through the first scenes of Lee Isaac Chung’s affecting, autobiographical Minari, acclaimed at Sundance, winner of a Golden Globe for best foreign language film (it’s mainly in Korean) and nominated for several Academy Awards.

Trilogies (it is noted, in the term’s Wikipedia entry) “are common in speculative fiction”. They are found in those works with elements “non-existent in reality”, which cover various themes “in the context of the supernatural, futuristic, and many other imaginative topics”. All of these apply in some sense to The Things We’ve Seen, the latest novel from Spanish writer Agustín Fernández Mallo.

Like the sun-happy LA of this film’s setting, there’s a hard-to-pinpoint sham quality to Wander Darkly. It feels like too much phoney dialogue crept in to the final script of this “serious” film by writer-director Tara Miele.

Her glory years as the muse of Josef von Sternberg long gone, Marlene Dietrich had been labelled “box-office poison” and was sulking on the French Riviera when the producer Joe Pasternak summoned her back to Hollywood to star opposite James Stewart in George Marshall's Destry Rides Again (1939). 

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?