The German actor Leonie Benesch has an issue with erratic pacing in films. "I find it awful when a character talks and then there's a two-second pause before the dialogue continues," she says.

Before Freakier Friday there were the two film versions of Freaky Friday based on Mary Rodgers’s lively, perceptive 1972 Young Adult novel, the foremother of all body-swap movie comedies (including Big).

If you saw it blind, with no information about its origins, Eight Postcards from Utopia might look like 70 minutes of outtakes from lost Fast Show recordings, the bits where they lampooned the TV they had watched on foreign holidays and the spoof ads they concocted.

The acorn doesn’t fall far from the tree is the bitter message of The Kingdom. Director and co-writer Julien Colonna’s nerve-fraying drama about an adolescent girl’s sudden immersion in the brutal, uber-macho world of her father, a ruthless Corsican mafia boss, or caïd, builds inexorably to the only possible conclusion. It's still shocking; cathartic, too, but dispiritingly so.

Weapons’ enigmatic title, as with Zach Cregger’s previous film Barbarian, reveals little of what follows. The smalltown Pied Piper premise is sufficiently alluring: at 2.17 am, all bar one of a primary school class leave their beds and sprint through night streets, arms flung back like fighter jets, before vanishing utterly.

"First love is always both terrible and wonderful at the same time", says the 60-year-Norwegian dramatist-novelist-director Dag Johan Haugerud, whose new film Oslo Stories: Dreams is all about the most beautiful and painful feeling in the world. 

Rising temperatures, prickling skin, longing’s all-consuming ache: first love’s swooning symptoms overtake 17-year-old Johanne (Ella Øverbye) in the Golden Bear-winning Dreams, the first UK release from Norwegian director Dag Johan Haugerud’s Oslo Stories trilogy. Love and Sex complete the thematically interwoven sequence, which unpick assumptions about sexual identity with gentle irony.

The years between 1955’s The Ladykillers and 1964’s Dr Strangelove were the years of what Sanjeev Bhaskar recently described as "peak Sellers", a period when the great comic actor rarely seemed to put a foot wrong. Two Way Stretch and Heavens Above! succeed largely because both films feature Peter Sellers alongside talented supporting casts, his performances by necessity subtler and more nuanced.

Floria (the superb Leonie Benesch: The Crown; The Teachers’ Lounge; September 5) is a nurse, working the severely understaffed night shift in a Zurich hospital. She is constantly doing three things at once, sanitising her hands, snapping her gloves on and off, measuring medications into syringes, finding veins for IVs and saying, endlessly, “Ich komme gleich” (I’ll be there soon) or “Have you pain on a scale of one to ten?”

The original Naked Gun series (spun off from the Police Squad! TV show) brought reliable belly-laughs to the Eighties and Nineties and starred the incomparable Leslie Nielsen as the preposterous detective Frank Drebin, but for this regenerated version Liam Neeson has stepped up to the plate.