Watch the Skies to Wet Leg: your complete entertainment guide to the week ahead
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Stellan Skarsgård on Ingmar Bergman: ‘The only person I know who cried when Hitler died’
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Sorry, Dean Cain – of course Superman is woke, he fights injustice
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Jaws to Oppenheimer: the seven best films to watch on TV this week
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‘I’d be proud to be thrown out of America!’ Eric Idle on Trump, life after Python and not talking before lunch
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Everybody’s favourite manic pixie dream aunt: Celia Imrie’s 20 best films – ranked!
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‘How woke is Hollywood going to make this character?’: Dean Cain criticises new Superman movie
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Nine Queens review – Fabián Bielinsky’s brilliant grifter classic offers masterclass in double dealing
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Modigliani – Three Days on the Wing of Madness review – Johnny Depp’s painter as bohemian badass
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Apocalypse in the Tropics review – how Brazilian politics succumbed to rightwing fundamentalism
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Suit Hung. Tied Tongue review – rabble-rousing revenge drama takes aim at the 1%
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The end has no end: The Old Guard 2 and the curse of the cliffhanger ending
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The Other Way Around review – witty uncoupling comedy is meta breakup movie for grownups
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Pavements review – US indie rockers and their dream director run four ideas at once
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Sorry, Baby is a smart film about sexual assault and it’s here at just the right time | Adrian Horton
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Is Possession about a harrowing divorce or a woman with an octopus kink? Why not both?
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Camp vampires! Frisky throuples! How Stephanie Rothman became queen of the B-movie
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King Lear is a masterpiece – as told by Akira Kurosawa rather than Shakespeare | Michael Billington
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Studios are rewriting movies steered by Reddit. A dangerous development – or long overdue? | Ben Child
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Watch the Skies review – see the lips move in alien abduction sci-fi with pioneering AI
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Salvable review – Shia LaBeouf unexpectedly on hand for gritty British boxing drama with melancholy feel
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Frankie Freako review – cheap and cheesy comedy horror channels 80s schlock
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Hidden Master: The Legacy of George Platt Lynes review – eye-opening snapshot of New York’s queer scene
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Jurassic World Rebirth smashes predictions at box office
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‘I’m rooting for them’: why American Movie is my feelgood movie
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The Tree of Authenticity review – talking tree explains Congo’s struggle to overcome colonial past
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‘It was an earth-shattering reality right away’: director Catherine Hardwicke on life after Twilight
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Michael Douglas says he has ‘no real intentions’ of acting again: ‘I had to stop’
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Anne Reid on fame, desire and ambition at 90: ‘The most wonderful things have happened since I was 68!’
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Michael Madsen obituary
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From Jurassic World Rebirth to Kae Tempest: your complete entertainment guide to the week ahead
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Julian McMahon’s death is a sad, dramatic end to a magnetic talent, whose star was on the rise again | Luke Buckmaster
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Julian McMahon, Fantastic Four, Nip/Tuck and Charmed actor, dies aged 56
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The Guardian view on the public’s dinomania: passion for palaeontology endures through the ages | Editorial
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Daytimers: Alterations review | Ammar Kalia's global album of the month
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Wicked to King Richard: the seven best films to watch on TV this week
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Quatermass 2 review – Hammer turns up the heat in enjoyable alien invader sequel
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Michael Madsen’s brooding charisma needed Tarantino to unlock it | Peter Bradshaw
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Michael Madsen, star of Reservoir Dogs, Kill Bill and Donnie Brasco, dies aged 67
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Maxine Peake: ‘I have a healthy balance of inferiority complex and slightly prickly ego’
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‘We would never do that’: Ringo Starr says he asked for changes in Beatles movie script
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Was Thatcher right to ban ‘video nasties’? I binged Zombie Flesh Eaters and Slaughtered Vomit Dolls to find out
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‘The film wouldn’t even be made today’: the story behind Back to the Future at 40
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‘You’re stealing my identity!’: the movie voiceover artists going to war with AI
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The Old Guard 2 review – Charlize Theron’s delayed Netflix sequel is an incomplete mess
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Full set of Sean Connery Bond movies heads up Edinburgh film festival programme
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James Cameron calls Christopher Nolan’s Oppenheimer a ‘moral cop-out’
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Heads of State review – John Cena and Idris Elba sell fun throwback Amazon comedy
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Hearts of Darkness: A Film-Maker’s Apocalypse review – Francis Ford Coppola and the mother of all meltdowns
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Give Me a Word: The Collective Soul Story review – hyped-up account of nice-guy 90s mainstream rockers
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Hill review – compelling story of formula one star Damon Hill’s trials on and off the racetrack
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TV tonight: Channel 4 airs the Gaza documentary the BBC wouldn’t broadcast
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‘Completely radical’: how Ms magazine changed the game for women
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‘I have a lot of sympathy for Elon Musk’: Succession creator Jesse Armstrong on his tech bros AI satire Mountainhead
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Monsters of California review – three friends search for a missing father in Tom DeLonge’s sci-fi slacker comedy
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Life Is Beautiful review – poignantly upbeat journal of a Gazan exile stranded in Norway
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Austin Powers? The Godfather? Wild Things? Our writers on the franchises they would like to revive
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Post your questions for Rosanna Arquette
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Jungle Trouble review – utterly charmless kiddie cartoon patches together corpses of animations past
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Exodus review – broadside against Erdoğan’s Turkey takes the multi-narrative, multi-character route
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I learned about slavery from Hollywood. Why is French cinema so slow to depict our own colonial crimes? | Rokhaya Diallo
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Jurassic World Rebirth review – Scarlett Johansson runs show as near-extinct franchise roars back to life
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Back from the dead: can the new Fast and Furious movie really ‘reunite’ Vin Diesel and Paul Walker?
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Beat the Lotto review – how a small-time accountant tried to outwit Ireland’s national lottery
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‘Joyous and uplifting’: why Chungking Express is my feelgood movie
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Madina: The Enlightened City review – a fact-filled tour of Islam’s second holiest city
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An Ordinary Case review – Daniel Auteuil directs and stars in tense Ruth Rendell-ish crime procedural
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‘It was very hard to see myself as a director’: the Australian film-maker changing the documentary genre
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Jamaica’s film industry gets boost from new funds and global collaborations
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A Woman Alone review – a stylised portrait of contemporary financial precarity
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