Alienated by Disclosure Day? You are not alone
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Nightwatchers review – desperate struggle of migrant crisis under surface of picture-postcard ski resort
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Wannabe despot, dashing diplomat or boring back-office swot? Greece’s founding father divides opinion
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Spielberg’s Disclosure Day opens strongly at box office as Obsession, Backrooms – and Michael – smash records
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Ian McKellen says he imagined destroying Mar-a-Lago for new Avengers movie
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The Toymaker’s Key review – steampunk sci-fi animation is eclectic if overwrought
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The man who bought Diane Keaton’s nail clippers also owns Whoopi Goldberg’s teapot: ‘It will have her fingerprints on it’
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Familiar Touch review – Kathleen Chalfant is wonderful in subtle, sensual memory loss drama
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Disclosure Day: alien conspiracies, car chases and a jaw-dropping climax – discuss with spoilers
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‘It gets me every time’: why Jerry Maguire is my feelgood movie
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Dry Leaf review – three-hour amble around the football pitches of Georgia in search of a daughter
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‘More relevant now than ever’: how Virginia Woolf recaptured the cultural zeitgeist
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‘Distressingly beautiful and disorienting’: the Willem Dafoe film that only one person can see at a time
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‘Why would you put a toxic product into the hands of a young child?’: director turned activist Beeban Kidron on why big tech needs its ‘tobacco moment’
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Gene Shalit, longtime Today show movie critic, dies at 100
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Blake Lively awarded legal fees but no damages in Justin Baldoni dispute
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‘I only had this father, and he’s gone’: Wafa Mustafa’s fight for truth and justice for Syria’s missing
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Obsessed with Obsession: how a low-budget horror changed the game in Hollywood
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Brad Pitt in the frame as older men embrace ‘hot professor’ glasses
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Masters of the Universe is a box office flop. Can they really be serious about a sequel?
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‘I’m not bad, I’m just drawn that way’: Kathleen Turner’s best films – ranked!
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‘This is honest art. Like Dostoevsky’: Tim Allen and Tom Hanks on Toy Story 5, tech peril and the joy of rusty nails
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‘Now they can’t afford me’: Steven Spielberg was turned down to direct Bond – twice
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Who you gonna maul? Why Paul Feig’s derided all-female Ghostbusters dazzles a decade later
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Stop! That! Train! review - RuPaul-led zany drag comedy is a riot
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‘They kissed, and the audience roared’: the new musical about gay activists and striking miners
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First trailer for Aaron Sorkin’s Facebook sequel The Social Reckoning
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Under the Shadow review – Leila Farzad is fantastic in this nerve-shredding tale of 80s Tehran
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The best films of 2026 so far
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Boogie Nights review – Paul Thomas Anderson’s porn epic is still gaudy, seedy fun
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Disclosure Day review – close encounters of a deferred kind in Spielberg’s conspiracy spectacular
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‘A man of great appetites’: what’s it like to be a dictator’s personal chef?
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Signal One review – Dennis Quaid and David Thewlis ballast high-concept, low-risk first contact yarn
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Pink Narcissus review – garish colour and dreamlike images in a homoerotic vision of 60s New York
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‘The people made me a star’: 100 years of Marilyn Monroe – in pictures
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Tell us: which Steven Spielberg movie means the most to you?
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How much does Sean Penn hate selfies? Enough to invoke the Holocaust
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A Murder Between Friends review – Joan Collins’s detective diva sparkles in trashy whodunnit
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Idris Elba says audiences would never accept a black actor playing James Bond: ‘That’s not what they like in their culture’
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Time and Water review – Iceland’s doomed glacier tells its own story of climate disaster
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‘It soothes me’: why The Blair Witch Project is my feelgood movie
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My Memory Is Full of Ghosts review – deeply moving visual hymn for the bombed-out Syrian city of Homs
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‘People are still isolated and obsessive’: De Niro, Scorsese, Foster and Schrader reunite for Taxi Driver at 50
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Marilyn Monroe: A Portrait review – the radiant, uncontainable star she always wanted to be
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How Marvel deals with Doctor Doom is make or break for the MCU. No one wants a watered-down Tony Stark
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Sex, austerity and mugs of vodka: how the Greek myth Iphigenia became a Welsh-language film sensation
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Office Romance review – Jennifer Lopez’s romcom return is too much like hard work
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Scary Movie review – spoof comedy returns but maybe it should have stayed in the 2000s
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‘I’d rather read a book’: Tarantino criticises ‘flavourless sausage factory’ Hollywood
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‘I’m asking people to do a lot, but that’s what it means to be a human’: why one man made the first straight-to-video movie in 20 years
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Savage House review – Claire Foy and Richard E Grant sell it hard in bewigged 18th-century caper
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Marcia Lucas obituary
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Martin Scorsese accused of ‘throwing artists under bus’ with AI storyboards
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The Misfits review – Marilyn Monroe is fascinatingly sad in John Huston’s desolate western
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What the Hellenic! Why is Christopher Nolan’s new Greek epic entirely devoid of Greeks?
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Madfabulous review – Callum Scott Howells shines as flamboyant aristocrat in hedonistic period romp
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Affection review – memory loss thriller that keeps you guessing benefits from winning performances
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‘The CGI would have cost millions. I spent $2,000.’ Is Dreams of Violets AI slop – or the future of film-making?
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Masters of the Universe review – Amazon’s He-Man adventure is a weak big-budget misfire
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The Misfits: Marilyn Monroe’s final film showed her capacity for playing painfully knotty characters
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‘The face doesn’t move’: Hollywood’s obsession with cosmetic surgeries has led to stiffer looks – and performances
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Planet Israel review – valuable personal documentary about Israel/Palestine conflict
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Acting review – Cheek by Jowl masterclass in how to strut and fret upon the Shakesperian stage
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Marilyn Monroe lookalikes flock to Palm Springs for star’s 100th birthday – in pictures
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To YouTube and beyond: how online gen Z directors stormed Hollywood
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Ghost in the Machine review – entertaining AI polemic dives into its dark history in race politics and eugenics
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‘What if I come out with nothing on?’ Marilyn Monroe and the defiance of her final photoshoot
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Fuck the Polis review – cryptic docu-essay is a sphinxlike study of Greek myth and modernity
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Kane Parsons becomes youngest film-maker to open at No 1 in the US with Backrooms
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‘Lets me believe in myself’: why Billy Elliot is my feelgood movie
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