Twin Peaks: The Return – how the reboot of David Lynch’s oddball masterpiece improved on the original
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The Damned review – atmospheric period chiller twists the knife on Iceland fishers
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From F1 to Mickey 17: the 2025 films Guardian writers are most excited about
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Get Away review – Nick Frost ramps up the ridiculousness in comedy horror
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Street Trash review – grisly remake of cult horror sends exploding corpses to South Africa
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Zendaya and Tom Holland might be engaged – and of course people are being normal about it
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Demi Moore’s stellar second act: how the star was finally given her due at 62
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Aubrey Plaza calls husband Jeff Baena’s death ‘an unimaginable tragedy’
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Demi, Jodie and Nicole: is Hollywood finally ready to recognise complex female characters over 40? | Natasha Ginnivan
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‘It’s easy to call what she did evil’: inside Denmark’s Oscars entry, about a serial child murderer
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‘I laughed, I cried, I reflected on many things’: Guardian readers’ best films of 2024
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Melania Trump documentary from Brett Ratner to be released by Amazon
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Architecton review – immersive and imposing meditation on concrete and stone
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It’s Raining Men review – Laure Calamy adultery comedy puts the heat in cheat
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No blunders, just boldness: older women lead red-carpet glamour at Golden Globes
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‘Brings delight’: why Rush Hour is my feelgood movie
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Chalamet snubbed, Demi Moore hailed: the key film Golden Globes shocks and surprises
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Blood for Dust review – a gutsy, state of the nation shoot-em-up lands in Coen bros territory
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If Batman v Superman crushted Jesse Eisenberg’s star, why is DC giving Jason Momoa a second chance?
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The Brutalist is anointed – but key hopefuls locked out at curveball Golden Globes | Peter Bradshaw
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Campus Monde review – Ivorian hopefuls battle to get elusive immigration visas
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The Brutalist, Emilia Pérez and Shōgun triumph at the Golden Globes
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Golden Globes 2025 red carpet: Ariana Grande, Selena Gomez, Timothée Chalamet and more – in pictures
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Golden Globes 2025: Adrien Brody, Demi Moore and Colin Farrell win – live!
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We Live in Time review – Florence Pugh and Andrew Garfield star in soggy tearjerker
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‘Friends keep me tethered’: actor Joe Alwyn on fame, dating Taylor Swift and keeping his feet on the ground
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Clues, improvisation and anti-pigeon devices – the vision behind Mike Leigh’s new film Hard Truths
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Nickel Boys review – sublime, immersive adaptation of Colson Whitehead’s haunting reform school novel
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‘The more relaxed you are, the better you are as a human’: Nicole Kidman on Kubrick, sharks and risk-taking
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At 41, was Isabella Rossellini too old to be beautiful in 1994?
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Indie film-maker Jeff Baena dies aged 47
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Embracing X and a turn by Timothée Chalamet: how Bob Dylan is capturing gen Z
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2073 review – Asif Kapadia’s harrowing vision of a post-apocalyptic world
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Nikki Amuka-Bird: ‘I just played the prime minister and thought, me? Run the country?’
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The Baldoni-Lively legal battle seems a depressing re-run of Depp v Heard | Arwa Mahdawi
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Why did so many people jump to criticise Blake Lively? The answer isn’t complicated
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From Edvard Munch to Central Cee: Observer critics choose their cultural highlights for 2025
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The big chill: warming, nourishing culture to help you hibernate until spring
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Golden Globes 2025: who will win and who should win the film awards?
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Mark Kermode on… director Sean Baker, who thrillingly puts the marginalised centre stage
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From Nosferatu to Patience: a complete guide to this week’s entertainment in the UK
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Justin Baldoni plans to sue Blake Lively after she accused him of harassment
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At the dive-in: Australia’s summer tradition of swimming pool film screenings
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Hollywood ushers in hard-to-predict awards season with Golden Globes
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Elon Musk, the Titan disaster and Sly Stone: the most anticipated documentaries of 2025
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Andrew Garfield on weepie rom-com We Live in Time: ‘I love that this film wears its heart on its sleeve’
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Stolen skulls and colonial trauma: the Tanzanians searching for ancestral remains
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‘Are we the first generation that won’t die?’: Bryan Johnson on his controversial lifestyle
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Aaron Taylor-Johnson: ‘I couldn’t understand why Tom Ford wanted me to play a serial-killer rapist’
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Canceling the apocalypse? What can we learn from films set in 2025
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Ridley Scott is a genius film-maker who can do anything – even start a political crisis in Malta
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Rocco and His Brothers review – Luchino Visconti’s operatically magnificent family epic
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Blake Lively and Justin Baldoni file lawsuits over It Ends With Us
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We Live in Time review – romance blossoms for Florence Pugh and Andrew Garfield
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Stockholm Bloodbath review – like Game of Thrones scripted by Guy Ritchie
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Auteurs assemble! Why 2025 offers a banquet of movies by cinema’s great creators
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Kate Beckinsale says she has been ‘assaulted’ and ‘felt up’ on film sets
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Guardian writers on their ultimate feelgood movies: ‘Radical in its own way’
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Toyboys, divas and Bridget Jones: the films to look forward to in 2025
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Beezel review – impish jump-scare machine follows single house’s horrific history
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Oddity review – deft Irish horror gets great value from ventriloquist’s dummy
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Who We Love review – queer teen’s Dublin awakening is Euphoria with Guinness
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Justin Baldoni to reportedly file counterclaim against Blake Lively
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Rise in talk about killing in films raises health concerns, researchers say
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Jack Bond obituary
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Father of the Bride and Baby Boom director Charles Shyer dies aged 83
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Diabel review – canine sidekick along for ride as dour war veteran biffs bad guys
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‘Endlessly rewatchable’: why Diggstown AKA Midnight Sting is my feelgood movie
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1970 review – puppet Soviets plot alongside real-life footage of landmark Polish protest
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The Wolves Always Come at Night review – melancholy meditation on a lost way of life
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