From Scoop to Civil War: why is it so hard to portray journalism on screen?
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Time
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Streaming: The Taste of Things and the best films about food
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From Back to Black to Blue Lights: a complete guide to this week’s entertainment
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Eleanor Coppola, Emmy award winning director, dies aged 87
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The Guardian view on Bridget Jones and Tom Ripley: characters that speak across time | Editorial
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Challengers review – Zendaya aces uproariously sexy tennis-set love triangle
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The Monopoly movie is coming, but not everyone is happy about it | Fiona Katauskas
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Can Joker: Folie à Deux avoid becoming like any other comic book movie?
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After 101 years – and a $20 find at a yard sale – Clara Bow’s lost film premieres
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Nicola Peltz Beckham, a billionaire’s daughter, made a movie about abject poverty. It’s as bad as you think | Kady Ruth Ashcraft
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It’s a grotesque insult for Back to Black to suggest Amy Winehouse died of heartache over her childlessness | Laura Snapes
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BlackBerry and Rebel Moon – Part Two: The Scargiver: the seven best films to watch on TV this week
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Triangle of Sadness director Ruben Östlund: ‘You should need a licence to use a camera – you need one for a gun’
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Nepo-disasters: why Ewan and Clara McGregor are only the latest onscreen parent-child embarrassment
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OJ Simpson: the complicated cultural legacy of a fallen star
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OJ Simpson obituary
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The 30-year hunt to find the Priscilla, Queen of the Desert bus: ‘My jaw was on the ground’
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Coppola, Lanthimos, Sorrentino: Cannes’ silverback gorillas shall slug it out at this year’s festival
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Keith Allen: ‘Your implication is my life’s a failure and I’d be happier had I lost my manhood’
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Donald Trump biopic and new films by Yorgos Lanthimos and Andrea Arnold to premiere at Cannes
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Don’t Tell Mom the Babysitter’s Dead review – a worthwhile comedy remake
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‘My cast and crew’s safety kept me up at night’: why a queer Ghanaian film may never be screened
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The Greatest Hits review – cutesy music romance plays a forgettable tune
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Margot Robbie to produce ‘blockbuster’ Monopoly movie with Hasbro
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Civil War review – Alex Garland’s delirious dive into divided US society
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The Promised Land review – Andrzej Wajda’s anti-capitalist comic opera is still razor sharp
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‘The roles on offer were prostitute or takeaway worker’: How Jing Lusi defied racist stereotypes – and became a star
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Bleeding Love review – Ewan McGregor and daughter Clara are toe-curlingly terrible in rehab flick
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Forty years and $120m later: Francis Ford Coppola’s Megalopolis to debut at Cannes
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Joker: Folie à Deux: trailer for Joaquin Phoenix and Lady Gaga musical sequel released
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Leo Woodall to join Renée Zellweger and Hugh Grant for Bridget Jones 4
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‘Her demons were probably worse’: does Back to Black reveal the real Amy Winehouse?
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Miriam Margolyes condemns Israel’s policy in Gaza, calling on Jews to ‘shout, beg, scream for a ceasefire’
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Opponent review – Iranian wrestling champ’s complex battle for asylum
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On Fire review – smoke-filled disaster movie asks God to help out with climate crisis
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Michael Palin on the loss of his wife of 57 years: ‘I’d love Helen to still be here, telling me off’
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Back to Black review – woozy Amy Winehouse biopic buoyed by extraordinary lead performance
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Billy Dee Williams says actors ‘should’ be allowed to wear blackface
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Jonathan Majors sentenced to probation but no prison time for assaulting ex-girlfriend
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Tom Ripley is a psychopath made for social media | Peter Bradshaw
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Adrian Schiller obituary
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LaRoy, Texas review – Coen-esque crime farce is a hyperactively fun ride
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The Stolen Valley review – Thelma and Louise-lite road western has right on its side
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Bobcat Moretti review – heartfelt boxing underdog tale goes down the signpost route
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Tolyatti Adrift review – young Lada restorers aim to escape Russia’s post-industrial angst
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‘All the romance of film-making is gone’: Woody Allen hints at retirement – again
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Seize Them! review – a comic romp through medieval Britain
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Scoop review – Rufus Sewell and Billie Piper shine in Prince Andrew drama
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The Conversation at 50: Francis Ford Coppola’s paranoid and predictive masterpiece
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Monkey Man review – Dev Patel directs and stars in a bloody revenge thriller
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‘Another layer of pigment needed adding to the canvas’: artist John Akomfrah on changing the narrative, from Windrush to colonialism
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When Disney lost its way – scenes from the studio, 1978
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David Dastmalchian on spooks, scarecrows, and drag queens: ‘An old horror movie lulls me to sleep’
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I don’t need a note-perfect portrayal of Amy Winehouse. The quality of acting is the key | Barbara Ellen
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Io Capitano review – Matteo Garrone’s wrenching migrant drama is unexpectedly beautiful
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‘Shagging and shoes’: why Gen Z has fallen in love with Sex and the City
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Adeel Akhtar: ‘I’ve got a lovely level of fame’
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‘I’d love a scathing review’: novelist Percival Everett on American Fiction and rewriting Huckleberry Finn
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Mark Kermode on… Céline Sciamma, the auteur who finds the universal in the unique
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Sam Taylor-Johnson on art, age gaps and Amy Winehouse: ‘Filming sucked me to a place I didn’t know how to get out of’
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From Monkey Man to The Regime: a complete guide to this week’s entertainment
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The Guide #133: Why is Beyoncé’s Cowboy Carter so long?
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Time to take the blue pill – do we really need a fifth Matrix film?
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Marco Bellocchio on his new film about the notorious kidnapping of a Jewish child
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‘Good and evil are at war': how Satanic horror has returned to haunt the age of Trump
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The First Omen review – stylish horror prequel is damned by its franchise
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What’s so bad about a reboot? Beyoncé's cover of Jolene doesn’t dilute the original, it adds to it | Rebecca Shaw
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More than a contender: Marlon Brando’s greatest performances – ranked!
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How to Date Billy Walsh review – another offensively boring streaming-service mess
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‘This is more than a #MeToo drama’: Jez Butterworth on his new play – and punching Harvey Weinstein
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