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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Warner Bros announces new Matrix movie helmed by Drew Goddard
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Kirsten Dunst says she ‘didn’t even think to ask’ about Hollywood’s gender pay gap
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On the Waterfront review – Marlon Brando’s wounded masculinity rains punches down
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Seize Them! review – revolting peasants make merry in medieval times
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Ken Loach speaks out in support of Jonathan Glazer’s ‘occupation’ Oscar speech
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Olivia Colman and Benedict Cumberbatch to star in War of the Roses remake
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Trevor Griffiths: Mancunian Marxist whose political plays deserve revival
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‘My sons hated it’ … Shakira says Barbie film is ‘emasculating’
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Io Capitano review – chilling indictment of the refugee exploitation economy
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The Trouble With Jessica review – Shirley Henderson leads satire on London liberals
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Yannick review – Quentin Dupieux goes for laughs in absurdist theatre hijack comedy
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Louis Gossett Jr obituary
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‘I have not been living in the Himalayas!’ The return of Spirit of the Beehive director Víctor Erice
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‘We shot it in the murder capital of the world’ … how we made The Lost Boys
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Til Death Do Us Part review – bride fights back in matrimonial revenge action flick
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We 12 review – Cantopop boy band Mirror turn super-skilled crime fighters
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Oscar-winning director Ryûsuke Hamaguchi: ‘The world is full of mystery and absurdity’
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Three Women review – intimate snapshot of rural Ukraine before the invasion
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The Human Surge 3 review – hopeful odyssey of globe-trotting twentysomethings
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The best theatre to stream this month: Jekyll & Hyde, Daniel Kitson’s Tree and more
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Mothers’ Instinct review – Anne Hathaway and Jessica Chastain feud in heavy-handed Hitchcockian thriller
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Godzilla x Kong: The New Empire review – another bout of monster stupidity
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Drift review – quietly mesmerising Greek island refugee tale
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Disco Boy review – Franz Rogowski adds another dimension to intense French Foreign Legion drama
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‘I was so angry’: the man who inspired Oscar-nominated film recalls epic journey from Ivory Coast to Italy
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Eddie Marsan: ‘Mitch Winehouse was a loving father whose daughter was an addict’
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The Origin of Evil review – Laure Calamy shines in enjoyably pulpy, Highsmith-esque thriller
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‘Nothing beats making your friends laugh’: Lolly Adefope on the absurdity of fame, the trouble with Netflix – and saying goodbye to Ghosts
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Tilda Swinton’s other-worldly appeal, as reported in 1987
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On my radar: Alison Balsom’s cultural highlights
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The Sweet East review – defiantly obnoxious US coming-of-age movie
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‘I’d buy fish and hide it under kale’: the star vegan chef who developed a taste for liver
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Civil War film-maker Alex Garland: ‘In the US and UK there’s a lot to be very concerned about’
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Philippa Gregory: ‘I’m lazy domestically. I don’t do housework. My mother would have called me a slut’
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From Ripley to Beyoncé’s country album: a complete guide to this week’s entertainment
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Louis Gossett Jr: king of Hollywood’s strong, silent types, from Roots to The Color Purple
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Louis Gossett Jr – a life in pictures
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Where can Marvel take Tom Holland’s fourth Spider-Man film?
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Shirley Henderson: ‘I start off thinking: ‘How will I ever be able to do this?’
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Samantha Morton and Richard Russell on their new album: ‘We’re in the business of wellbeing’
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Godzilla x Kong: The New Empire review – breezy, forgettable monster sequel
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Bill Nighy: ‘I have danced naked in my front room, but you need shoes to really spin’
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Mary Poppins review – Disney’s entertainment sugar rush possesses thermonuclear brilliance
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Kung Fu Panda 4 review – Jack Black and Awkwafina in hurricane of slapstick more miss than hit
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‘This current phase sucks’: readers on fight to preserve DVDs and Blu-rays
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Kinds of Kindness: first trailer released for Yorgos Lanthimos and Emma Stone’s next film
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Tilda Swinton bedtime story among Cinema for Gaza auction lots
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Shock of the old: nine disturbing, disruptive and demonic clowns
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