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From Nouvelle Vague to Mock the Week: your complete entertainment guide to the week ahead

Richard Linklater pens a love letter to the greats of French cinema, and the satirical panel show finds a new home

Once Upon a Time in Harlem review – remarkable Harlem Renaissance documentary

A once-in-a-lifetime dinner party from 1972 is transformed into a thrilling and inspiring hang-out movie

Melania review – Trump film is a gilded trash remake of The Zone of Interest

Dispiriting, deadly and unrevealing – there is a decent documentary to be made about the former model from Slovenia, but this one is unredeemable

Displacement Film Fund review – Cate Blanchett masterminds short film collection that brims with life and intensity

A set of shorts by film-makers from Afghanistan, Iran, Ukraine, Syria and Somalia are shocking, funny and mysterious in equal measure

Seized review – captivating documentary goes inside a shocking newspaper raid

The story of the Marion County Record and the forces that tried to destroy it is expanded for a charming, and concerning, look at freedom of the press

Undertone review – disappointing podcast horror is mostly skippable

There are some effective early moments in this ultra low-budget, audio-first horror but deja vu soon replaces intrigue

Chasing Summer review – incoherent small-town comedy is a baffling car crash

Comedian Iliza Schlesinger’s nonsensical misfire is a swirl of cliches, unfunny comedy, stock characters and bizarre direction from Josephine Decker

Is This Thing On? review – funny is as funny does in Bradley Cooper’s John Bishop-inspired tale

Cooper directs Will Arnett in this likable, semi-believable story about a man heading for a divorce who discovers a cathartic outlet in comedy

See You When I See You review – familar Sundance-y grief comedy drama has its moments

Festival stalwart Jay Duplass recruits a talented cast, including David Duchovny, Hope Davis and Kaitlyn Dever, for a patchy, poignant tale

Infinite Icon: A Visual Memoir review – Paris Hilton’s act of self-love shows there’s nothing behind the mask

A look behind the scenes of the star’s second album turns out to reveal exactly what you’d expect, at arduous length

Nouvelle Vague review – Richard Linklater bends the knee to Breathless and Jean-Luc Godard

Linklater recreates the making of the landmark French New Wave classic with an awestruck tastefulness that smooths over any disruptiveness

Rabbit Trap review – feral child lends eerie magic to Dev Patel fairy folk rock horror

The 70s musicians who choose to lay down some tracks in remote Welsh countryside may not really surprise, but one young local is startlingly memorable

Strongroom review – tough locked-vault thriller is outstanding British 60s crime picture

A gang of bank robbers return to the scene of their crime to free the two employees they imprisoned in a vault in this suspenseful British thriller from 1962

The Only Living Pickpocket in New York review – John Turturro steals this simple, charming tale

The actor plays a pickpocket who steals from the wrong person in a leisurely, straightforward crime thriller with a sting in its tail

The Weight review – Ethan Hawke leads sturdy adventure set in the 30s

The recent Oscar nominee lends gravitas to a decent matinee movie on gold smuggling

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  • Terry Cox obituary
  • ‘We got cancelled and we’re still here!’ Michael Patrick King on The Comeback – and why And Just Like That will age well
  • Fuze review – Theo James and Aaron Taylor-Johnson face off in head-spinning London heist
  • Why do this spring’s blockbusters feel so smug?
  • Deathstalker review – ludicrously enjoyable revisit of 80s swords-and-sorcery silliness
  • Bone Keeper review – there’s a critter in the caves in serviceable Brit horror
  • Let’s get metaphysical! Existentialist cinema is back, if anyone cares
  • What’s new to streaming in Australia in April: Half Man, The Audacity and Beef returns
  • The Super Mario Galaxy Movie review – bland screensaver of a movie that’s actually worse than AI
  • Smiley Face: finally, a stoner comedy for the girls who get overstimulated at the supermarket
  • From the phone to the plex: why TV shows are turning into movies
  • The Drama review – Zendaya and Robert Pattinson’s controversial wedding film delivers on its promise
  • Ghost Killer review – fantastic karate chopping and gunslinging in in supernatural action-comedy
  • Two Women review – sex comedy remake is French-Canadian answer to Confessions of a Window Cleaner
  • James McAvoy: ‘I’ve been “that Scottish person”, reduced to a noise that comes out of my mouth’
  • Corey Feldman speaks out about Rob Reiner Oscars tribute snub: ‘Like a family reunion I wasn’t invited to’
  • McCartney: The Hunt for the Lost Bass review – amiable tale of how Macca’s Höfner was finally found
  • Mary Beth Hurt, star of Interiors and The World According to Garp, dies aged 79
  • Rob Schneider calls on US to restore military draft
  • ​​Being Ola review – a sweet and gentle film about disability, friendship and abandonment
  • ‘Nostalgic glint of adventure’: why The Beach is my feelgood movie
  • Night Stage review – public sex enthusiasm the key to extravagant and subversive erotic thriller
  • Q review – freedom, lies and transgressions in emotional fallout from a secretive Muslim women’s movement
  • Kim Novak says Sydney Sweeney is ‘totally wrong to play me’ in biopic
  • Shaun Micallef: ‘Charlie Pickering said that’s the only thing keeping him going – to vanquish me’
  • From The Magic Faraway Tree to 5 Seconds of Summer: your complete entertainment guide to the week ahead
  • ‘Break your silence’: Jane Fonda leads rally against Trump crackdown on arts and media
  • Robert Fox obituary
  • The Guardian view on new musicals: sex, drugs and song ‘n’ dance
  • Post your questions for Paul Dano

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