Don’t Look Up review – an A-list apocalyptic mess

Adam McKay’s star-studded climate change satire with Leonardo DiCaprio, Jennifer Lawrence et al lands its gags with all the aplomb of a giant comet

A comet is on a collision course with Earth. The targets in this shrill, desperately unfunny climate change satire directed by Adam McKay are more scattershot. According to stoner PhD student Kate Dibiasky (Jennifer Lawrence) and her professor, Dr Randall Mindy (a self-consciously tic-y Leonardo DiCaprio), the asteroid is the size of Mount Everest and due to hit in six months.

The pair try to warn Meryl Streep’s President Orlean about the impending “extinction-level event”, only to find her preoccupied by the midterm elections. They attempt to raise awareness on breakfast TV, but anchors Jack and Brie (Tyler Perry and Cate Blanchett) can’t help but give their bad news a positive spin. The only person with enough money to intervene is tech entrepreneur Peter Isherwell (Mark Rylance), who wants to mine the comet for its “$140tn worth of assets”. Party politics, celebrity gossip and social media memes are swiped at too. It feels cynical, then, when Timothée Chalamet shows up with no real narrative purpose other than to snog Lawrence.

In cinemas now and on Netflix from 24 December

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Carrie-Anne Moss: ‘There was a scene in the first Matrix with me in stilettos. I could barely stand straight’

Twenty years after first playing kick-ass hacker Trinity in The Matrix, Moss is returning to the role in The Matrix: Resurrections. Thankfully, she wasn’t asked to wear heels this time …

When The Matrix asks us all to take the red pill again on 22 December, Carrie-Anne Moss, 54, will return to the role that made her famous. Moss first played Trinity, a motorbike-riding, badass, PVC-clad hacker, in 1999, and despite the character not surviving the original trilogy, she is back, along with her co-star Keanu Reeves, for the fourth instalment, The Matrix Resurrections, directed by Lana Wachowski, this time without her sister Lilly. Moss, who was born in Canada, started her career as a model and had several small parts on television and in films before The Matrix struck gold. She played Marvel’s first on-screen lesbian character, Jeri Hogarth, in the Netflix series Jessica Jones, and away from the acting world, she runs a “labour of love” lifestyle site called Annapurna Living. She lives with her husband and three children in the countryside in California, which means she does not see the current trend for Matrix-inspired fashion such as big stompy boots and tiny sunglasses out on the streets.

Was returning to the world of The Matrix a tough decision?
Oh, no. I was absolutely over-the-moon excited about the prospect. It was something that I never imagined happening. People had mentioned it to me in passing, and I was always thinking: ‘No way. Never gonna happen.’

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And Just Like That: bad jokes are the least of its problems

Some franchises cannot endure, it turns out – but, happily, old box sets live forever

Good sex, like good comedy, relies on timing, and maybe, 17 years after the original show ended, 11 years after the second film departed cinemas, Sex and the City no longer has its finger on the clitoris when it comes to timing. “And Just Like That, It All Went Wrong” was the New York Times’s verdict on the wildly publicised, moderately anticipated SATC follow-up series, And Just Like That, which debuted its first two episodes this week. The Guardian’s Lucy Mangan described it as at times “excruciating”.

Certainly the jokes are bad. Not “Lawrence of my labia” bad, as Samantha (Kim Cattrall) notoriously said in Sex and the City 2. But a far cry from the spit-out-your-wine-with-laughter-and-shock level of the original show, which ran from 1998 to 2004. And that’s the least of its problems.

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Madness in their method: have we fallen out of love with actorly excess?

The Succession star Jeremy Strong has been widely scorned after a magazine profile revealed his ‘preening’ and ‘self-indulgent’ acting process. But many actors have been lauded for their method – so what has changed?

Robert De Niro is the greatest actor of his generation. So claimed the headline in a popular magazine last year, and it’s not a controversial claim. The evidence offered for this opinion was the same that’s always wheeled out when discussing De Niro’s acting: “[He] took method acting to previously uncharted levels. He got a New York cab licence for Taxi Driver, learned Italian and lived in Sicily to prepare for The Godfather Part II, put on 60lbs to play Jake LaMotta in Raging Bull, learned Latin for True Confessions and the sax for New York, New York. He was the hardest-working man in Hollywood,” wrote the journalist.

For decades, this has been the general feeling about actors: the more method, the better. After all, if they don’t eat raw bison and sleep in an animal carcass (Leonardo DiCaprio in The Revenant), stay in a wheelchair and be spoonfed by the crew (Daniel Day-Lewis in My Left Foot) or lose so much weight that they start to go blind (Matthew McConaughey in Dallas Buyers Club), they’re just playing make-believe. And why should they get all that fame, adoration and money just for that? All of the above actors were rewarded for their efforts with an Oscar, and actors talking about their method efforts has become as much a part of the run-up to the Oscars as shops playing Do They Know It’s Christmas in the run-up to the holidays.

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‘I’d stop stockpiling toilet paper’: Cate Blanchett, Mark Rylance and Tyler Perry on their end-of-the-world plans

The stars of Adam McKay’s apocalypse satire Don’t Look Up discuss their worst fears, their favourite conspiracy theories and their final moments on Earth

If a massive meteor were expected to collide with Earth in six months’ time, what would our leaders do? Everything in their power to stop it? Or everything possible to leverage it for political and financial gain?

How about the rest of us? How would we cope with the prospect of impending apocalypse? By facing the end of the world with sobriety and compassion? Or drowning ourselves in sex, drugs and celebrity gossip? Might some of us even enjoy the drama?

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Steven Spielberg on making West Side Story with Stephen Sondheim: ‘I called him SS1!’

The legendary director used to get scolded by his parents for singing its songs at the dinner table. As his version hits the big screen, he talks about his own dancefloor prowess – and the ‘obscure movie club’ he formed with Sondheim

It’s a winter afternoon and you’re about to begin a video call with Steven Spielberg. The perfect opportunity, then, to make a quick brew in your Gremlins mug (Spielberg produced that devilish 1984 horror-comedy) then brandish it in front of the webcam for the director’s benefit. “Oh, I love that, thank you,” he says, chuckling softly. Then he wags a cautionary finger: “Don’t drink it after midnight!”

The most famous and widely cherished film-maker in history is all twinkling eyes and gee-whiz charm today. He is about to turn 75 but first there is the release of his muscular new take on West Side Story, which marks his third collaboration with the playwright Tony Kushner, who also scripted Munich and Lincoln. Spielberg is at pains to point out that this not a remake of the Oscar-laden movie but a reimagining of the original stage musical. “I never would have dared go near it had it only been a film,” he says. “But, because it’s constantly being performed across the globe, I didn’t feel I was claim-jumping on my friend Robert Wise’s 1961 movie.”

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David Thewlis on new show Landscapers and the misogyny of Naked: ‘I find it much tougher to watch today’

As he stars alongside Olivia Colman in a drama about the Mansfield Murders, the actor talks about his discomfort with Naked, doing night shoots with Julie Walters – and growing old grotesquely

David Thewlis, speaking by Zoom from his home in the Berkshire village of Sunningdale, has set his screen at a jaunty angle. His manner is equable, nerdy, eager to please. Nothing like what you’d expect, in other words – unless you had watched Landscapers, a new four-part TV drama in which Thewlis stars opposite Olivia Colman. Perhaps he’s one of those actors who doesn’t de-role until he’s on to the next character.

Landscapers is true crime, in so far as the protagonists are Susan and Christopher Edwards, the so-called Mansfield Murderers convicted in 2014 of killing Susan’s parents and burying them in the garden 15 years before. Yet it is absolutely nothing like true crime. It jumps through time and genre, smashes the fourth wall then puts it back together as a jail cell. It is vividly experimental yet recalls the golden age of British TV, specifically Dennis Potter and his dreamlike, restless theatricality. “I didn’t think of that while we were making it,” says Thewlis. “But when I saw it, I thought of The Singing Detective – which I was in!”

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Michael Sheen declares himself a ‘not-for-profit actor’

Actor and activist announces he will use future earnings to fund social projects after ‘turning point’ of organising 2019 Homeless World Cup

Hollywood star Michael Sheen has said he is now a “not-for-profit actor” after selling his houses and giving the proceeds to charity.

The actor and activist, 52, said organising the 2019 Homeless World Cup in Cardiff was a turning point for him. When funding for the £2m project fell through at the last moment, Sheen sold his own houses to bankroll it.

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‘I could have done with eight more hours’: readers on the Beatles documentary epic Get Back

Peter Jackson spent four years editing down 60 hours of unseen footage into the new three-part documentary series. Was it worth the wait?

As a younger Beatles fan who grew up with the idea that the band were falling apart in January 1969, Get Back was a joy. My immediate thought was how bright and vibrant everything looked, compared with the graininess of the original Let It Be film. It could have been shot yesterday – apart from the outfits and hairstyles. While not exactly a big revelation for those of us who never believed that Yoko Ono broke up the Beatles, it’s great to see that her presence here didn’t upset Paul, George and Ringo nearly as much as it seemed to upset commentators. We see absolutely no evidence of her “interfering”, as has been claimed over the years, and I loved McCartney’s prescient remark that in 50 years’ time people would be saying the Beatles broke up “because Yoko sat on an amp”.

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Can artistic freedom survive in Sudan? The writing’s on the wall…

The recent coup dashed hopes raised by the end of the military regime but newly liberated artists refuse to submit quietly

In the new dawn of a heady post-revolutionary era, Suzannah Mirghani returned in 2019 to the country of her birth for the first time in years. Her mission was to shoot a short film on Sudanese soil. It proved unexpectedly straightforward.

“When the revolution happened, there was this exuberance,” she says, from her Qatari home. “When we came to make our film, we were given the green light. We were told: ‘Anything you want’.

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Chris Noth on feuds, family and Mr Big: ‘I never saw him as an alpha male’

The Sex and the City star is back for the reboot, And Just Like That … He talks about bereavement, rebellion, the fun of acting – and the absence of Kim Cattrall

“I’m not supposed to talk for this long. I told my publicist beforehand: ‘I need to keep this short so I don’t give quotes I’ll regret,’” chuckles Chris Noth.

Too late for that. Ahead of our interview, I had expected Noth – best known as Mr Big from Sex and the City – to be a reluctant interviewee, because that’s how he came across in past articles, especially when he was talking about the TV show that turned him from a jobbing actor into, well, Mr Big. But those were from back in the day, when he bridled at his sudden celebrity. Noth had been in hit TV shows before, most famously when he played Detective Mike Logan for five years on Law & Order. But nothing could have prepared him for Sex and the City.

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The Last Matinee review – carnage in the aisles in cinema-set giallo-style slasher

Maximiliano Contenti’s horror flick attempts to unpick voyeurism but lacks the sophistication of others in the genre

Nostalgia for idiosyncratic analogue film style is the simplest explanation for the recent giallo revival – but maybe there’s more to it than that. This most stylised of horror modes is perfect for our over-aestheticised age, so the newcomers – such as Berberian Sound Studio, Censor and Sound of Violence – make artists and viewers accessories to violence, often unleashed through that giallo mainstay, the power of the gaze. Set almost entirely in a tatty Montevideo rep cinema, Uruguayan slasher The Last Matinee joins this voyeuristic club, even if it ends up more in the raw than the refined camp.

On a rainswept night in 1993, engineering student Ana (Luciana Grasso) insists on taking over projectionist duties for a screening of Frankenstein: Day of the Beast (an in-joke – it was released in 2011 and was directed by Ricardo Islas, who plays the killer here). She shuts herself in the booth, trying to ignore the inane banter of usher Mauricio (Pedro Duarte) – but neither have noticed a heavy-set trenchcoated bogeyman enter the auditorium to size up that night’s film faithful: three teenagers, an awkward couple on a first date, a flat-capped pensioner and a underage kid stowaway (Franco Durán).

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Billie Eilish: ‘I’ve gotten a lot more proud of who I am’

The pop superstar on her extraordinary year – the Bond theme, that Vogue cover, the success of her second album – and hosting Saturday Night Live

It’s a measure of what Billie Eilish’s life has been like in 2021 that she woke up one morning last month, rolled over to check her phone and found out she’d got seven Grammy award nominations. She’d overslept the actual announcement. “I was up late, watching Fleabag. Again!”

We’re speaking over Zoom from her home in Los Angeles. “This is my third time watching Fleabag. I’ve literally just paused it, again, to do this interview. Andrew Scott is my favourite actor in the world! And Phoebe [Waller-Bridge] is so fucking good, I can’t stress it enough. When I met her at the Bond premiere, I was trying not to blow smoke up her ass the entire night.”

Eilish would be a standout figure of 2021 for her Grammy-winning title music for No Time to Die alone, written, as always, with her big brother, Finneas. It premiered at the pre-Covid 2020 Brit awards and was finally unleashed in the cinemas just over two months ago (“We saw the whole movie in December 2019… we’ve had to keep all the secrets for two years… that was hard!”). But the Bond theme is old news, given everything else that has happened this past year.

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Mel Brooks on losing the loves of his life: ‘People know how good Carl Reiner was, but not how great’

From best friend Carl Reiner to wife Anne Bancroft, the great comic has had to face great loss. But even in the middle of a pandemic, the 95-year-old is still finding ways to laugh

In February 2020, I joined Mel Brooks at the Beverly Hills home of his best friend, the director and writer Carl Reiner, for their nightly tradition of eating dinner together and watching the gameshow Jeopardy!. It was one of the most emotional nights of my life. Brooks, more than anyone, shaped my idea of Jewish-American humour, emphasising its joyfulness, cleverness and in-jokiness. Compared with his stellar 60s and 70s, when he was one of the most successful movie directors in the world, with The Producers and Blazing Saddles, and later his glittering 2000s, when his musical adaptation of The Producers dominated Broadway and the West End, his 80s and 90s are considered relatively fallow years. But his 1987 Star Wars spoof, Spaceballs, was the first Brooks movie I saw, and nothing was funnier to this then nine-year-old than that nonstop gag-a-thon (forget Yoda and the Force; in Spaceballs, Mel Brooks is Yoghurt and he wields the greatest power of all, the Schwartz).

I loved listening to Brooks and Reiner – whose films included The Jerk and The Man With Two Brains – reminisce about their eight decades of friendship in which, together and separately, they created some of the greatest American comedy of the 20th century. The deep love between them was palpable, with Brooks, then 93, gently prompting 97-year-old Reiner on some of his anecdotes. It was impossible not to be moved by their friendship, and hard not to feel anxiety about the prospect of one of them someday having to dine on his own.

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Screen sensation: the single-shot thriller bringing time-travel into the Zoom era

It was shot in a week and premiered to 12 people, but micro-budget sci-fi movie Beyond the Infinite Two Minutes has become the breakout success of the year

“We made the film in seven days, shooting non-stop from six in the evening to six in the morning. It was hell. We were always tired. And the cast and crew were always picking on me because my brain would just go completely dead at 2am every day.” Japanese film-maker Junta Yamaguchi is talking about his first feature film, Beyond the Infinite Two Minutes, which was shot almost entirely inside a real cafe in Kyoto. “We couldn’t film anything during their opening hours.”

But Beyond the Infinite Two Minutes isn’t your average small-scale indie film. It’s a nicely innovative time-travel yarn that asks: in our world of remote working and Zoom calls, what if the face staring back at us from our computer was a version of ourself two minutes in the future? It’s also the latest example of the nagamawashi (long-shot) film, the micro-genre currently putting no-budget Japanese cinema on the map after the success of One Cut of the Dead – the 2017 zombie horror-comedy that became an international cult sensation, grossing over $30m (£22m) worldwide from a $25,000 budget.

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The Home Alone house is on Airbnb. Sounds like a trap | Stuart Heritage

Just how lucky will the guests who get to stay at the McCallister house later this month be? I foresee trouble

In the interests of public service, I need to make you aware of a trap. Yesterday, a property became available on Airbnb. It is a large home in the Chicago area, available for one night only and it is suspiciously cheap. Look, it’s the Home Alone house.

Apparently, for $18 (£13.50), you and three friends can stay overnight in the iconic McCallister residence. You will be greeted by the actor who played Buzz McCallister. There will be pizza and other 90s junk food. There will be a mirror for you to scream into. There may well be a tarantula. It all seems too good to be true, doesn’t it? This is why I am convinced that whoever ends up staying there will be robbed.

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‘A post-menopausal Macbeth’: Joel Coen on tackling Shakespeare with Frances McDormand

The writer-director talks about his new film, co-starring Denzel Washington, and reveals how it felt to work without his brother, Ethan, for the first time in nearly 40 years

It might be the unlucky play for British theatre rep types. But for movie directors, Macbeth has been a talisman, a fascinating and liberating challenge – for Akira Kurosawa, with his version, Throne of Blood; for Roman Polanski; and for Justin Kurzel. Even Orson Welles’s once-scorned movie version from 1948, with its quaint Scottish accents, is admired today for its lo-fi energy.

Now, Joel Coen, the co-creator of masterpieces such as Fargo, The Big Lebowski, A Serious Man and No Country for Old Men, has directed a starkly brilliant version entitled The Tragedy of Macbeth, shot in high-contrast black and white, an eerie nightmare of clarity and purity, with Denzel Washington as Macbeth and Frances McDormand (Coen’s wife) as Lady Macbeth.

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‘I was offered $35m for one day’s work’: George Clooney on paydays, politics and parenting

The Oscar-winner discusses directing the coming-of-age drama The Tender Bar, raising twins in a pandemic and choosing causes over cash

George Clooney is smoother than a cup of one of those Nespresso coffees he has advertised for two decades and for which has earned a highly caffeinated £30m-plus. With that, on top of the tequila company Casamigos, which he co-founded then sold four years ago for a potential $1bn (£780m), the ER juggernaut and – oh yeah! – the hugely successful film career as an actor, director and producer, it seems safe to assume that Clooney could, if he were a bit less cool, start every morning by diving into a pile of gold coins like Scrooge McDuck. So, George, I ask, do you ever think: “You know what? I think I have enough money now.”

Unruffled as the silver hair on his head, Clooney leans forward, as if he is about to confide in me. “Well, yeah. I was offered $35m for one day’s work for an airline commercial, but I talked to Amal [Clooney, the human rights lawyer he married in 2014] about it and we decided it’s not worth it. It was [associated with] a country that, although it’s an ally, is questionable at times, and so I thought: ‘Well, if it takes a minute’s sleep away from me, it’s not worth it.’”

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Alec Baldwin questions how bullet got on Rust set in emotional ABC interview

In first on-camera interview since accidental film-set shooting, actor says there is only one question: ‘where did the live round come from?’

Alec Baldwin said his 40 year acting career “could be” over after the shooting incident on the set of the western Rust that resulted in the death of cinematographer Halyna Hutchins and wounded director Joel Souza.

In a lengthy and emotional interview on US TV with ABC News’ George Stephanopoulos, Baldwin added that he “couldn’t give a shit” about his career.

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The world owes Yoko an apology! 10 things we learned from The Beatles: Get Back

Peter Jackson’s eight-hour documentary on the Fab Four reveals Ringo is an amazing drummer, McCartney was a joy and their entourage were coolest of all

The concept for Let It Be was: no concept. The Beatles arrived in an empty studio and wondered where the equipment was. (And revealed that they knew very little about setting up PA systems.) What were they rehearsing for? A show on the QE2? A concert on Primrose Hill? A TV special in Libya? A film? What would the set look like? Would it be made of plastic? Why, George Harrison wondered, were they being recorded? Get Back makes clear that the Beatles didn’t have a clue what to expect from Let It Be.

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