Kodi Smit-McPhee: ‘You can still be strong, no matter how you look and carry yourself’

Despite the presence of an unusually menacing Benedict Cumberbatch unnerving all on set, it’s this young Australian actor’s otherworldly stillness that lights up Jane Campion’s western psychodrama

Jane Campion’s psycho-sexual western The Power of the Dog is a tremendous film but it is the power of Kodi Smit-McPhee that really adds bite to its bark. The 25-year-old Australian actor has been a fragile, hypnotic presence, with an eerie knack for stillness and intensity, ever since his earliest performances. At the age of 10, he played a boy coping with the desertion of one parent and the breakdown of the other in Romulus, My Father. At 12, he trudged through a post-apocalyptic hell-scape in The Road, then fell in love with a vampire at 13 in Let Me In, the US remake of the Swedish horror hit Let the Right One In. Even his multiplex movies, such as the X-Men outings (Apocalypse and Dark Phoenix) in which he played the blue-skinned Nightcrawler, have felt that bit stranger thanks to his delicate, androgynous features and those pool-sized anime eyes set far apart on his face.

His uncanny quality is crucial to Campion’s movie, which is set in early 2oth-century Montana. Smit-McPhee plays the gangly, effeminate Peter, who spends his days crafting intricate paper flowers and sketching dead animals. His life is destabilised when his mother (Kirsten Dunst), a widowed innkeeper, takes up with a new partner. It is not this stepfather (Jesse Plemons) who poses a threat so much as his sadistic, bullying brother Phil (Benedict Cumberbatch), who taunts Peter and mocks the way he “creeps all over the place, big eyes goggling”.

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Meg Ryan films – ranked!

As the great romcom queen turns 60, we select her best roles from the low-budget indies to the Tom Hanks big-hitters

By 2007, Meg Ryan was already well into a wilderness period that still hasn’t ended. Indeed, it has been more than five years since she was in a film at all (Ithaca, her harmless but forgettable directorial debut). If highlights of this era have been few, her restrained, affecting turn as an unhappily married, cancer-stricken housewife in this uneven indie soap opera was a reminder that the industry did her dirty. At the very least, more little films like this could use her wattage.

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Rust script supervisor recalls moment of Alec Baldwin film shooting – video

Mamie Mitchell has said she relives the sound of the gun going off on the set of Rust 'over and over again'. Mitchell, who was the first to call 911 after the shooting, has filed a lawsuit against Alec Baldwin and the film's producers, alleging that the script never required the actor to fire the shot that killed the cinematographer Halyna Hutchins and injured the director Joel Souza

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Gaga, Gucci and prison ferrets: how true crime conquered the world

Ridley Scott’s House of Gucci stars Lady Gaga in a tale of fashion and murder. But is true crime – once the soul of cinema, from thrillers and horrors to westerns – now outgrowing the big screen?

What took you so long, House of Gucci? This story was destined to become a movie from the moment the bullet left fashion heir Maurizio Gucci dead outside his Milan office in March 1995 – shot, a witness said, by a hitman with a “beautiful, clean hand”. The film by Ridley Scott now finally arrives dripping with star power, and Lady Gaga as Gucci’s ex-wife Patrizia Reggiani. But the story alone was enough: a glittering tickbox of money, revenge and a villainess kept company in jail by an illicit pet ferret called Bambi.

True crime gold. So why, now that the film is actually here, does the Gucci case feel a strange fit for a movie after all? Put it down to timing. The film’s development began in entertainment prehistory: 2006. Back then, a lavish movie was still the grand prize for any news story, and true crime – that trashbag genre – would simply be glad of the association. Now though, film and true crime have the air of an estranged couple. Had Maurizio Gucci been gunned down on Via Palestro last week, Netflix would already have the rights and the podcast would be on Spotify.

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Harry Potter cast return to Hogwarts to mark 20th anniversary of first film

Harry Potter and the Philosopher’s Stone stars Daniel Radcliffe and Emma Watson discuss ‘where the magic started’ in HBO Max special

The original cast of the Harry Potter series will be reunited 20 years after the first film was released.

An HBO Max special titled Return to Hogwarts will be released on 1 January 2022, the network has said.

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The Six review – the Chinese survivors who were written out of the Titanic narrative

Arthur Jones’s film seeks the stories of six Chinese men who survived the 1912 tragedy and finds undisguised western racism

What’s in a name? That evergreen question is complicated even further in Arthur Jones’s fascinating documentary, executive produced by James Cameron and informed by the research of marine historian Steven Schwankert. Following the Titanic sinking in 1912, the identities of the 700-odd survivors have been mostly claimed, except for those of six Chinese men – out of eight who boarded – who remained bizarrely neglected. This film chronicles Schwankert’s quest to unravel the mystery, as his arduous journey across the US, the UK, Canada, and China takes the shape of a detective story, where each revelation exposes the blatant racism of early 20th-century western politics.

Armed with a dock slip listing the names of the Titanic’s eight Chinese passengers, Schwankert and peers’ attempt to trace their origins runs into immediate difficulties, as most of their subjects changed their identities in order to sidestep cruel and discriminatory immigration regulations. These Titanic survivors arrived in the US looking to work as labourers, and under the provisions of the Chinese Exclusion Act they were shipped to other countries immediately after the sinking. Some disappeared without a trace. The only survivor whom the researchers were able to build a coherent narrative around was Fang Lang, who founded a business in the US by changing his name and working as a merchant, shielding himself from the Exclusion Act, which targeted manual labourers.

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Singular vision: New film spotlights queer New Zealand photographer who broke the mould

When she started out 50 years ago, Fiona Clark’s work was met with rejection. Now she’s the subject of an admiring documentary

Whether documenting the crackling raw energy of Auckland’s fledgling punk rock scene in the 1970s or the hedonistic glamour of Karangahape Road’s queer culture, renowned New Zealand photographer Fiona Clark’s vibrant photos evocatively capture people and personalities in subcultures many people wouldn’t even know existed.

Seen as too confronting and radical by the New Zealand art world in the 1970s, Clark’s work was met with resistance from major art dealers who told her “we’re not handling your work”, and some of her images mysteriously disappeared from the Auckland art gallery. But Clark has never let this distract her from her singular vision.

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‘A mirror of now’: the Valencian Nazis who inspired Óscar Aibar’s new film

El sustituto based on ‘Germans from Dénia’ who sought refuge in Spain after the second world war

Óscar Aibar’s latest film, a thriller anchored in grotesque historical fact, owes its existence to a random holiday meal a decade or so ago.

The Spanish director was in Valencia for the summer when he looked up from his plate to study the pictures of famous people on the restaurant walls.

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Will Smith: now Hollywood royalty, the star’s rise has been far from painless

From Fresh Prince to King Richard, personal upsets have so far failed to derail his childhood goal to be the world’s biggest film star

There’s a seemingly offhand quality which is central to the appeal of Will Smith: an innate magnetism and loose-limbed, casual coolness. But the career path from teenage rap artist to TV actor to superstar status was anything but effortless; it was the result of a self-described “psychotic” work ethic and meticulous, perhaps even obsessive, planning.

For a while, at least, he was one of the most bankable film actors on the planet – a planet that he saved on a regular basis in summer blockbusters. But while that kind of success rate is hard to sustain, Smith has shown himself to be extremely adaptable compared to his contemporaries. From film actor/musician, he has evolved into a multimedia phenomenon. He has adopted a very marketable openness and accessibility, and embraced personal failures as teachable moments.

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Inside the world of foley artists: ‘Watermelons are brilliant for the sound of brains hitting the floor’

They are film and television’s unsung heroes: the people who create sounds, for everything from crunchy snow, kissing and horses’ hooves. Just don’t mention coconuts

Monday morning in the small Essex town of Coggeshall, and in an unassuming building that used to be a laundry, a man named Barnaby is trying to sound like a horse. Trying and succeeding, uncannily. Not neighing or whinnying, just making the sound of the hooves on the ground.

In a big screen on the wall of a windowless room is an armoured knight astride a white warhorse. It’s Richard III, as it happens, accompanied by a gaggle of guards, also armoured and mounted. It’s a scene from The Lost King, Stephen Frears’s upcoming film about the woman who, after 30 years of looking, discovered Richard’s remains under a Leicester car park.

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Rocky IV: Rocky vs Drago review – silly director’s cut is a losing battle

Sylvester Stallone’s attempt to put a new sheen on his Cold War relic of a sequel is a ridiculous and largely pointless undertaking

There’s a tension in the Rocky series between two largely incompatible conceits: Rocky Balboa as the shy, humble, gentleman brawler from working-class Philly or Rocky Balboa as the cartoon avatar of America’s can-do spirit, intrepidly grinding through title matches against stronger, faster, more colorful opponents. The first type won a best picture Oscar for its young writer/star, Sylvester Stallone, who, in classic underdog fashion, was wildly overmatched against All the President’s Men, Bound for Glory, Network, and Taxi Driver. The second type dominated the next decade in ever-more garish and cynical vehicles, none dumber than Rocky IV, which pitted The Italian Stallion against Ivan Drago, a dead-eyed, machine-tooled robot of the Soviet empire.

Now that Creed and its sequel have brought the vintage Rocky back — and, in Creed II, the surprisingly affecting return of Dolph Lundgren as Drago — Stallone has retooled Rocky IV to seem more like the original Rocky, at least insofar as such a feat is possible. His new Rocky IV: Rocky Vs. Drago is only a few minutes longer than the original cut, but there’s a significant amount of tinkering in this version, particularly toward the beginning, that’s intended to add depth to Rocky’s relationships to his friend and rival Apollo Creed (Carl Weathers) and his wife Adrian (Talia Shire), and remove some of the sillier touches, most notably the infamous robot given to his brother-in-law, Paulie (Burt Young), as a birthday gift.

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The Crown’s Josh O’Connor: ‘My advice to my 21-year-old self? Find a therapist’

Before his turn as a conflicted survivor of the first world war in Mothering Sunday, the star of God’s Own Country, The Durrells and The Crown answers your questions

If you weren’t an actor and you had to work in the film industry, what would you like to do? avishagfink

I would like to be a ceramicist. I still want to be a ceramicist while also being an actor. A functional ceramicist. My grandmother was a sculptural ceramicist and she was very brilliant, but I’d like to make plates and pots and mugs. I’m a big fan of Ian Godfrey and I’m very fortunate to have a couple of his pieces. Lucie Rie and Hans Coper I really like; Richard Batterham, very much.

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Peter Jackson sells special effects studio Weta Digital for $1.63bn

The Wellington-based studio built characters and scenes for films including Avatar, Lord of the Rings, Wonder Woman and Planet of the Apes

The special effects studio co-founded by Sir Peter Jackson, which has brought blockbusters including Lord of the Rings and Game of Thrones to life, has been sold for more than $1.6bn, in the latest blow to New Zealand’s film and TV industry.

The cash and shares deal, which will see Weta Digital sold to US-based video game company Unity Software for $1.63bn, comes less than three months after Amazon made the shock decision to move its $1bn-plus development of a small screen adaptation of JRR Tolkien’s Lord of the Rings (LOTR) from New Zealand to the UK after shooting just one series.

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Volcano review – spoon-glueing Ukrainian adventure takes a surreal turn

Roman Bondarchuk handles this strange tale about an interpreter left stranded with some locals with deadpan poise

“That’s our wandering buoy. It slipped its anchor near the dam. It appears and disappears at will.” A light, unfathomable absurdity governs this 2018 fiction debut by Ukrainian documentarian Roman Bondarchuk, set in the area around the city of Kherson; a sun-roasted steppe north of the Crimea where Organisation for Security and Cooperation in Europe (OSCE) interpreter Lukas (Serhiy Stepansky) becomes stranded. He’s escorting an SUV full of foreign delegates when it breaks down and he wanders off in search of a mobile signal. On his return, both car and foreigners have vanished.

Hitching a ride, Lukas is invited to stay with Vova (Viktor Zhdanov), a middle-aged potterer living with his mother and daughter in a capacious ramshackle construction on the banks of the Dnieper river. So begins Lukas’s initiation – like a milder Ukrainian version of Wake in Fright – into the local anomie. Vova enjoys sticking spoons to his forehead using the supply of glue that was his severance payment from the Soviet fish farm he worked for; then Lukas gets an invite to a listless student party where someone nicks his jacket and wallet. Constantly slipping sly details into the frame, Bondarchuk handles the whole farrago with a lovely deadpan poise. Incensed by the theft, Lukas heads to the police station to make a complaint. Cut to him in the cells.

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Dean Stockwell, Quantum Leap and Blue Velvet actor, dies aged 85

Versatile actor had worked in Hollywood since childhood, and was Oscar nominated for his role in 1988 comedy Married to the Mob

A life in pictures: Dean Stockwell

Dean Stockwell, the former child star who became a key figure in the Hollywood counter-culture and enjoyed late success in popular TV shows, has died aged 85. According to Deadline, his family said he died at home “of natural causes”.

Born in Los Angeles in 1936, Stockwell had become a major name while still in high school, starring in the anti-racism parable The Boy With Green Hair in 1948 and alongside Errol Flynn in the 1950 adaptation of Rudyard Kipling’s Kim. However, Stockwell found the transition to adulthood difficult and after dropping out of university he re-established his film career with a lead role in Compulsion, the 1959 crime film based on the Leopold and Loeb murder case, for which he won a best actor award at the Cannes film festival alongside co-stars Orson Welles and Bradford Dillman.

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Knocking review – noises in the night fuel urban paranoia and apartment angst

Claustrophic tale of a woman falling apart in her flat is familiar territory, but told here with fresh panache

Documentary-maker Frida Kempff makes her feature debut with a Swedish-set thriller drenched in urban paranoia. Molly (Cecilia Milocco), who has recently finished a stay at a psychiatric hospital following a personal tragedy, has moved into a new flat hoping for a fresh start. The plan proves futile: she is soon plagued by mysterious, relentless sounds of knocking coming from her ceiling. Convinced that someone is being hurt, Molly is determined to trace the origin of this mysterious cry for help, only to be faced with others’ disbelief and her own deteriorating sanity.

Such a premise is by no means novel – apartment angst has been done to death since at least the mid-60s, after Polanski’s Repulsion – yet the eerie visuals and Milocco’s heart-wrenching performance elevate Knocking above its otherwise thin plot. Set during a scorching heatwave, the film beautifully pairs the restlessness of the summer with Molly’s own wandering mind, which scissors back and forth between her claustrophobic present and sun-drenched memories of a former lover on the beach. Natural light only exists in these aching echoes of the past. Mostly shot inside Molly’s flat, the imagery is smothered in jaundiced fluorescent tones, only accentuating her isolation and worsening state of mind.

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7 Prisoners review – a powerful tale of slavery in modern-day São Paulo

An impoverished teen seeks to escape the clutches of a human trafficker in Alexandre Moratto’s complex drama

Brazilian director Alexandre Moratto’s follow-up to his award-winning debut Socrates, 7 Prisoners delves into the subject of modern slavery through the eyes of 18-year-old Mateus (Christian Malheiros, excellent). In order to support his family, Mateus takes a job in the city, but finds himself imprisoned and working off a seemingly endless debt to his employer (Rodrigo Santoro). His initial reaction is desperation and anger, but Mateus is smart and negotiates with his captor on behalf of his fellow workers. The rather on-the-nose storytelling grows increasingly complex and interesting the further that the protagonist ventures into morally ambiguous territory.

In cinemas and on Netflix from 11 November

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Will Poulter: ‘I have a lot of pinch-myself moments’

It’s not often a young actor finds himself shooting scenes with the likes of Leonardo DiCaprio, Jennifer Aniston or Michael Keaton. But such has been the meteoric career of Will Poulter. He talks to Tim Lewis about boomerang eyebrows, acting and activism – and his sneaker obsession

The actor Will Poulter arrives for our lunch date alone, 15 minutes early and, perhaps counter-intuitively, carrying a bag of his own food. He explains that he’s on a strict diet for a film role, but can’t tell me what the part is. He buys a juice from the café that I’m not sure he actually wants, and suggests we sit outside, which is pretty damp and cold if I’m honest, because he thinks it would be taking the piss somewhat to occupy a table inside when he’s only bought a drink. Poulter’s thoughtful like that. He then unwraps what looks like a chocolate Rice Krispie square, but tastes much less fun apparently, and apologises that I have to watch him chomp his way through it. “I’m speaking fluent cake,” he says, chewing dutifully. He has just come from a workout and it’s clear that his pandemic experience has included more than just the occasional Joe Wicks session. He wears a black Nike compression shirt, mercifully less figure-hugging shorts and, though it’s not very 2021 to note this, the guy is shredded.

The whole, slightly strange scene makes a lot more sense a couple of weeks later when the reason for Poulter’s carb-loading and gym-bunnying is revealed. The gig he couldn’t talk about is that he has been cast in Marvel’s Guardians of the Galaxy Vol 3 as Adam Warlock. Even if you’re not that invested in the superhero universe this, in Hollywood power terms, is a big deal. It’s rumoured that pretty well every 20-something actor here and in the US and beyond wanted the role. It is a huge coup for Poulter and the 28-year-old from west London is taking the transformation into Warlock, a character genetically created by scientists to be the perfect, invincible human, seriously. And if that means eating bland, protein-packed oat snacks, so be it.

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