On thin ice: how The Alpinist captured the terrifying climbs of Marc-André Leclerc

Climbing solo without ropes, the Canadian adventurer would scale stratospheric walls of ice that could crack and fall with one wrong move. We meet the makers of a gripping, heartbreaking new film

An insect-like creature is climbing a wall. The wall is made of ice – not regular, firm ice, but ice with spikes and cracks and gaps in behind. The creature has extended arms like a mantis, with sharply angled ends that hook into the ice, as well as spikes on its feet to kick in. Still, it doesn’t look very secure: the ice creaks and bits break off and fall. The creature feels around for somewhere else to stick its hooks and spikes, then continues upwards – intently, methodically, almost mechanically. It is both beautiful and absolutely terrifying.

When the camera pans out, it’s even more terrifying, because of the sheer size of this frozen wall. It is vast and vertiginous, the creature a tiny dot creeping upwards, a gnat in a sweeping sub-zero landscape. Except that this gnat has no wings: if it falls, it falls. Nor does it have a rope, because it’s not a gnat or even an insect, but a man – a Canadian by the name of Marc-André Leclerc, climbing solo in the Rockies with crampons and a pair of ice-axes.

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‘We want people to freak out’: inside Hollywood’s Museum of Motion Pictures

Boasting the shark from Jaws, the robe from the Big Lebowski, and the slippers from Oz, the Academy museum is finally open. But the real story is its exposé of Hollywood’s racist, sexist past

In 1939, the Academy of Motion Pictures published its first “players directory”, which grouped actors into categories such as “leading women” and “comediennes”, but set aside separate sections for “coloured” and “oriental” performers. The Academy removed the segregated categories a few years later, but many of the actors of colour weren’t integrated into other sections. They were eliminated.

These racist directories are on display at the new Academy Museum of Motion Pictures in Los Angeles, which celebrates some of the most important film-makers in history while also attempting to confront head-on the dark legacy of exclusion and discrimination in the industry. The hope is to tell a much more complicated, and accurate, story of Hollywood through the years.

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The Many Saints of Newark review – Sopranos prequel keeps it in the family

Michael Gandolfini is goosebump-inducing as the young Tony Soprano, amid race riots and antagonism towards rival African American gangs

Maybe it was inevitable that the greatest TV show in history should spawn a feature-length prequel that is somehow disappointing: it is watchable but weirdly obtuse with a tricksy narrative reveal that doesn’t add much. The Many Saints of Newark, co-written by the Sopranos’ legendary creator David Chase and directed by Alan Taylor, gives us the childhood of a leader: the teenage Tony Soprano, growing up in New Jersey in the 1960s, specifically the time of the 1967 Newark riots, which caused the “white flight” racism that explains the older Tony having that palatial home way out there in the suburbs that he drives up to in the opening credits each episode.

Young Tony is portrayed with goosebump-inducing deja vu by Michael Gandolfini, son of the late James Gandolfini, who played the role on TV. Tony’s sleepy-eyed sensitivity, his melancholy, his glowering resentment and dangerous hurt feelings are there in embryo. His father, Johnny, is played by Jon Bernthal, and his terrifying mother Livia by Vera Farmiga who gives a superb rendering of Livia’s own haughty mannerisms. But you could spend this entire movie hanging on for the first sign of those all-important petit mal fainting fits that the TV show said originated in Tony’s dad. Is history being rewritten, or misrememberings corrected?

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From Hogwarts to inter-galactic space: how Alfred Enoch’s career rocketed

He gained cult status in Harry Potter, despite not even wanting to audition, then matured in How to Get Away With Murder. What’s the actor doing now? Playing 1,000-year chess in deep space

At the age of 10, Alfred Enoch was cast as Gryffindor student Dean Thomas in Harry Potter and the Philosopher’s Stone. While it wasn’t the most prominent role, Thomas was one of the few black or Asian characters in the third-highest-grossing film series ever – and this, allied with his boyish good looks, has lent Enoch cult status among Potterheads. “Not to downplay it,” says Enoch, “but I wasn’t an integral character. I’ve expressed that to people and they still say, ‘Yeah, but I saw you and you looked like me.’”

Enoch was cast after catching the Potter team’s eye during a performance at Shakespeare’s Globe in London. However, he’d earlier declined the chance to audition when producers held an open call at his school. “I didn’t go for Harry Potter in the beginning because I couldn’t think of any black characters,” he says.

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Mussolini’s Sister review – interestingly quirky portrait of a grumpy octogenarian

This acute documentary gets under the surface of its Palestinian film-maker’s sharp-tongued grandmother to the loneliness and resentment within

Juna Suleiman’s documentary about Hiam, her octogenarian grandmother who lives in Nazareth, is no journey through a picture-perfect family album. Hiam is not the cake-baking kind of grandmother. In fact, she is grumpy, foul-mouthed and very politically incorrect. It could have been quite annoying to spend more than an hour with someone so disagreeable, and yet Suleiman’s love for her grandmother’s quirks shines through, making this familial snapshot an interesting watch.

First off, Hiam is not the sister of that Mussolini. For reasons untold, her parents named one of her brothers after Il Duce. Another child, named Hitler, died in infancy. Still, the film does not dwell much on Hiam’s younger days, and instead focuses on her day-to-day activities, which include berating her ever-changing cleaners, venting bitterness about the news, and lamenting her son’s rare visits. Mostly shot inside Hiam’s apartment, the film acquires an undeniable sense of claustrophobia, which renders her bitterness understandable rather than unforgiving. Instead of turning a senior citizen into a one-dimensional cliche, the decision to capture both Hiam’s humour and her unpleasant side gives us the fullness of her personality. Hiam may look harmless, but you would think twice before crossing her.

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‘We didn’t want to do a Grease’: how Everybody’s Talking About Jamie became a film

How do you turn hit musicals like Everybody’s Talking About Jamie and Dear Evan Hansen into films? You axe songs, throw out plots and don’t worry about anyone’s favourite bit

Choosing a stage musical to see right now can feel like browsing the cinema listings of the 1980s and 90s. Pretty Woman and Back to the Future are playing across the street from one another in London’s West End, with The Lion King, Matilda and Heathers nearby. Indecent Proposal opens next month.

The speed of traffic travelling in the opposite direction, from stage to screen, tends to be a little faster, though. A film of Dear Evan Hansen, the Broadway hit about an anxious, alienated student who pretends to have been friends with a suicide victim, has arrived only five years after it opened, with Julianne Moore and Amy Adams among the cast. Everybody’s Talking About Jamie, which follows a 16-year-old budding drag queen from Sheffield, has taken just four years, picking up Richard E Grant and Sharon Horgan along the way.

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Dan Aykroyd: ‘I still have the lizard brain of a 20-year-old’

The actor, 69, talks about crying over his kids, not being able to cook and still having 80% of his dance moves

I am actually one of the few people on the planet who is a heterochromiac syndactylite. I have webbed middle toes on both feet. I also have different coloured eyes: one is brown, one is green. I don’t know how many of us there are: I heard seven.

I think I still have the lizard brain of a 20-year-old. I wake up every morning and I have the same vision, the same perception – except when I start to move. The lag between my perception of how young I feel and that mobility… There’s a lag there.

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‘How is Pauli Murray not a household name?’ The extraordinary life of the US’s most radical activist

She explored her gender and sexuality in the 20s, defied segregation in the 40s and inspired Ruth Bader Ginsburg. Now, a film is bringing her trailblazing achievements to light

It seems inconceivable that someone like Pauli Murray could have slipped through the cracks of US history. A lawyer, activist, scholar, poet and priest, Murray led a trailblazing life that altered the course of history. She was at the forefront of the battles for racial and gender equality, but often so far out in front that her contributions went unrecognised.

In 1940, 15 years before Rosa Parks, Murray was jailed for refusing to move to the back of a bus in the Jim Crow south. In 1943, she campaigned successfully to desegregate her local diner, 17 years before the Greensboro lunch counter sit-ins of 1960. Her work paved the way for the landmark supreme court ruling Brown v Board of Education in 1954 – which de-segregated US schools – to the extent that Thurgood Marshall, a lawyer for the NAACP civil rights group, called Murray’s book States’ Laws on Race and Color “the bible for civil rights lawyers”.

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Is James McAvoy’s improvised thriller the strangest Covid movie yet?

In My Son, the actor goes from scene to scene without a script trying to find his child, a bizarre new low for pandemic cinema

The pandemic has subjected us to a brave new world of cinematic experiences: a seance horror on Zoom, Anne Hathaway trying to rob Harrods, Naomi Watts taking phone calls in a forest, films that have shown either admirable ingenuity during an impossible period or that it’s really OK, nay better, at times to just put your tools down and bake banana bread instead.

Related: What does Covid mean for the future of pandemic movies?

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The Activist: reality TV show to be ‘reimagined’ as documentary after backlash

CBS says it will drop X-Factor-style competition from celebrity-fronted show after widespread criticism

A reality TV show that planned to pit activists against each other in an X-Factor style contest judged by celebrities is to be drastically “reimagined” after it sparked a backlash from campaigners.

The Activist, which had been due to air in the US in late October, prompted incredulity among many campaigners and elsewhere when its format was revealed last week, with many labelling it a “tone-deaf” distortion of true activists’ values.

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‘Why do they have to be brilliant?’ The problem of autism in the movies

Over 30 years since Dustin Hoffman twitched his way to an Oscar in Rain Man, our experts give their verdict on a season of portrayals of the neurodiverse, from Sia’s Music to What’s Eating Gilbert Grape?

A quick experiment. Close your eyes, and think of autism in the movies. I bet you’ve got an image in your head of Dustin Hoffman being driven by Tom Cruise in a Buick Roadmaster Convertible, repeatedly saying: “I’m an excellent driver.” Or Hoffman glancing at a box of scattered toothpicks and announcing there are 246 of them. Or Hoffman learning the phonebook to “g” off by heart in a couple of minutes. Or Hoffman doing miraculous mental arithmetic.

Rain Man was released in 1988. Watch it now, and it seems like a throwback to a simpler world where autistic people were geniuses, and no cliche about the idiot savant was left unturned. Hoffman tic-d, squinted and stuttered his way to an Oscar in a fabulously mannered performance.

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Hurry up and wait: the joys of slow culture

In the streaming age, sleeper hits such as Schitt’s Creek and The Morning Show have replaced quick successes, confirming culture is a marathon not a sprint

If one thing guarantees a TV hit in 2021, it’s a lukewarm reception. Take Ted Lasso, a sitcom about a perky, naive American football coach transplanted on to British soil. Its first season premiered last summer to barely any fanfare – but little by little came mass critical reconsideration. The show ended up a smash hit, breaking the record for most Emmy nominations for a first season of a comedy. Its second series, concluding next month, has made it one of the most talked-about shows of the year.

Related: The Guide: Staying In – sign up for our home entertainment tips

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The Humans review – masterly family drama transfers from stage to screen

Stephen Karam’s Tony-winning play makes the leap to film with ease, an extraordinarily well-acted, uncomfortably intimate look at a family at Thanksgiving

There’s a surprising urgency to Stephen Karam’s adaptation of his Tony-winning play The Humans, a vitality one might not expect from a film that sounds like something we’ve seen many times before. Not only is the set-up of a dysfunctional multi-generational family descending on a Manhattan apartment for Thanksgiving as dilapidated as most Manhattan apartments themselves (the post-American Beauty world of indies was forever damaged by the increasingly cliched quirky family subgenre) but the decision to film a one-location, one-act play (especially by the person who originated it on stage) can often be the result of vanity rather than necessity.

Related: The Guilty review – Jake Gyllenhaal’s tense 911 call thriller

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Lashana Lynch, the first female 007: ‘I never had a plan B’

Lashana Lynch, star of the new Bond movie, on ninja training, doing her own stunts and why now’s the time for an agent who’s a ‘real woman’

Lashana Lynch knew she was on a very short shortlist. She had taped a couple of auditions for Barbara Broccoli, the producer of the James Bond films since 1995. She met and read with Daniel Craig, who would be making his fifth and final appearance in No Time To Die, the 25th 007 adventure, a new release that you may have caught wind of by now. Then, finally, there was the stunt test, overseen by the Bond stunt and armoury teams (yes those are actual departments).

Is that like circuit training? “Deeper than that,” Lynch replies. “They hand you a bunch of weapons and they teach you a routine for a few seconds or a minute and then you basically have to copy the routine. So it was like, ‘OK, grab the gun! Shoot! Get down on your knees! Shoot! Roll on your back! Land on your feet! Shoot! Run, run, run! You’ve run out of ammo! Throw that away! Assemble this gun! Shoot!’ And that was the first out of five routines they taught me.”

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Karen Gillan: ‘You should have seen my fight routines when I started – I looked like spaghetti’

Her big break in Doctor Who led the Scottish actor to Hollywood. She talks her new film, Gunpowder Milkshake, the Jumanji hotpants furore – and why she worries she might be a bit, well, boring …

Karen Gillan’s house in the US is, she says, “like a little piece of Scotland in Los Angeles”. She is sipping coffee in her living room. The wallpaper behind her is a forest of brown, beige and mallards. When Vogue shot here last year, it described Gillan’s taste in interiors as “quirky”. “Yeah,” she sputters. “It’s all old trinkets.”

A piece of Scotland in Los Angeles is not a bad description of Gillan herself. Born in Inverness, she has lived in LA on and off for years. It’s a love-hate relationship. “I never feel settled here. It’s a real issue of mine.” Whenever she’s in LA, she gets the feeling that it’s not where she’s meant to be. Then she flies off and makes a film. “I come back and think …” – she does a cartoonish swooning sigh – “… It’s nice to be home. Then in a week I’m like: I’ve got to move.”

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‘Maybe the guy’s a masochist’: how Anthony Fauci became a superstar

The US diseases expert has been spoofed by Brad Pitt and lauded as the ‘sexiest man alive’. Now the pop culture phenomenon is the focus of a documentary

Beer and bobbleheads. Candles, colouring books, cupcakes and cushions. Dolls, doughnuts, hoodies, mugs and socks. T-shirts and yard signs that declare “Dr Fauci is my hero” and “In Fauci we trust”.

Anthony Fauci, an 80-year-old scientist, doctor and public servant, has become an unlikely cult hero for millions of people during the Covid pandemic.

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The Lost Leonardo: has a new film solved the mystery of the world’s most expensive painting?

Is the $450m Salvator Mundi a fake? This film – featuring tearful sycophants, sneering experts, dodgy dealers and a secretive superyacht – may finally settle the great da Vinci controversy

It is almost exactly 10 years since Salvator Mundi was unveiled, this “lost Leonardo” instantly triggering astonishment around the world. Since those giddy days, the work has had a turbulent time. As well as becoming the most expensive painting in history, going for $450m (£326m) at auction, Salvator Mundi was denounced by many as a fake and subsequently vanished from view. The painting is now the subject of The Lost Leonardo, a documentary by Andreas Koefoed that opens in cinemas this week.

“I would be surprised,” says Luke Syson, “if I went to see this documentary.” Syson is the curator who, back in 2011, first displayed The Saviour of the World, as its title translates, at the National Gallery’s Leonardo da Vinci blockbuster. Syson is probably making a wise choice. He’s in the film and the way he clams up mid-interview makes him look like the archetypal embarrassed expert caught out on screen.

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The 30 best mobster movies – ranked!

Ahead of the Sopranos prequel The Many Saints of Newark hitting cinemas, here are 30 organised crime flicks you must see before you sleep with the fishes

Our criteria here is films featuring actual mobsters and the organised crime milieu – as opposed to hitmen, heists or bank robbers. Stefano Sollima’s punchy neo-noir, set in 2011, fits the bill with its imbroglio of crime families, political corruption and Rome real estate. Financed by Netflix, this is essentially a feature-length pilot for the addictive Suburra: Blood on Rome prequel series.

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‘I got the shotgun. You got the briefcase’ – how The Wire’s Omar changed TV

He was the terrifying stick-up man who loved his gran, shopped in his pyjamas and tenderly kissed his boyfriend. We remember Omar’s great scenes – and pay tribute to Michael K Williams, the actor who brought him to life

Playing stick-up man Omar Little on The Wire, Michael K Williams was tough, frightening and brutal – his face scarred, his smile wide, toting a shotgun and wearing a long trenchcoat. So viewers of David Simon’s intricate TV portrait of Baltimore’s streets, docks, schools and politics felt the rug pulled from under them when they first saw him kiss his boyfriend in episode four of season one.

It was a moment that subverted audience expectations and signalled the complexity, ambition and depth that The Wire – which is often placed at or near the top of lists of the all-time greatest TV shows – was aiming to achieve. This is not a character you’ve seen before, the show seemed to be saying. These aren’t your usual stereotypes and cliches. A similar moment saw Idris Elba’s drug chief Stringer Bell attend a business studies class.

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‘Not always easy to comprehend’: Hollywood struggles with Belfast accent

Reviewers in the US have lauded the film, but complain it is too difficult to understand and needs subtitles

Kenneth Branagh’s new autobiographical film, Belfast, is tipped for Oscar glory, but his home town will not be happy if it’s in the foreign language category.

Hollywood reviewers who have lauded the film’s storytelling and acting complain the Northern Ireland accents are difficult to understand and require subtitles.

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