The 20 best Frankenstein films – ranked!

With Emma Stone lined up to play a female version of the monster in Poor Things, we rate a century’s worth of cinema inspired by Shelley’s novel

Doctor Stein injects “DNA solution” into an African American multiple amputee (he is a Vietnam veteran), but there is an “RNA problem” and things go horribly wrong. This Blaxploitation attempt to do for Frankenstein what Blacula did for Dracula edges into this list only because its sheer ineptitude entertained me more than competently filmed snoozefests such as Victor Frankenstein and I, Frankenstein.

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Oscars release first shortlists for 2021 Academy Awards

Boys State, MLK/FBI and Crip Camp among contenders as categories announced include best documentary and best international film

Shortlists for nine Oscar categories have been unveiled by the Academy of Motion Picture Arts and Sciences (Ampas), an intermediate stage in the thinning-out of films that have qualified for consideration for the Academy Awards. The categories include best documentary, best international film and best song, as well as best live action and documentary shorts.

The rules for each voting process vary, but in most categories a preliminary vote from industry specialists in each field is employed to create the shortlist and then the final five nominations, with the full membership of the Academy invited to vote on the winner.

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‘I was never meek’: Priyanka Chopra Jonas on Miss World, Modi and misogyny

She has conquered Bollywood, broken Hollywood, married a pop superstar, gained millions of followers – and now she is publishing a memoir of life in the spotlight

Priyanka Chopra Jonas looks flawless – perfect skin, gorgeous face, utterly serene and wearing the most immaculately steamed silk shirt I’ve ever seen. In the background, a fire roars invitingly; to her side, out of sight of Zoom, her mother, Madhu, lies on the floor exercising. This is life as an idyll.

The former Miss World and Bollywood turned Hollywood star is talking about her memoir, Unfinished. And she is quick to point out that there is so much unfinished business. In many ways, she says, at 38 years old, she has barely started. Chopra Jonas has her fingers in so many pies. How would she describe herself? “I’m an entertainer, and that bifurcates into being an actor, producer, author, entrepreneur. And I dabble in tech. I would say I’m a multi-hyphenate, professionally.”

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Dead Pigs review – winding tale of life in cash-crazed Shanghai

Cathy Yan’s sprawling drama uses a real-life discovery of 16,000 porcine corpses to pick away at Chinese commercialism

A breezily westernised style of Chinese movie is on offer in this 2018 debut feature from Chinese-American film-maker Cathy Yan, who two years later went to Hollywood to direct Birds of Prey, starring Margot Robbie. Dead Pigs is an ensemble dramedy set in Shanghai that satirises – in a distinctly lenient way – the commercialism eating away at China’s heart. It is inspired by a real-life incident in which thousands of dead pigs were found in the city’s Huangpu river, dumped by poverty-stricken farmers who couldn’t pay the disposal fees; the pig symbolism reminded me a tiny bit of Alan Bennett’s A Private Function.

Related: 52 perfect comfort films – to watch again and again

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Slalom review – abuse on the slopes in tense teen ski prodigy drama

A French teen ski champion navigates sexual exploitation by her male coach in Charlène Favier’s difficult but impressive debut

Is this a tale of abuse, or forbidden love? Or is there something insidious in asking that question, suggesting an ambiguity that will err leniently on the side of love? Slalom is the debut feature by director and co-writer Charlène Favier, who has indicated that it is drawn from personal experience and her own teen years growing up in the ski resort of Val-d’Isère in south-eastern France. It is impeccably acted and beautifully shot, although I wondered if it is burdened by a softcore-tasteful aesthetic and a tactful reluctance to take its own narrative implications very far. The movie finishes on an unresolved chord, as if we have left the story months or years before the actual scandalous denouement. But it is arguably faithful to the mood of messy bewilderment and frustration that governs the ongoing situation.

A retired slalom ski champion – whose retirement might have been due to injury – is now pouring all his passion and frustration into coaching in a facility leased from a school. This is Fred, played by Jérémie Renier, who is a fierce and exacting teacher of teenage skiers, turning them into possible national champions and even future contestants at the Olympic Games. Almost from the very first, it is clear that his star pupil is 16-year-old Lyz, played by Noée Abita, who has got what it takes both in terms of skill and energy but also those dark, fissile ingredients of submission and self-abasement. Her divorced mum Catherine (Muriel Combeau) is away working in Marseille, and has a new boyfriend there, leaving Lyz alone in the apartment.

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Moufida Tlatli, first Arab woman to direct a feature film, dies aged 73

Tunisian director of multi-award-winning The Silences of the Palace broke the mould with films about the trauma suffered by generations of women

Moufida Tlatli, the pioneering Tunisian film-maker hailed as the first Arab woman to direct a feature film, has died aged 73. News media said that she died on Sunday, with the news confirmed by the Tunisian ministry of culture.

Tlatli remains best known for her breakthrough 1994 feature The Silences of the Palace, a lyrical study of a woman’s return to an abandoned royal residence, which tackled the themes of exploitation and trauma as experienced across generations of Arab women. It won a string of international awards, including the Sutherland trophy at the London film festival for the most “original and imaginative” film of the year, and was named as one of Africa’s 10 best films by critic and director Mark Cousins. The film was inspired by her mother’s difficult life; in 2001, Tlatli told the Guardian she “was riven with guilt … It was so insupportable, exhausting, suffocating.”

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How we made: Jane Asher and Roger Corman on The Masque of the Red Death

‘I hated the bath scene. They stuck awful little modesty circles on my nipples and they kept floating off’

My Edgar Allan Poe adaptations began in 1960 with The Fall of the House of Usher. I held off doing The Masque of the Red Death, because I felt it had some similarities to Ingmar Bergman’s The Seventh Seal, with its hooded figures, and I might be accused of copying. But it got to the point where it was the best unadapted one left, so I thought I’d go ahead and worry about it later.

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Radical, angry, creative: British women lead a screen revolution

The Golden Globe nominations prove that the industry is in the throes of a sea change for female writers and directors

Corks popped across the film industry when three female directors made history by getting Golden Globe nominations last week. Alongside Regina King and Chloé Zhao was British newcomer Emerald Fennell, until now best known as Camilla in The Crown and for stepping into Phoebe Waller-Bridge’s shoes as show runner on Killing Eve. Her alarming feminist thriller, Promising Young Woman, picked up a clutch of coveted nominations.

“When those directors’ names were announced I ran around the room screaming,” said Jessica Hobbs, one of the directors on The Crown. “I messaged Emerald who couldn’t believe it. I told her I knew it was coming.”

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Christopher Plummer: a fierce yet tender talent that flourished when he was finally let off the leash

The actor remained queasy of the role in The Sound of Music which brought him enduring fame, finally finding his groove aged 80 as a long-closeted father in Mike Mills’s Beginners

It is 1938, and the cynical music impresario Max Detweiler is at the lakeside home of his friend Captain Georg von Trapp in Salzburg, where the conversation has turned to the disagreeable subject of the Nazis and Austria’s imminent Anschluss with Germany. “You know I have no political convictions,” shrugs Detweiler evasively. “Can I help it if other people do?” Von Trapp’s responding flash of anger is a genuinely compelling and grownup moment in this movie – the 1965 hit musical The Sound of Music: “Oh, yes, you can help it. You must help it.” Playing Von Trapp, Christopher Plummer’s face becomes fierce and hawkish with contempt for all those who do nothing and allow evil to flourish.

At 35, the Canadian-born Plummer became an international star in this film, but as the years and decades went by – and almost everyone swallowed their pride and admitted that they loved The Sound of Music – Plummer became the most famous and stubborn refusenik until almost the end of his life, calling it “awful and sentimental and gooey”.

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Christopher Plummer, Sound of Music star and oldest actor to win an Oscar, dies aged 91

Veteran and respected actor had a career stretching back to the 1950s, but won his Oscar for best supporting actor for Beginners in 2011

Christopher Plummer, the dazzlingly versatile Canadian actor whose screen career straddled seven decades, including such high-profile films as The Sound of Music, The Man Who Would Be King and All the Money in the World, has died aged 91.

His family confirmed the news, saying he died peacefully at home in Connecticut with his wife of 53 years, Elaine Taylor, by his side.

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Covid has played out like a blockbuster film. Biden should hire some scriptwriters to end it

It’s time to resolve the narrative – otherwise we’ll be stuck in act two for ever, says Veep writer Ian Martin

For a year now, the reality of humanity’s global struggle against the coronavirus has felt oddly fictional. Very much, in fact, like a blockbuster movie.

Covid-19: The Reckoning follows all the movie cliches. The story starts somewhere in the world requiring subtitles. Patient Zero eats a what? An infected bat? OK, maybe it’s a pangolin (what’s a pangolin? Who cares, never mind). Then the contagion spreads like a slow-motion tsunami across the planet as dumbass politicians first play it down, then panic. Or, in America’s case, dismiss it, blame China, promise it’ll go away, ignore it some more, commend the ingestion of light and disinfectant, ignore it again, actually get it, shrug it off, host a series of superspreader events, repeatedly lose an election then scuttle off to become a human pathogen infecting civilian life. Again.

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‘I think I’ve written more Sherlock Holmes than even Conan Doyle’: the ongoing fight to reimagine Holmes

Arthur Conan Doyle’s master detective has been endlessly rewritten. But nearly a century after the author’s death, how new writers portray him remains contested

The first ever mention of Sherlock Holmes came in A Study in Scarlet, published in Beeton’s Christmas Annual of 1887. Dr Watson is looking for lodgings, and meets an old acquaintance who knows of someone he could share with, but does not recommend.

Young Stamford looked rather strangely at me over his wine-glass. ‘You don’t know Sherlock Holmes yet,’ he said; ‘perhaps you would not care for him as a constant companion.’

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Miranda Richardson’s teenage obsessions: ‘I rescued a kestrel and became fascinated by birds of prey’

With the release of her new film Rams, the actor remembers her love of westerns and John Wayne, playing male parts at her all girls’ school and the thrill of frightening humour

I grew up in Southport, Lancashire, with a cinema about 50 yards from my house. So Saturday mornings were spent with The ABC Minors: the Saturday cinema club with the theme song set to the tune of Blaze Away by Abe Holzmann, a red ball bouncing over the lyrics so you could sing along.

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Lost Girls and Love Hotels review – submission and secrets in erotic Tokyo drama

Alexandra Daddario’s American English teacher drinks, parties and explores BDSM in this cool movie that only occasionally veers into orientalism

Author and artist Catherine Hanrahan has adapted her novel of the same name for the screen and William Olsson directs. It is the story of Margaret, a young American woman in Tokyo, who has snagged a job teaching trainee flight attendants how to enunciate their English properly. Margaret drinks a lot, parties a lot, shows up hungover and late to work; she is also into BDSM, and is a sub, but can’t find any satisfactory partner, until she chances across Kazu (Takehiro Hira), a yakuza mobster whose naked body naturally turns out to be almost completely covered in scary tattoos. He has exactly the right fiercely negligent ruthlessness when he takes her to love hotels, but through an ironic quirk of fate turns out to have a softer side – something that this liaison with Margaret has unlocked, and in bed confesses to her mournfully that he is about to get married, and this lends something weirdly poignant and melancholy to their eroticism.

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Are we all living in the Matrix? Behind a documentary on simulation theory

In A Glitch in the Matrix, film-maker Rodney Acher speaks to people who are convinced that the world we’re living in isn’t real

Rodney Ascher’s new documentary A Glitch in the Matrix opens, as so many nonfiction films do, with an interview subject getting settled in their camera set-up. In this instance, a guy named Paul Gude is Skyping in from a setting familiar to anyone who’s spent the last year trapped in video-chats. He’s sitting in what appears to be a bedroom made to double as an office, the fisheyed webcam lens catching some dirty laundry, a shelf full of books and decorative toys, some homemade-looking art on the walls. But the eye is instantly drawn to Gude himself, a hyperreal computer-generated creature with shiny copper skin, warrior armor, a scar stretching from his forehead to his cheek, and a mane of shifting polygons in jewel-tone ruby red making his head look like a 20-sided die. He could be a distant cousin of Lion-O from the Thundercats, and he’s here to tell us that everything we know may be a lie.

Related: A Glitch in the Matrix review – deep-dive into simulation theory

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Toyah Willcox: ‘My mother always wanted me altered in some way. I was never right’

The singer and actor has had a productive pandemic – and gone viral from her kitchen. She talks about escaping her childhood, sexual harassment and persuading her rock star husband to dress in a tutu

Of all the celebrity offerings that have come out of the pandemic, the gloriously weird videos made by Toyah Willcox and her husband, Robert Fripp, are surely the most compelling. It is possible, within each short clip, to cycle through every feeling from wanting to cover your eyes while being unable to look away, to the dawning realisation you may be watching a profound piece of performance art. Mostly, it is impossible not to laugh. There they are in their cosy Worcestershire kitchen, perhaps with the dishwasher open in the background, with Willcox, accessorised with mouse ears, tap-dancing, bouncing off the Aga. Both dressed in black tutus at the end of their garden, the pair dance across the screen to music from Swan Lake. Fripp lies on the floor of the hallway, while Willcox – dressed in red PVC and devil horns – performs the Kinks’ You Really Got Me on the stairs. It’s joyous.

Willcox has been uploading their Sunday Lockdown Lunch videos since April last year; they also do a weekly agony aunt session, and Willcox does her own Q&A, talking about her life and long career as an actor, pop star and general cultural fixture for the past 40 years. It started, she says, as a way to occupy Fripp, the musician and founder of the prog rock band King Crimson. “Here I am in this house with this 74-year-old husband who I really don’t want to live without,” she says. “He was withdrawing, so I thought: ‘I’m going to teach him to dance.’ And it became a challenge.” They posted a video, and it took off. “It was: ‘Wow, I’ve never experienced the power of that connection.’”

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The Recce review – crossing enemy lines in South African action-drama

An elite soldier is sent on a perilous solo mission in this underwhelming drama set during the Namibian war of independence

This South African-made action-drama unfolds against the background of a conflict little known about above the equator, much less used as a setting for film – the Namibian war of independence from 1966-90, AKA the South African border war. Often considered South Africa’s version of Vietnam, it was, among other things, a proxy fight between South Africa, then still under apartheid, and its allies at the time, and the People’s Liberation Army of Namibia, who were backed by the Soviet Union and Cuba.

Although there’s a fair amount of on-screen contextualising in the opening minutes to explain key terms and ideas, The Recce feels made for a local audience that has a grasp of the cultural and historical background. That means it’s not easy for outsiders to read the ideology of this stylised, fictional account of an elite Afrikaner soldier, Henk Viljoen (Greg Kriek), the “recce”, who is ordered to go across enemy lines alone one last time to kill a Russian officer. Henk leaves behind his pregnant wife Nicola (Christia Visser), with whom we spend a lot of screen time as she looks anxious, remembers happier moments in her marriage and visits Henk’s parents, who are sick with worry about their son. In the narrative mix is Captain Le Roux (Grant Swanby), an English-speaking South African officer who is also worried about Henk and the general madness of the war.

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Golden Globes upend history as three female directors nominated

Emerald Fennell, Chloé Zhao and Regina King compete in category previously marked by its male dominance, as Mank and The Trial of the Chicago 7 lead field of overall nominations

Three female directors will compete for the first time at this year’s Golden Globes, following decades in which it was rare a single woman was mentioned in the category.

Only five female directors have ever been nominated in the Globes’ 78 year history: Sofia Coppola, Jane Campion and Ava DuVernay, while Kathryn Bigelow and Barbra Streisand have both been nominated twice. Only Streisand has won – for Yentl in 1983.

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Pleasure review – bold, explicit and ambitious LA porn drama

In Swedish film-maker Ninja Thyberg’s strong debut, a young woman discovers a difficult, male-dominated industry as she strives for agency

The observational eye of Pleasure, an ambitious Sundance debut by the Swedish film-maker Ninja Thyberg, is so transactional, at once unsparing and recessive, that one might mistake the first 10 minutes of this drama on the American adult film business for a documentary. “Business or pleasure?” the customs agent asks 19-year-old Swedish visitor Bella Cherry as she enters the country with a dream to become a porn star. She answers, vacantly, “Pleasure,” but the film’s opening moments are all business: a full frontal, zoomed-in shot of Bella’s delicate balancing act in the shower as she shaves her vulva for a shoot; Bella affirming her birthdate (1999), agreed-upon pay ($900 for playing innocent virgin in girl-guy porn), and consent to perform a sexually explicit act for a contract; the bright lighting of professional shoots; crew-members’ playful teasing when Bella, a first-time performer, is confused by the use of a douche.

Related: Judas and the Black Messiah review – electric Black Panthers drama

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