Viggo Mortensen on Falling star Lance Henriksen: ‘He’s like a wolf who might gobble you up’

In the former’s directorial debut, the pair play a father and son facing up to the older man’s dementia. It offers 80-year-old Henriksen the meatiest role of his astonishing career

Viggo Mortensen first met Lance Henriksen when he shot him dead. Mortensen, the Lord of the Rings star and three-time best actor Oscar nominee, was facing off the older actor – a veteran of more than 200 movies including Aliens and The Terminator – in the 2008 western Appaloosa.

“There were so many bullets flying around; I don’t think any one person can take the credit for killing me,” smiles Henriksen, his voice sandpapery but sweet. As we wait for Mortensen to join our video call, he says he is tip-top today. “I turned 80. But I don’t feel no 80.” Then he switches the subject abruptly. “I can’t tell you how much Falling has changed my life,” he says.

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How ‘voodoo’ became a metaphor for evil

'Voodoo' has come to represent something evil when it appears in popular culture. 'Black magic', witchcraft – it's always portrayed as something to be feared. But in reality, Vodou, as it's correctly written, is an official religion practised by millions of people. Why has it been vilified for so long? Josh Toussaint-Strauss looks back over the history of Vodou and its portrayal to find an answer

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Melissa McCarthy’s 20 best films – ranked!

With the actor’s new release, Superintelligence, seeing her try to save the world, here’s a look at the films that made her a comedy star

One of Melissa McCarthy’s many early, quirky cameos comes in the final film from the director Alan Parker – a mystery crime drama with a hint of Fritz Lang. Kevin Spacey stars as an anti-capital-punishment campaigner who finds himself on death row after being convicted of murder. McCarthy plays Nico, a goth girl in fishnets and piercings who gives creepy tours of the crime scene.

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Taylor Swift: The Long Pond Studio Sessions review – cosy campfire confessions

The pop star’s Disney+ movie about quarantine album Folklore reveals the potency of her songwriting, though it’s hazy on any ‘pandemic epiphanies’

Pre-pandemic, few artists were so keenly attuned to the music industry’s calendar as Taylor Swift. She timed her album releases for awards contention and singles to sustain her world tours; the promotional cycle for 1989, released in 2014, seemed to go on for years. With coronavirus, that “circus” – as she puts it on Mirrorball, one of a few songs on her “quarantine album”, Folklore, that address the pandemic directly – was abruptly called off.

Stripped of those structures, “this lockdown could have been a time where I absolutely lost my mind”, Swift says in The Long Pond Studio Sessions, a film that explores the making and meaning of Folklore. Instead, in a matter of months, she created an album as good as any she has ever written. She collaborated remotely with the National’s Aaron Dessner, writing to his musical sketches and self-recording her performances at home.

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Director apologizes for unmuted critique of actor’s apartment during audition

Tristram Shapeero pens public apology to Lukas Gage after commenting on Gage’s ‘tiny apartment’ without realizing actor could hear him

A director who forgot to mute his microphone during a Zoom audition as he criticised an actor’s apartment has apologised and claimed he was just sympathising with the plight of arts workers in the coronavirus pandemic.

Related: Actor calls out director for criticizing his 'tiny' apartment during Zoom audition

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‘He was a radical’: John Belushi remembered by his wife and fellow comics

The gruesome decline and drugs-related death of the comedy icon has overshadowed his legacy, says his widow Judy, who welcomes a new film showing him as a sensitive star full of doubts

Can you disentangle the life of John Belushi from his tragic death? Has he left a comic legacy – or just a template for living fast and dying young? On the one hand, he spearheaded the pioneering comedy show Saturday Night Live, still running 45 years later, becoming its first breakout star with smash-hit movies Animal House and The Blues Brothers. The poster for the latter has been a fixture on teenagers’ bedroom walls ever since. But is that down to Belushi’s comedy – or because he was dead within two years of the film’s release, a victim of drug addiction and the pressures of extreme success?

This week sees the release of a Showtime documentary, Belushi, made by the team behind the Emmy-nominated Brando documentary Listen to Me, Marlon. It’s the first telling of Belushi’s story, says his widow Judy Belushi Pisano, to apportion “even-handed” attention to her husband’s life and death. Pisano has always regretted how Bob Woodward’s 1984 book Wired, a fix-by-fix account of the star’s gruesome decline, came to define her husband’s memory. “Had John died in his sleep,” she says, speaking to me by phone, “we would view his life much differently. We really would.”

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‘Biggest sin in the programme’: How a coat from The Undoing divided the internet

The ugly green coat in the HBO drama The Undoing has usurped a starry cast that includes Nicole Kidman and Hugh Grant. But what are the show’s makers trying to say, exactly?

The real star of The Undoing, HBO’s absurd marital melodrama, is not Hugh Grant, the Manhattan skyline or even the pair of David Hockneys hanging inside a vast penthouse in episode one. It’s a coat.

Sludge-green, calf-length, with wide lapels and a hood, this coat is worn again and again by Nicole Kidman’s character, a gnomic therapist called Grace, as she floats down Madison Avenue, through Central Park and even into the prison on Rikers Island, brooding over her marriage to a man who may, or may not, have just murdered his lover with a lump hammer.

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How we made The Lives of Others

The film about the Stasi spying on East German lovers was seen as too dark, with one funder even wanting it remade as a comedy. But it went on to win an Oscar

In winter 1997, during my first year at film school in Munich, I was lying on the floor listening to music. I started thinking about how Lenin once told his best friend that he couldn’t listen to his favourite piano sonata as often as he would like, because it made him soft, and might stop him from wanting to hurt the people he needed to hurt. Suddenly, an image came to my mind: a man with headphones, in a bleak and depressing attic, secretly listening to his enemies, but thereby involuntarily hearing the kind of music he has been avoiding his entire life. I opened my laptop, started typing and within about an hour had written the outline of the movie.

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Could Steve McQueen start a lovers rock revival with Small Axe?

Streaming services expect rise in searches for the 70s pop-reggae genre, a staple of the blues parties that shaped UK music

One of the most memorable moments in Steve McQueen’s Lovers Rock – the latest film in his five-part anthology series Small Axe – comes when a room full of young revellers sing Janet Kay’s classic Silly Games with their eyes closed, lost in the music, as they imitate her signature falsetto.

A staple of the lovers rock genre, which emerged in the 70s and was a blend of pop, reggae and disco, Kay’s song is the centre piece of McQueen’s film, which is itself an ode to the house parties, or “blues”, that his auntie attended as a young woman.

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Michael J Fox: ‘Every step now is a frigging math problem, so I take it slow’

After living with Parkinson’s for 30 years, the actor still counts himself a lucky man. He reflects on what his diagnosis has taught him about hope, acting, family and medical breakthroughs

The last time I spoke to Michael J Fox, in 2013, in his office in New York, he was 90% optimistic and 10% pragmatic. The former I expected; the latter was a shock. Ever since 1998, when Fox went public with his diagnosis of early-onset Parkinson’s disease, he has made optimism his defining public characteristic, because of, rather than despite, his illness. He called his 2002 memoir Lucky Man, and he told interviewers that Parkinson’s is a gift, “albeit one that keeps on taking”.

During our interview, surrounded by the memorabilia (guitars, Golden Globes) he has accrued over the course of his career, he talked about how it had all been for the best. Parkinson’s, he said, had made him quit drinking, which in turn had probably saved his marriage. Being diagnosed at the heartbreakingly young age of 29 had also knocked the ego out of his career ambitions, so he could do smaller things he was proud of – Stuart Little, the TV sitcom Spin City – as opposed to the big 90s comedies, such as Doc Hollywood, that were too often a waste of his talents. To be honest, I didn’t entirely buy his tidy silver linings, but who was I to cast doubt on whatever perspective Fox had developed to make a monstrously unjust situation more bearable? So the sudden dose of pragmatism astonished me. Finding a cure for Parkinson’s, he said, “is not something that I view will happen in my lifetime”. Previously, he had talked about finding “a cure within a decade”. No more. “That’s just the way it goes,” he said quietly. It was like a dark cloud had partly obscured the sun.

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Ma Rainey’s Black Bottom review – Chadwick Boseman glorious in his final film role

The movie version of August Wilson’s story of the blues, starring Boseman and a tremendous Viola Davis, is a ferocious opera of passion and pain

A detonation of pure acting firepower is what’s on offer in this movie version of August Wilson’s 1982 stage play. Declarative and theatrical it might be, but it’s also ferociously intelligent and violently focused, an opera of passion and pain. We see African-American musicians hanging around a white-owned Chicago studio one stiflingly hot day in the 1920s, waiting for the legendary blues singer Gertrude “Ma” Rainey to show up with her entourage so they can cut an album. The lead track is expected to be her live hit, Ma Rainey’s Black Bottom, and the drama imagines a certain pushy trumpeter in the band named Levee angling for his own version to be recorded. A simmering argument about how this song is to be arranged and performed forms the basis of a confrontation about race, sex and power.

Viola Davis plays Ma Rainey with tremendous hauteur: Cate Blanchett’s Elizabeth I never arrived at Hampton Court with more magnificent display or more queenly prerogative than Davis’s Rainey making her entrance, with her own lovers and court favourites, sweating at the temperature, her painful feet and the incompetence of the studio chiefs. And Chadwick Boseman gives a moving performance as the fiercely talented but insecure Levee, crucified by a childhood experience of racist violence and dreaming of fronting his own band.

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‘My mother was like a steel fist in a velvet glove’: the real Audrey Hepburn

Her delicate beauty and starring roles made her seem fragile. But having endured an unloving mother and a perilous childhood under Nazi occupation, such an impression belied Hepburn’s remarkable strength, compassion and resolve

“Very alert, very smart, very talented, very ambitious.” That was the director William Wyler’s verdict after watching a screen test for Roman Holiday by a young chorus girl called Audrey Hepburn in 1951. She got the part, won an Oscar and the rest is history. For decades, Hepburn has been adored for her graceful beauty and style. But somehow, the “smart”, “talented” and “ambitious” woman Wyler described never makes it into the books about her enduring charm with titles such as How to Be Lovely: The Audrey Hepburn Way. Now a new documentary, Audrey, gives us a more complex picture of the woman.

Directed by Helena Coan, the film features never-before-seen archive footage of Hepburn alongside intimate interviews with her family and friends. Speaking on Zoom from his home in Italy, Hepburn’s eldest son, Sean Hepburn Ferrer, says his mother’s steeliness is often overlooked. “She was no pushover. You have to fight in Hollywood for every little bit, and she did. But she played the part of the ingenue. And that’s who she was, too. None of us are just one way or another.”

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Naya Rivera drowning: wrongful death lawsuit filed on behalf of Glee actor’s son

Lawsuit alleges boats lacked safety equipment and that there were no warning signs around California lake where she died in July

A wrongful death lawsuit has been filed over the drowning of Glee actor Naya Rivera, who died in July while boating with her four-year-old son on a lake in California.

The suit was filed on Tuesday against Ventura County and managers of Lake Piru over her accidental death on 8 July at the lake north-west of Los Angeles. It was filed on behalf of her son, Josey Hollis Dorsey, by Ryan Dorsey — Rivera’s ex-husband and the boy’s father and guardian — and also on behalf of her estate.

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Home Alone at 30: how the unlikely Christmas comedy has endured

No one could have predicted that a simple family film would have been such a box office smash in 1990 or that it would remain a favorite decades after

To the news of Disney’s plans to produce a remake of holiday classic Home Alone, director of the genuine article Chris Columbus had words sharper than a toy car on a bare foot. “It’s a waste of time, as far as I’m concerned,” Columbus said in a recent interview with Insider commemorating the 30th anniversary of the film’s release. “What’s the point? I’m a firm believer that you don’t remake films that have had the longevity of Home Alone. You’re not going to create lightning in a bottle again. It’s just not going to happen.”

Related: My favourite Christmas film: Home Alone

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Joker ‘a betrayal’ of mentally ill people, says David Fincher

Mank director rails at the risk-averse production strategy of major Hollywood studios

Mank director David Fincher has described Todd Phillips’ Oscar-winning Joker as “a betrayal” of mentally ill people.

In an interview with the Daily Telegraph, Fincher was reflecting on Joker’s surprise success at the box office in a wide-ranging attack on the risk-averse production strategy of the major Hollywood studios. Saying that studios “don’t want to make anything that can’t make them a billion dollars”, he also suggested that occasionally “challenging” material can get support, if there is solid previous evidence of commercial potential.

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Free willy: are film and TV finally growing up about male nudity?

Belgian film Patrick showcases the average male form, setting it apart from movies that often present it as comedy or combat

In terms of an attention-grabbing tagline, the Belgian movie Patrick had me at “Naturist campsite handyman loses his hammer”. Don’t expect anything saucy, though: Patrick, out on digital platforms on Friday, is a spare, sombre character study, set in a woodland community where everybody happens to be naked. After a few minutes, you stop noticing, even though the film occasionally embraces the absurdism, especially in a fight scene between two angry naked men in a flimsy mobile home.

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

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Ethan Hawke on regrets, race and surviving Hollywood: ‘River Phoenix was a big lesson to me’

Hawke could have been a superstar to rival Leonardo DiCaprio or Matt Damon. But, as he turns 50, the actor is thinking more about the dangers he avoided than the opportunities he turned down

“Do you mind if I do something not attractive?” Ethan Hawke asks. In a vintage T-shirt, with his hair in a half-ponytail, he looks every inch the artsy Brooklyn dad that he is. “I’m starving. Would it be very rude if I eat lunch? I’ll try to be neat and orderly about it.” We’re talking by video chat and I tell him I’ll forgive his lunch if he forgives the noise of kids and dogs in my background. “Never apologise for kids. My two younger ones are Zoom schooling now, so I’m hiding in my office where the dogs are, so we’re even,” he says, tucking into his takeaway.

On the day of our interview, Hawke’s 50th birthday is a week away; if that makes those of us who remember him as a smooth-cheeked schoolboy in Dead Poets Society feel old, imagine how Hawke feels. “Forty-nine sounds a lot younger than 50,” he says with self-mocking mournfulness. Will he celebrate? “My older kids are coming over, so I’ll do a dinner with the six of us, which is about as much fun as we can have these days,” he says.

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Steve McQueen: ‘It’s rebel music that moves me’

The director on the reggae-fuelled house parties he witnessed as a child - lovingly recreated in his new film, Lovers Rock – and how their raw energy shaped his taste in music

Reggae music is the beating heart of Steve McQueen’s Small Axe series, which traces Black British experience from the late 1960s to the early 1980s. In the 1970s, when the characteristically defiant Bob Marley song that gives the series its title was released, McQueen’s aunt, Molly, used to regularly sneak out of her family house in Shepherd’s Bush, west London, on weekend nights to go to “blues parties” – all-nighters usually held in someone’s house.

Back then, the blues party was a staple of West Indian immigrant life in England, a makeshift club-cum-shebeen, usually held in someone’s front room or basement, where, as the night progressed, the sweet smell of ganja merged with the lingering aromas of West Indian home cooking. As an escape from her strict, religious upbringing, Molly would dance until dawn to roots reggae, sweet-sounding “lovers rock” and floor-shaking dub instrumentals.

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Matrix party ‘disguised as film shoot’ to bypass German Covid rules

Keanu Reeves among 200 people at studio party where guests came as extras, says report

German health authorities say they plan to speak to the studio where the latest Matrix film was shot after a party allegedly attended by the Hollywood actor Keanu Reeves was held to mark the end of filming, despite coronavirus restrictions.

About 200 people were at the party disguised as a film shoot, with the guests invited to come as extras in an apparent attempt to bypass health regulations, according to the German tabloid Bild.

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