Ian Holm, star of Lord of the Rings, Alien and Chariots of Fire, dies aged 88

The versatile actor went from the RSC and Harold Pinter to international movie stardom with roles as the hobbit Bilbo Baggins and an android in Alien

Ian Holm, the versatile actor who played everything from androids to hobbits via Harold Pinter and King Lear, has died in London aged 88, his agent confirmed to the Guardian.

“It is with great sadness that the actor Sir Ian Holm CBE passed away this morning at the age of 88,” they said. “He died peacefully in hospital, with his family and carer,” adding that his illness was Parkinson’s related. “Charming, kind and ferociously talented, we will miss him hugely.”

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‘You lot can’t rattle me’: John Boyega defends explicit anti-racism posts in wake of George Floyd death

The Star Wars actor expanded on his defiance of racist social media users in an Instagram Live video

John Boyega has been praised for a series of uncompromising social media posts speaking out about racism in the wake of the killing of George Floyd by Minneapolis police officers.

Boyega’s initial Tweet, “I really fucking hate racists”, currently has 1.3m likes, but came in for criticism for his hard-hitting tone and use of an expletive.

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I’ve never seen … The Terminator

For years, I have been the self-professed biggest Terminator fan on the planet. There’s only one problem...

I bonded with my best university buddy over many things: student radio, bland pasta, failing to talk to girls at parties, and the paradoxes of time travel, notably in the Back to the Futures, the Bill & Teds, Quantum Leap and the Terminators. In classic best friend one-upmanship, neither of us claimed to be any cop at talking to girls at parties, but both claimed to be the bigger Terminator fan. With every new Terminator movie since, I’ve dragged said mate to the cinema and sat with childlike, open-mouthed delight through an average-at-best film. I’m not sure why I like Terminator so much. I don’t know much about politics, literature or art. But when it comes to time-travelling robots, I’m a complete sucker.

In Terminator 3: Rise of the Machines, John Connor and Claire Danes defeat the red leather lady Terminatrix and head off hoping to disable a non-existent Skynet HQ, only to seal their fate in a nuclear bunker. Terminator: Salvation is the one where Christian Bale went ballistic at the director and hasn’t even got Arnie in it, but it does take Terminator 2 down an alternative timeline. And talk of timelines gets me going.

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Mother of all sci-fi: which is the best Alien movie?

The series has delivered a horror masterwork, a seminal shoot-em-up and some auteurist gems ... but how do they rank?

What better way to celebrate the recent Alien Day than to place the eight movies in the long-running space saga into some kind of order of excellence? And also perhaps to ask how so many film-makers have managed to muck up the original film’s formula.

Let’s start at the bottom. The two Alien vs Predator movies from 2004 and 2007 are now remembered largely for their staggering blandness, as if everybody involved had forgotten what made the early films so chilling. Ostensibly B-movies, but lacking the joyful, half-cocked knockabout bombast of a Roger Corman or Ray Kellogg film, they even disappointed fans of the crossover comic books that spawned them. If 20th Century Fox thought it was getting the new Ridley Scott when the studio hired Paul WS Anderson to direct ’s Alien vs Predator they were sadly mistaken. Bringing the xenomorphs to Earth, as Fox had intended to do in 1992 prior to David Fincher’s Alien 3, turned out to be the dumbest move since John Hurt decided to take a closer peek at the funny egg thing on LV-426. Even a smart moment of stunt-casting – Aliens’ Lance Henriksen as Charles Bishop Weyland – couldn’t paper over the cracks of this weirdly bloodless film. Aliens vs Predator: Requiem upped the gore but dropped quality levels even further, with untried music video directors Colin and Greg Strause at the helm. That the saga survived at all after this twin descent into movie purgatory is remarkable in itself.

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CS Lewis’s lost letters reveal how wife’s death tested his faith

During the final weeks of his life, the Narnia author wrote to a US academic about his struggle with grief and theology

The great tragedy of CS Lewis’s life was the loss of his wife, Joy Davidman, to cancer in 1960. Her death tested the faith of the Chronicles of Narnia author, who was also a prominent Christian thinker.

Now a cache of previously unpublished letters from Lewis, written in the months before his own death, reveal the extent to which his grief remained raw, even as he confronted his own physical decline and mortality.

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Fever dreams: did author Dean Koontz really predict coronavirus?

From ‘Wuhan-400’, the deadly virus invented by Dean Koontz in 1981, to the plague unleashed in Margaret Atwood’s Oryx and Crake, novelists have long been fascinated by pandemics

According to an online conspiracy theory, the American author Dean Koontz predicted the coronavirus outbreak in 1981. His novel The Eyes of Darkness made reference to a killer virus called “Wuhan-400” – eerily predicting the Chinese city where Covid-19 would emerge. But the similarities end there: Wuhan-400 is described as having a “kill‑rate” of 100%, developed in labs outside the city as the “perfect” biological weapon. An account with more similarities, also credited by some as predicting coronavirus, is found in the 2011 film Contagion, about a global pandemic that jumps from animals to humans and spreads arbitrarily around the globe.

But when it comes to our suffering, we want something more than arbitrariness. We want it to mean something. This is evident in our stories about illness and disease, from contemporary science fiction all the way back to Homer’s Iliad. Even malign actors are more reassuring than blind happenstance. Angry gods are better than no gods at all.

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‘You have to face the darkness within you’: meet the real-life Jedi knights

It started as an online prank, but Jediism now claims more UK adherents than Scientology. But is it a religion, a philosophy – or just a joke?

In the middle of a field in South Carolina, Alethea Thompson closed her eyes and attempted to sense her way forward. Thompson, now 35, had spent years trying to find a spiritual home and had decided to try something new. This exercise was meant to teach her to “to trust in your ability to sense things and know that you’re not going to fall, you’re not going to get hurt,” she says. And was part of her training to become a Jedi.

After 12 years with the Force Academy, an online community that provides educational courses on Jediism, Thompson is today a Jedi master. She explains that the Force Academy and most Jedi organisations don’t prescribe strict rituals: there are no requirements on diet or clothing and no mass-style services. Jedis do, however, follow a code of ethics that centres on resisting negative emotions and promoting peace. They also believe in the Force – the ubiquitous energy field described in the Star Wars movies – and mindfulness is central to their belief system. “The foundation of who we are is meditation,” says Thompson. “I will meditate for about 30 minutes, but it’s not always the same kind of meditation. So, I don’t sit there all the time and just hum. Meditation comes in many forms and that’s what I try to teach in the community.”

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Weathering With You review – thrillingly beautiful anime romance

A runaway teenager falls for a mysterious ‘sun girl’ who has the power to stop the rain in Japan’s highest-grossing film of 2019

Makoto Shinkai, the Japanese anime director dubbed “the new Miyazaki” after the huge success of Your Name, his swooning YA body-swap romance set against the backdrop of a trippy natural disaster, returns with another apocalypse-tinged, boy-meets-girl adventure. Weathering With You, full of overcharged teenage emotion, was Japan’s highest-grossing film of 2019. Like Your Name, it’s thrillingly beautiful: Tokyo is animated in hyperreal intricacy, every dazzling detail dialled up to 11, but it’s less of a heartbreaker.

During the wettest rainy season on record in Tokyo, 16-year-old runaway Hodaka, homeless and hungry, arrives from the sticks. In a fast-food restaurant, teenage waitress Hina gives him a free burger, and two patches of red flush across his cheeks adorably. (The animation of first love, its highs and humiliations, is gorgeous.)

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Star Wars: lesbian kiss cut from The Rise of Skywalker in Singapore

Disney removes clip to avoid censor giving film higher age rating

A scene showing a lesbian kiss has been cut from the Singaporean version of the Star Wars film The Rise of Skywalker.

The country’s media regulatory body said Disney removed the clip to avoid the film being given a higher age rating. It is PG13, which means parental guidance is advised for children under 13.

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To Tokyo review – thrilling, chilling horror in the wilderness

Caspar Seale Jones’s drama about a young woman afraid of her past is a masterclass in engrossing, show-don’t-tell film-making

Here’s one of those rare lowish-budget, entirely off-radar British debuts that feels like a discovery. Adventurous writer-director Caspar Seale Jones has relocated a stock horror starting point – fraught young woman fleeing something abominable in her past – to Japan, which instantly gifts his frames more distinctive vistas than all those potboilers pursuing teenagers through the streets of Peterborough or Stroud. More intriguingly, To Tokyo is in that Japanese folk-horror tradition that yielded Onibaba and Kwaidan, making merry-macabre use of a still relatively unfamiliar set of demons and ghouls.

To Tokyo scores high on dreamy-bordering-on-nightmarish atmosphere. On learning her mother is gravely ill, Alice (Florence Kosky) passes into either a fugue state or an actual wilderness that encompasses forests, deserts and a mountainside hut where she slaps on warpaint and receives offerings of fruit and entrails from whatever dragged her there. For half its running time, To Tokyo is just Kosky, some spectacular landscapes (cinematographer Ralph Messer apparently taking notes from that visual whizz Tarsem Singh) and a properly creepy spectre. Seale Jones makes the bold, rewarding decision not to explain a damn thing. The result is a masterclass in show-don’t-tell cinema.

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Ad Astra review: Brad Pitt reaches the stars in superb space-opera with serious daddy issues

The actor blasts off in search of long-lost pops Tommy Lee Jones in James Gray’s intergalactically po-faced take on Apocalypse Now

Brad Pitt is an intergalactic Captain Willard, taking a fraught mission up-river in James Gray’s Ad Astra, an outer-space Apocalypse Now which played to rapt crowds at the Venice film festival. In place of steaming jungles, this gives us existential chills. Instead of Viet Cong soldiers, it provides man-eating baboons and pirates riding dune-buggies. It’s an extraordinary picture, steely and unbending and assembled with an unmistakable air of wild-eyed zealotry. Ad Astra, be warned, is going all the way - and it double-dares us to buckle up for the trip.

Set in the near future, this casts Pitt as Major Roy McBride, a lonesome samurai who prides himself on the fact his pulse rate has never climbed beyond 80. He’s travelling out to Neptune in search of his lost father, a man he barely knows, and seeking to halt a series of unexplained cosmic rays that threaten life on Earth. Pitt embodies McBride with a series of deft gestures and a minimum of fuss. His performance is so understated it hardly looks like acting at all.

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One giant leap for Indian cinema: how Bollywood embraced sci-fi

As the country seeks to establish itself as a space power, audiences are developing an appetite for the extraterrestrial on the big screen

In 2014, India sent the Mars Orbiter Mission into space, and became the first country to send a satellite to orbit the planet at its first attempt – putting its much richer regional rival China in the shade as it became the first Asian nation to get to the red planet. The project was notable for being led by a team of female scientists; as is India’s second lunar probe, Chandrayaan-2 (from the Sanskrit for “moon craft”), which was launched last month and is due to land on the moon in early September. And as the country establishes itself as a space power, Indians have developed an appetite for sci-fi themes in its cinema.

The patriotic outburst that followed the Mars mission has fuelled the latest example of Indian space cinema: Mission Mangal (Sanskrit for Mars), a fictionalised account of the Orbiter Mission. Starring and produced by Bollywood actor Akshay Kumar, it is due for release on 15 August, India’s Independence Day. “I would follow the news about India’s space missions and feel proud of what we were achieving,” says Kumar. “But through Mission Mangal I guess you could say I have an insider’s perspective.”

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Peter Mayhew as Chewbacca: a charming and good-natured movie pioneer | Peter Bradshaw

The man inside Star Wars’ Wookiee suit may not have been instantly recognisable, but his skills helped lay the groundwork for current blockbuster movies

Like Anthony Daniels in the gold shell of C3PO, or Dave Prowse in the cloak and mask of Darth Vader, Peter Mayhew, who played the lovable but formidable Star Wars Wookiee Chewbacca, did not achieve the face recognition that actors usually yearn for, and an acting career was not in any case what Mayhew particularly wanted before George Lucas chose him for Star Wars. But it was Mayhew’s destiny to become known and adored by a passionate connoisseur fanbase, his charm and good nature made him loved by his colleagues and his actual presence did make itself felt in hundreds of fan conventions over the decades. These fan conventions themselves evolved as a new phenomenon, a kind of auxiliary theatrical platform for franchise movies alongside cinema, TV and the web.

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What’s the next Game of Thrones? All the contenders for fantasy TV’s crown

The saga of the Seven Kingdoms may be bowing out, but it has opened the floodgates. Here’s your guide to the next big heroes

Rand al’Thor was found as a baby on the slopes of Dragonmount and taken to Two Rivers, where he grew into a broad-shouldered shepherd boy. But Rand is possessed of immense power, a power as yet untapped, for he is also The Dragon Reborn, destined to be hunted by Darkhounds and Darkfriends as he bids to prove himself a mighty warrior leader. Among other things, Rand’s existence shows that you should always believe ancient prophesies, that even the low-born can save the world – and that characters in TV fantasy series must always have two names.

Rand is just one of the 2,782 characters who appear in Wheel of Time, the bestselling saga of fantasy novels by Robert Jordan. We can only hope the forthcoming adaptation on Amazon will hone the cast down a little, as we follow Rand and his forces towards Tarmon Gai’don, or the final battle between good and evil.

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Captain Marvel review – Brie Larson kicks ass across the universe

Marvel’s superhero adventure veers from boomingly serious to quirkily droll as Larson wages a vicious war against evil aliens

This latest tale from the Marvel cinematic universe takes us way back in time, many years before the great catastrophe shown in Avengers: Infinity War. We have crash-landed in mid-90s America: a hilariously antediluvian world of Blockbuster video stores, dial-up internet, web searches via AltaVista, and grindingly slow CD-Rom drives. At one important stage, there’s a soundtrack outing for Nirvana: “Come as you are, as you were / As I want you to be / As a friend, as a friend / As a known enemy ...”

This is an engaging and sometimes engagingly odd superhero action movie from directors and co-writers Anna Boden and Ryan Fleck, a weirdly nonlinear mashup of past and present, memories and present experience, Earth and non-Earth action. It’s an unconventional origin-myth story, which makes it initially uncertain what the nature of those origins is, and maybe even whose origins exactly we’re talking about. There’s an eccentric splurge of tonal registers from boomingly serious to quirkily droll. It gives us a playful first glimpse of a number of things, important and otherwise, including how Shield agent Nick Fury acquired a notable part of his badass image – Fury played of course by Samuel L Jackson, his face digitally regressed to the way it looked around the time of Pulp Fiction. A lovable cat makes an important appearance.

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China gets its first blockbuster sci-fi film

Wandering Earth on track to be one of highest-grossing films in country’s history

China has entered the cinematic space race. Wandering Earth, the country’s first blockbuster sci-fi film, is on track to be one of the highest-grossing films in China’s history.

The film has brought in more than 2bn yuan (£232m) in the six days since its release on 5 February, lunar new year. So far, it is the highest-grossing film released over the holiday season, a peak time for the Chinese box office.

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