Film

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Don’t Worry Darling: A dystopian take on the American Dream

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Crimes of the future: Surgery is the new sex in Cronenberg’s latest ick-flick

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Michael Flatley on writing, directing and starring in his spy thriller Blackbird

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EIFF highlights: From naked New Zealanders to Korean car chases

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Memory: Another outing for Liam Neeson’s cool black coat

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Hugh Bonneville: ‘I’m not scary, I’m cuddly’ – how the Downton Abbey star became the villain in new Netflix film I Came By

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Gabriel Byrne: ‘Leonard Cohen has been a soundtrack to my life’

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This is Gwar review: ‘A goofy, goopy assault on the senses’

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Peter Cushing’s Dr Who movies regenerated for a new audience

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Rainn Wilson on the meaning of life, America and the ‘gratifying’ legacy of The Office

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Elvis review: The paradox of American myth-making

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Top songs: a guide to Tom Cruise singing cheesy tunes in movies

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The Lost Girls: ‘This movie represents my own process of growing up’

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Good Luck to You, Leo Grande is a radical reminder that older women are sexual beings

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Lightyear: Astronaut Tim Peake reveals five things films get right about space

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Everything Went Fine: A right-to-die story that’s strangely life-affirming

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Lea Thompson: ‘I love that science fiction can use the future to talk about the present’

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How Get Carter created the blueprint for the British gangster movie

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Lea Thompson on directing Star Trek: Picard and her plan to make a Howard the Duck sequel

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The Contractor review: Mindless title, mindful military thriller

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