James Marsden will return as Scott Summers/Cyclops for the first time in 12 years when Marvel’s Avengers: Doomsday hits theaters

The former ‘Saturday Night Live’ star told director Marina Zenovich that it wouldn’t be ‘easy’ to understand him

The psychological thriller has proven a holiday box-office sensation

Vous êtes en deuil du Monde à l'Envers et des personnages de Stranger Things, après le grand final ? Pas de panique, les créateurs de la série, Matt et Ross Duffer, ont déjà de la suite dans les idées pour étendre leur franchise, toujours sur Netflix.

Après Metallica et leur fameux Master of Puppets, et surtout Kate Bush et son Running Up That Hill dans la saison 4, Stranger Things a évidemment ajouté de nouveaux tubes dans son ultime saison 5, toujours sur Netflix. Et un autre artiste a déjà droit à une renaissance, en battant des records d'écoute en streaming.

Guthrie revealed in December that she required surgery and would be absent from ‘Today’

When the Afrobeat sensation first saw Lemi Ghariokwu’s work, he said, ‘Wow!’ Then he plied him with marijuana and asked him to design his album sleeves. The artist recalls their extraordinary partnership – and the day Kuti’s Lagos HQ burned

‘There were flames everywhere. Soldiers with bayoneted rifles were dragging people out into the streets, staggering, naked and bleeding. Nobody knew if Fela was still inside the burning building.”

Lemi Ghariokwu pauses. For much of our video-call, the 70-year-old artist has joyfully revisited his years as friend and confidant of Fela Aníkúlápó Kuti, the Nigerian Afrobeat pioneer whose legacy has been celebrated recently by both a high-profile podcast produced by the Obamas and a career-spanning box-set, The Best of the Black President, designed by Ghariokwu.

The Hungarian director’s films moved slowly like vast gothic aircraft carrier-sized ships across dark seas, giving audiences a feeling of drunkenness and hangover at the same time

• Béla Tarr, Hungarian director of Sátántangó and Werckmeister Harmonies, dies aged 70

The semi-official genre of “slow cinema” has been around for decades: glacial pacing, unhurried and unbroken takes, static shooting positions, characters who appear to be looking – often wordlessly and unsmilingly – at people or things off camera or into the lens itself, mimicking the camera’s own calmly relentless gaze, the immobile silence accumulating into a transcendental simplicity. Robert Bresson, Theo Angelopoulos, Joe Weerasethakul, Lav Diaz, Lisandro Alonso; these are all great slow cinema practitioners. But surely no film-maker ever got the speedometer needle further back to the left than the tragicomic master Béla Tarr; his pace was less than zero, a kind of intense and monolithic slowness, an uber-slowness, in films that moved, often almost infinitesimally, like vast gothic aircraft-carrier-sized ships across dark seas.

Audience reactions were often a kind of delirium or incredulity at just how punishing the anti-pace was, but – given sufficient investment of attention – you found yourself responding with awe, but also laughing along to the macabre dark comedy, the parable and the satire. A Béla Tarr movie gave you drunkenness and hangover at the same time. And people were often to be found getting despairingly drunk in his films.

In The Wizard of the Kremlin, Jude Law plays Russia’s president as a cool, reluctant leader, a strategist who got the job because he was young, athletic and a spy. This is a creation far removed from the man himself

Last year, speaking at the Venice film festival premiere of The Wizard of the Kremlin, based on a book about the rise of Vladimir Putin, actor Jude Law said he “didn’t fear any repercussions” over his portrayal of the Russian president. Law may be right, but not for the reason he thinks he is. The film aligns so closely with the mythologised version promoted by the Russian media that, domestically, it reads as a compliment rather than an affront.

The Kremlin and Russia’s pop-culture machine have long collaborated to craft a made-to-measure version of Putin that is far removed from the man himself: a political superhero without age or mistakes, a perfectly calculated strategist, a former spy reframed as a Russian James Bond who always knows more than he reveals.