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Pirates of the Caribbean sails past Guy Ritchie's King Arthur at UK box office

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The latest instalment of the Johnny Depp franchise fights off sunny skies – and King Arthur: Legend of the Sword – with £5.24m, while Diary of a Wimpy Kid takes a road trip to second

With £5.24m including previews totalling £691,000, the latest Pirates of the Caribbean movie had no trouble dethroning King Arthur: Legend of the Sword to grab the top spot at the UK box office. How does that opening number measure up to previous instalments in the franchise?

Related: Where have all the summer blockbusters gone?

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Chloë Grace Moretz 'appalled and angry' over body-shaming poster

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The billboard for the actor’s new animated film Red Shoes and the 7 Dwarfs has attracted criticism for its beauty standards message

Actor Chloë Grace Moretz has spoken out against a promotional poster for her new film Red Shoes and the 7 Dwarfs, which has been accused of body-shaming.

The poster for the South Korean film, an animated parody of the Snow White tale, was first brought to widespread attention by a New York Magazine journalist at the Cannes film festival last week. It features two versions of the film’s lead character, one tall and thin, the other shorter and wider. The accompanying text reads: “What if Snow White was no longer beautiful and the 7 Dwarfs not so short?”

This Chloe Moretz cartoon also seems, uh, questionable pic.twitter.com/93ieRc9JnQ

I have now fully reviewed the mkting for Red Shoes, I am just as appalled and angry as everyone else, this wasn't approved by me or my team

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My Life As a Courgette review – a little miracle of tenderness

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Claude Barras’s Oscar-nominated debut, a lovely stop-motion animation set in a French orphanage, is expressive, subtle and beguiling

Here is a little miracle of gentleness, tenderness and intense, traditional Frenchness. It was an Oscar nominee for best animated feature earlier this year, losing out, probably unjustly, to Zootopia. The screenwriter Céline Sciamma has adapted the 2002 novel Autobiography of a Courgette by Gilles Paris for this beguiling stop-motion animation; director Claude Barras makes his feature debut.

Related: 'Ken Loach for kids': the mind behind My Life As a Courgette

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My Life As a Courgette and After the Storm: this week’s best films in the UK

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The innocence of childhood is captured perfectly in an animation about a care home, while a life-affirming drama highlights the intricacies of family life

A film about childhood that doesn’t treat viewers like children, this lovable stop-motion animation captures the hard knocks and innocent pleasures of childhood better than most live-action films. It’s set in a rural care home for orphans, where our hero is sent following the death of his alcoholic mother. But this is no Dickensian institution: refreshingly, it’s a place of communal healing.

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My Life As a Courgette review – if the kids are united...

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A young boy is sent to a children’s home in a frank and affecting animation about abused youngsters finding strength through solidarity

Last week, I swooned over Michaël Dudok de Wit’s The Red Turtle, a French-Belgian-Japanese co-production which was nominated for the best animated feature Oscar. Also recommended in that same category was My Life As a Courgette (or My Life As aZucchini in the US), a wonderfully affecting French-Swiss stop-motion masterpiece based on Gilles Paris’s book Autobiographie d’une courgette. Directed by feature first-timer Claude Barras from a screenplay by Girlhood writer-director Céline Sciamma, this tale of resilient children surviving abuse and abandonment may sound tough and unpalatable. Yet despite the spectre of parental alcoholism, drug addiction and worse, this beautifully tender and empathetic film addresses kids and adults alike in clear and compassionate tones that span – and perhaps heal – generations.

We first meet nine-year-old Icare, nicknamed Courgette, alone in his room, surrounded by crayons and empty beer cans, the detritus of a dysfunctional home life. Downstairs, his mother belches and curses at the television (“Liars! Filthy liars!”). A torn family photo establishes the absence of a father, a blank space on to which Courgette has projected fantastical dreams of a superdad. But after an altercation on the staircase (“I think I killed my mum”), he finds himself sent to a children’s home where, in the words of one resident: “We’re all the same. There’s nobody left to love us…”

Sciamma’s screenplay combines poignant observations about disrupted lives with laugh out loud discussions of sex

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Wonder Woman shakes off female superhero curse to top UK box office

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Comic-book adventure outruns Baywatch, while My Life As a Courgette struggles to compete with another animated film, The Red Turtle

While most summer blockbusters get a clear run at audiences on their debut weekend, the first frame of June 2017 proved an exception, with Wonder Woman competing head to head with Baywatch. Both films had the advantage of audience familiarity with their characters. Distinct appeal included variously a rare female protagonist and shirtless duo Zac Efron and Dwayne Johnson.

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My Cousin Rachel and Norman: this week’s best films in the UK

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Rachel Weisz stars in the latest Daphne du Maurier adaptation, while Richard Gere continues his revival as an old-school New Yorker chancer

Daphne du Maurier’s books continue to work well on screen (Rebecca, The Birds, Don’t Look Now), and it’s hard to think of a better proto-femme fatale for this Cornish mystery than Rachel Weisz. She arrives, shrouded in black, at the estate of her cousin with a reputation as a murderess and a seductress but, of course, the truth is more complex.

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Summer 2017's best movies: from Scarlett Johansson's hen night to Morrissey's teen years

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Pop’s great miserablist gets a biopic, Scarlett Johansson has stripper trouble, Charlize Theron explodes into ultraviolence, and Union deserter Colin Farrell shakes up a girls school during the US civil war

The first of the year’s two biopics about Sir Winston. The autumn will see Gary Oldman offering blood, sweat, tears and toil in Darkest Hour, but this take on the great man focuses on a less glorious period in his life: the run-up to D-day, when his misgivings about the invasion of Normandy were swept aside. Brian Cox makes for an impressively fragile, self-doubting Churchill, approaching his own political Waterloo at the 1945 general election.
• 16 June in UK; out now in US and Australia.

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Rock Dog review – off-key Sing knock-off makes up the numbers

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A guitar-playing Tibetan mastiff must prove himself in this shonky, haphazard animation that clearly couldn’t afford to get Jack Black involved

This makeweight, narratively haphazard digimation synthesises Kung Fu Panda and School of Rock, without going to the expense of hiring Jack Black. Guitar-toting Tibetan mastiff Bodi’s protection of a mountain sheep community proceeds via riffs and lifts: a furry Zootropolis-like menagerie, a robot knock-off of Wall-E and a Poundland reduction of the Sing songbook. (A few seconds of Foo Fighters and – unexpectedly – Radiohead is all we get.)

Going solo with shaky material, ex-Pixar man Ash Brannon (Toy Story 2) composes the odd amusing sight gag, but homogenises his notionally eastern backdrop terribly: compared with the artistry of last year’s Kubo and the Two Strings, Rock Dog is like the hastily assembled toy in a Happy Meal.

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The '50 films to watch before you're 11' – and what the list is missing

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A film education charity has compiled a list of movies to help turn kids into well-rounded cineastes. But is there too much Shrek and not enough otter murder?

There are 50 movies that your child should watch before the age of 11, according to the film education charity Into Film. These films, chosen by a panel of “leading film experts” (who presumably have a sideline in child development), are said to impact your child’s intellectual, emotional and educational development so keenly that they’ll grow up to be a better person as a result. Did they get it right?

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Can Coco breathe new life into Pixar – and make audiences tackle death?

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Disney’s animation studio has struggled to replicate the success of its golden decade that ended in 2012. Can a tale inspired by Mexico’s Day of the Day excite audiences?

If there is one moment in Pixar’s history that transformed the way we think about children’s animated films, it is the gorgeously rendered opening sequence of Up, showing Carl Fredricksen’s rich, colourful life prior to becoming a grumpy octogenarian. More specifically, it is the final, broken step taken by Carl’s wife Ellie – only minutes ago (in movie time) a young, vibrant child with adventure in her eyes, now suddenly a woman at the end of her life. For a moment, the movie allows us a kind of glimpse across the generations and into our shared humanity that is rare in grownup Hollywood cinema, let alone a kids’ movie.

Related: First trailer launched for new Pixar film Coco

Related: The most exciting family films of 2017

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In This Corner of the World review – 1940s Japan through the eyes of a teen

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A girl is married off to a boy she barely knows in this rich but unfocused anime

Set in and near Hiroshima during the second world war, this gentle but slightly unfocused anime looks at Japan through the eyes of an 18-year-old girl. Suzu (voiced by Non) is married off to a boy she hardly knows, but makes the most of her ordinary life. The film is particularly rich when it comes to the subdued rhythms and quotidian routines of life, and of Suzu’s culinary adventures. It’s less well developed when it comes to establishing Suzu as a well-rounded character.

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Steven Wright, master of meh: 'This is just how I talk. It accidentally went well with the jokes'

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The big-haired, sleepy-eyed standup is an Oscar-winner, one of America’s best-loved comedians and ‘a car that has no gears’. Now, his deadpan style has won him a perfect role in The Emoji Movie

There are answers, and there are Steven Wright answers. Who else – responding to questions over the phone from London to Rhode Island, where he loves to vacation – would compare owning an Oscar statuette to “seeing Neil Armstrong bouncing down your driveway as if he was walking on the moon”? Who else, reflecting on 38 years as one of America’s best-loved standups, would describe themselves as “a car that has no gears”. Wright elaborates: “I just started at an open mic night in the 1970s and I’m still going, still doing now what I started to do then. I know other people might look up to me. But really, I’m just me after a bit of time has gone by.”

That’s true, to a large extent: Wright’s comic style has remained remarkably consistent over four decades. But the 62-year-old isn’t being “just me” right now. He’s being an emoji, in an animated movie to be released this summer. That’s where the transformation ends, however, given that the deadpan-bordering-on-catatonic Wright has been cast as Meh, the only emoji characterised by a complete lack of emotion.

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Despicable Me 3 review – aspartame-rush animation that is starting to run out of steam

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The third helping of the blockbuster Despicable Me series featuring Steve Carell and Kristen Wiig makes all the right moves – but to incrementally less successful effect

The Despicable Me series has shown there is life outside Pixar and Disney, both commercially and artistically, in the blockbuster animation world, with its sentimental-querulous figurehead Gru (voiced by Steve Carell) and fondness for idiosyncratic grotesques. So here we are at number three – not counting, of course, the prequel-spinoff Minions, in which Gru’s babbling army of small yellow helpers took centre stage. While all the elements that brought the first two Despicable Mes inordinate popularity are present and correct, it might perhaps be churlish to suggest that the charm is beginning to wear off – just a tiny bit.

On the face of it, this third film simply extends the sentimental undertow of its predecessors. Having acquired children (in DM1) and a wife (Lucy, voiced by Kristen Wiig, in DM2), Gru this time discovers he has a twin, Dru (voiced, again, by Carell). Possessed of hair, a sunny outlook and substantial material possessions, Dru is pitched as the polar opposite to his surly, self-hating long-lost brother; he is also keen to re-establish the family tradition of supervillany – the very practice Gru has turned his back on. It’s only a matter of minutes before a heated sibling rivalry is raging.

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Watch the fur fly: why cat films are better than dog films

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Films with cats are cool and mysterious. Mutt movies are a soppy wet lick to the face. No surprise then which Hollywood favours

It is a truth universally acknowledged that not only are cats better than dogs, but cat films are better than dog films. Proof of this arrives on Friday with the release of Kedi, an Istanbul-set documentary by the first-time feature director Ceyda Torun. Kedi is named after one of several characterful cats whose daily lives feature in the film. The stories of these cats are fondly and reverently told by human acolytes, and the film is full of the kind of strange, profound moments of wisdom that only occur when staring into an animal’s inscrutable, calm eyes.

That’s in contrast to, say, A Dog’s Purpose, a film about a dog’s reincarnating spirit and its various sad-sack owners that was released earlier this year, amid controversy concerning leaked on-set footage of a visibly distressed German shepherd being dunked in running water. That film aimed for a similar sort of pet-based profundity, but fell far short. Peter Bradshaw described it as “sentimental” and “icily manipulative”.

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Steve Carell on Despicable Me 3: 'I think I'm naturally an evil person'

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Reformed supervillain Gru and his dungaree-sporting Minions are back for another instalment of the high-energy animated comedy. This time Gru attempts to recover a stolen diamond, while trying to resist being tempted back into evildoing by his brother Dru. The film’s stars Steve Carell and Kristen Wiig discuss what makes a good baddie and the enduring appeal of Dru’s diminutive sidekicks

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Wallace and Gromit creators share animation secrets – video

From Genocidal Organ to Your Name: Japanese anime‘s new golden age

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As the greats of the genre, such as Hayao Miyazaki, approach the end of their careers, a new generation of film-makers are transforming the genre. As the UK prepares for a deluge of acclaimed anime films, we look at the names in the frame

In 2013, Hayao Miyazaki faced a packed press conference. He said: “I’m really serious this time … My era of animation is over.” Could it be true? The 76-year-old film-maker, creator of cherished classics from My Neighbour Totoro to Spirited Away, is virtually a living god in his native Japan. Had his career come to an end? Actually, no, it hadn’t. As he has done many times before, Miyazaki came back out of retirement this year and is working on a new movie. But still, the end of the Miyazaki era is surely drawing closer.

Miyazaki’s position in the anime world could be likened to one of the giant, ancient trees he likes to include in his movies. He is the heart of the enchanted forest, the centre of the ecosystem, and Studio Ghibli, the company he cofounded, is overwhelmingly dependent on his output. Miyazaki’s movies have generated household-name characters, merchandisable properties and enormous domestic box office: he has directed five of the top 10 highest-grossing Japanese films of all time.

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In This Corner of the World review – delicately animated portrait of wartime Japan

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This affecting story of domestic life is beautifully realised with a feathery, watercolour palette of pale colours and fuzzy horizons

This slow-blooming but affecting, delicately drawn animated work tells the story of young Suzu (voiced as an adult by Rena Nounen), a sparky but relatively normal young woman who grows up on the outskirts of Hiroshima just before and during the second world war.

No doubt the mere mention of Hiroshima will spoil exactly where it’s all heading, but, before the bomb drops, director Sunao Katabuchi unfurls an engaging portrait of domestic life in pre- and wartime Japan as Suzu, who loves to draw, is married off to a guy she barely knows and comes to live in a strange new community.

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Despicable Me 3: sickly but fun

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The third outing for Steve Carell’s cartoon super-villain and co adds new elements to keep the franchise fresh

The Despicable Me franchise’s third outing (fourth if we are to count the prequel) sees the return of prickly reformed super-villain Gru (Steve Carell) and his army of Minions, bleating sentient kernels of Golden Nuggets cereal who wear goggles and, inexplicably, dungarees. What’s new are his long-lost twin brother Dru (also Carell), a shiny-haired billionaire with a palatial, pig-themed mansion modelled after the Sistine Chapel, and Balthazar Bratt (South Park creator Trey Parker), a prankish washed-up kids’ TV star who still sports the mullet and violet shell suit from his 1980s heyday. It’s all a bit sickly, but there are some fun set pieces involving little Agnes’s earnest search for a unicorn, “heist music” (Michael Jackson’s Bad) and some super-sticky, self-inflating bubblegum.

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