We're at a moment of change in games – new consoles, new ideas, new ways of playing. And what better game to usher out one era and in a new one than BioShock Infinite?

This first-person shooter is still wedded to the core mechanics of traditional big-budget console gaming, but layered on top of a core of classic run-and-gun is a series of innovations in terms of character, script, gameplay and scope of theme that point to exciting potential future directions for the next generation of games.

"Half-caste" and "mixed race" are terms that excite strong emotions. Are you black, are you white? Where do you belong? To whom do you owe your loyalties when the chips are down?

Let’s Kick Racism Out of Football. Show Racism the Red Card. Say No to Racism. Such are today’s campaign messages.  And then there’s the headline: “Colour Prejudice Problem” in a London newspaper.  However, the latter is dated September 1909, perhaps the first time that racism in football (and other sports) was headline news. So, the issue has been around for more than a century in this country and the player who brought it to light was Walter Tull. This is his story.

With its exuberant blood-spray, rambunctious dialogue and generous running time, Django Unchained is writer-director Quentin Tarantino’s first full foray into Westerns. Although it’s not a remake, it pays tribute to Sergio Corbucci’s 1966 Spaghetti Western Django, not only in name but in its use of the title song - which opens this movie as it opened that one - and in the fleeting appearance of the original's game star, Franco Nero (pictured below right).

Wow, what a lot of debuts. Adrian Lester (Hustle, Bonekickers, Merlin) makes his Tricycle Theatre debut in this new play about a black actor in Regency London, and it’s written by his wife, the actress Lolita Chakrabarti. The play is her first substantial piece, and it’s also the opener in the new regime of incoming artistic director Indhu Rubasingham, who directs. But is the play, which premiered last night, as redolent of greasepaint and plush curtains as its title implies?

We had Kevin MacDonald’s Bob Marley epic documentary earlier this year, and this is a similar film about another artist who became a symbol as much as a singer. I only saw Miriam Makeba in her sixties, by which time she had become a revered institution they called Mama Africa, as though she was the mother of an entire continent. This Storyville documentary took us back the amazing vibrancy and courage of her early years, with some terrific archive footage.

It was Lenin who realised early in the Russian Revolution that “of all the arts, film is for us the most important” and Hitler and Goebbels perceived the immense propaganda potential of the Olympics through the medium of film. The 1936 Olympic Games took place in Berlin a few months after Hitler’s armies occupied the Rhineland. Hitler spared no expense in making it the best organised and most efficiently equipped in the history of the Olympics.

Apparently it’s the taking part that counts, which would explain why recent weeks have brought unseemly howls of protest and threats of litigation from British athletes who have failed to make it into the Olympic squad. You’d like to sit these people with their adamantine sense of entitlement in front of a couple of this week’s releases. One we know all about. Chariots of Fire has jogged back along the beach and onto cinema screens in time to remind us about all our amateur yesteryears.

Athol Fugard's 80th birthday is being marked by four major productions in New York this year, two of which have come and gone. How has the London stage honoured this 11 June milestone in the life of the South African playwright for whom the personal and the political have become inextricably linked across the years? With nary a word, which is just one reason why Tony Palmer's hefty documentary about this man of letters and more (Fugard has worked as a novelist, poet and actor/director, not just as a dramatist) is especially welcome. And why it also feels frustratingly incomplete. 

Sing Your Song isn’t a showbiz biopic of the actor and singer, it’s a history lesson that revolves around Harry Belafonte and his tireless, long-term espousal of civil rights and socio-political causes. Belafonte is an incredibly important figure, a man whose place in history is assured. What’s less certain is who he actually is. “He took all our struggles and made them his own,” says Miriam Makeba. Sing Your Song suggests that the price Belafonte paid for making that choice is to be defined by the issues he pursues. There is no man any more, just the causes.