Mischief Theatre is a wonder of modern commercial theatre. In 2008, a group of young actors who had met at drama school started the ensemble – writing, producing, directing and performing their own work.

The Beggar’s Opera: does any piece of music theatre promise more fun and deliver more tedium? Yes, it was the satirical smash of 1728; yes, it inspired Brecht and Weill; yes, with its combination of popular melodies and a topical script it was effectively the world’s first jukebox musical. I get all that.

A new film by Chris Morris ought to be an event. The agent provocateur of Brass Eye infamy has tended to rustle feathers and spark debate whatever he does. His last film, Four Lions, dared to find comedy in Islamic terrorism in 2010, when so many wounds were still so fresh. 

With The Laundromat Steven Soderbergh is trying to do for the Panama Papers what The Big Short did for the 2008 financial crash, namely offer an entertaining mix of explanation, exposé, black comedy and righteous anger. Sadly, it doesn’t come close. 

The excellent booklet essay by Michael Brooke that accompanies this Second Run release of Pavel Juráček’s second, and final feature (it’s presented in a fine 4K restoration) tells us much about the director’s importance for the Czech New Wave, that remarkable period of independ

Director Declan Donnellan has a rich record of working with Russian actors: his previous walk on the Slavic side, the darkly powerful Measure for Measure that came to the Barbican four years ago, was preceded by some magnificent versions of Shakespeare, Pushkin and Chekhov.

Like Snowpiercer before it, Bong Joon-ho’s rage-fuelled satire Parasite puts class inequality squarely in its sights.

Moments before Quentin Tarantino’s blistering, outrageous work screened at Cannes, a message was delivered on behalf of the director, asking reviewers to avoid spoilers. It’s easy to see why. There’s a lot of pleasure in the film’s initial shock value, So yes, let’s avoid spoilers. But the surprises aren’t what make this film so good. Tarantino has form when it comes to handling ensemble pieces, but not since Pulp Fiction has it been so richly rendered.

“The world is perfect. Appreciate the details” says a WU-PS driver played by RZA, in Jim Jarmusch’s gleefully meta zombie-comedy that has just opened the Cannes Film Festival. It’s good advice. Jarmusch’s latest work is a finely tuned, deadpan comedy that pulls no punches in sending up the clichés of the horror genre.

What could have been merely a cheap and cheesy piss-take registers as considerably more robust in The Last Temptation of Boris Johnson, journo-turned-playwright Jonathan Maitland's latest venture for his de facto home at north London's Park Theatre.