Tate Britain is currently offering two exhibitions for the price of one. Other than being on the same bill, Edward Burra and Ithell Colquhoun having nothing in common other than being born a year apart and being oddballs – in very different ways. And since both reward focused attention, this makes for a rather exhausting outing – I’m reviewing them separately – so gird your loins.

Who you going to call? Five films into the Ghostbusters franchise, every persuadable survivor from the ’84 original, plus the ad hoc, Paul Rudd-led Spengler clan introduced in the series-reviving Ghostbusters: Afterlife (2021). The low-key, humane, borderline dull result bears little tonal relation to that bombastic founding film.

The kitchen sink drama has been a standby of English theatre for 70 years or more, but not always with an actual sink on stage. But there it is, in an everyday home that harbours a secret or two in Clive Judd’s debut play, the winner of the 2022 Papatango New Writing Prize. 

A gothic aesthetic is very common in the left field of electronic/club music these days – but it tends to go with fairly extreme sounds: either industrial pummelling, or glitched-out “deconstructed club” as in artists like Ziúr.

It is near impossible to imagine what the world would look like today if slavery and colonialism had never existed, let alone to write a book on the subject. Courttia Newland sets himself this daunting task in his latest novel, A River Called Time.

Have you ever visited a destination you saw on film, only to realise it’s not quite how you imagined? Filled with tourists, the scars of mass visitation, and caught between its own culture and staying commercially attractive. The Thai city of Krabi is one such location, made famous by such films as The Beach and The Man with a Golden Gun. New release Krabi, 2562, from festival favourite directors Anocha Suwichakornpong and Ben Rivers, tackles these issues.

Sitting somewhere between Ruben Östlund’s The Square and Final Destination, Dan Gilroy’s Velvet Buzzsaw is a satirical supernatural thriller that goes for the jugular of the LA art scene.

Macbeth has rarely seemed quite as metrosexual as in this gorgeous shadow-painted production that marks Globe artistic director Michelle Terry’s first production in the Sam Wanamaker theatre.

The first Suspiria was a sensation, and spectacularly, monomaniacally new. Its young heroine Susie Bannon’s ride from an innately hostile airport through eldritch woods in which a panicked girl ran from her destination, the Markos Academy of Dance, as Goblin’s rock score gibbered and pounded at the senses, was hysterical, relentless film-making.

Watching Matthew Holness’ debut feature Possum, you’d be forgiven in thinking he was a tortured soul. Lead character Phillip (played by Sean Harris, pictured below) is a lean marionette of a man, prone to horrific flights of fantasy involving a human-headed spider puppet.