Scientists set out to investigate a potential role of the gut microbiota in the development of cardio-metabolic diseases. They ended up identifying the common cholesterol-lowering drug statins as a potential microbiota-modulating therapeutic.

This research shows how different populations of people share most of the genetic susceptibilities to developing type 2 diabetes but do have some different genetic variations that can make them more or less susceptible to developing the condition.

Your house number could be the key to the safe relaxation of COVID-19-related restrictions if governments follow a new exit strategy, which proposes the use of an 'odds-and-evens' approach to allowing people to head back to work and enjoy other activities after weeks of lockdown.

Clinicians from two hospitals in Boston report that the majority of even the sickest patients with COVID-19 -- those who require ventilators in intensive care units -- get better when they receive existing guideline-supported treatment for respiratory failure.

A new study found that life may be more stressful now than it was in the 1990s, especially for people between the ages of 45 and 64.

New research finds that sleep problems in a baby's first 12 months may not only precede an autism diagnosis, but also may be associated with altered growth trajectory in a key part of the brain, the hippocampus.

To avoid arsenic contamination, many Bangladeshi households access water via private wells drilled to 300 feet or less, beneath impermeable clay layers. Such clay layers have been thought to protect groundwater in the underlying aquifers from the downward flow of contaminants. However, a new study suggests that such clay layers do not always protect against arsenic, and could even be a source of contamination in some wells.

Scientists have revealed a novel mechanism through which the immune system controls autoimmunity and cancer. In the special focus of the researchers were regulatory T cells -- a type of white blood cells that act as a brake on the immune system.

The anti-cancer medicine venetoclax could improve the current therapy for estrogen receptor-positive (ER+) breast cancer, according to preclinical studies. The promising preclinical results for this 'triple therapy' have underpinned a phase 1 clinical trial in Melbourne, Australia, that is combining venetoclax with hormone therapy and CDK4/6 inhibitors in patients with ER+ breast cancer.

A new national U.S. survey finds that nearly 80 percent of respondents would be concerned about themselves or an expectant mother in their life in the midst of the current COVID-19 outbreak, with almost half expressing fear of going to a scheduled prenatal appointment.

A world-first study has demonstrated significant benefits to a premature baby's heart and brain function when held by the parent in skin-to-skin contact. Parent-infant skin-to-skin care (SSC) or kangaroo care, started in the late 1970s in Columbia when incubators to keep babies warm were not available. It is now widely recognized as a beneficial component of holistic care provided for pre-term infants.

From a veteran fire chief to a 93-year-old Holocaust survivor, over 71,000 people have died in the United States from the ongoing novel coronavirus pandemic.Those we've lost come from all backgrounds and walks of life and include the very people -- first responders and medical staff, who are working so diligently to stem the tide of the infection and care for the sick. Variously described as heroes, caring educators and loving family members, they will never be forgotten. ...

Jihadists burst into the gold mine where Moussa Tambura worked in Burkina Faso, forbidding everyone from smoking and drinking. “They attacked the site, killed people and burned houses,” said Tambura, 29, clenching his fists. Jihadists linked to al-Qaida and the Islamic State organization have been overrunning gold mines like Tambura’s one by one as they try to gain control of Burkina Faso’s most lucrative industry.

As novel coronavirus spreads throughout the United States, millions of Americans are spending more time at home.MORE: Here's everything coming to Disney+ in AprilBut whether you're doing so because of a job loss, working from home situation or otherwise taking part in the mass effort to stay safe, chances are you've been bored once or twice while living under quarantine.Thankfully, some very talented people have been creating extra-special performances and experiences that you can enjoy to help you cope with the new normal and that don't break any social distancing rules. ...

French Resistance member Cecile Rol-Tanguy, who risked her life during World War II by working to liberate Paris from Nazi occupation, has died. Rol-Tanguy died on Friday at her home in Monteaux, in central France, as Europe commemorated the 75th anniversary of the surrender of Nazi Germany to Allied forces. The cause of her death was not disclosed by French officials.

JOHANNESBURG -- The dealer had a stash, but the young woman wasn't getting through the door without an introduction. That's where her friend, already a trusted customer, came in. And even then there were complications.The woman wanted Stuyvesants. The dealer had Courtleighs. But in a South Africa where the sale of cigarettes is newly illegal, quibblers risk nicotine fits.She took the Courtleighs and high-tailed it out of there."I feel like I'm buying cocaine," said the woman, 29, who asked not to be named for fear of being fined or arrested.In late March, in the midst of the coronavirus outbreak, the South African government banned the sale of tobacco and alcohol as part of a broad lockdown -- one of the strictest anywhere. But even as the government has begun rolling back the lockdown, the bans remain in effect.A government minister, Nkosazana Dlamini-Zuma, cited "COVID-19 reasons" for maintaining the ban.Dlamini-Zuma, a doctor who served as health minister in the 1990s and is now cooperative governance minister, said that "besides the effects itself on the person's lungs," there were concerns that smoking could promote coronavirus infection."The way sometimes tobacco is shared does not allow for social distancing," she said, "but actually encourages the spread of the virus."Defending the ban of alcohol sales amid cries of protest from the liquor industry, President Cyril Ramaphosa said alcohol was "a hindrance to the fight against coronavirus.""There are proven links between the sale and consumption of alcohol and violent crime, motor vehicle accidents and other medical emergencies at a time when all public and private resources should be preparing to receive and treat vast numbers of COVID-19 patients," the president said in a statement.The government has also cited the risk of domestic violence in households where families are isolated at home.Perhaps not surprisingly, an underground market in both cigarettes and alcohol quickly sprung up.Like bootleg markets everywhere, it relies on word-of-mouth, as the 29-year-old woman who settled for the Courtleighs soon learned.She made her purchase in a suburb of Vereeniging, a city south of Johannesburg, where dealers are said to sell only to buyers referred by someone they know. And they sell only from their homes to avoid driving around with large quantities of cigarettes, since if they were to be caught at one of the dozens of police roadblocks set up around the country, they could be arrested on the spot.Instead, the smoker carries the risk -- and the cost. A pack of 20 cigarettes now goes for upward of 150 rand (about $8), three times the old legal price. Underground alcohol prices have also skyrocketed. A bottle of low-end vodka that usually sells for 120 rand ($6) now sells for at least 400 rand ($21).South Africa lifted its nationwide lockdown on May 1 but is continuing to implement strict social distancing and face mask rules. Already under siege from HIV, the country has around 8,200 confirmed cases of the coronavirus and has reported about 160 deaths.The country had implemented one of the world's most stringent lockdowns after recording its first coronavirus-related death in March. In addition to banning the sale of cigarettes and alcohol, the regulations banned jogging and dog-walking, and shuttered parks.Before the lockdown, with a ban looming, some smokers stocked up on cartons of cigarettes. But when the ban on cigarettes was extended beyond May 1, things for smokers began to grow tense.Now it's a matter of who you know. The cafe owner willing to slip a box under a container of milk, perhaps, or a supermarket cashier willing to steal and resell cigarettes languishing in the storeroom.In one Pretoria township where everyone knows everyone -- including the police -- few dare sell cigarettes from their homes. Instead, dealers hide among young men milling around on the neighborhood corner.A 23-year-old smoker said that when he saw a group of four men sharing a cigarette, he approached them to find out where they had found the contraband. They just so happened to be selling, they told him.Desperate after a failed attempt to quit smoking, he said, he paid 160 rand for his favorite brand and "ran home," where he took a photograph of the sealed pack, planning to share it on WhatsApp with envious fellow smokers.But when he opened the pack, a cloud of sawdust choked him. There was not a cigarette to be found.Smokers say they are finding fake cigarettes in sealed boxes that look exactly like legitimate brands. And those who are desperate enough are buying unknown brands that have appeared during the lockdown, with names like Pineapple and Chestel, and are notorious for inducing immediate coughing.The tobacco industry has not taken kindly to the government's new policy.The ban has fueled an underground cigarette trade that was thriving even before the lockdown. By some estimates, it made up more than 30% of the market, depriving the above-ground tobacco industry of profit and the government of tax revenue.Now both industry and government are losing even more.The country's largest cigarette manufacturer, British American Tobacco South Africa, at one point threatened legal action if the government did not drop its ban, but Wednesday changed course. "We have taken the decision not to pursue legal action at this stage," it said in a statement, "but, instead, to pursue further discussions with government."The company said, "We are convinced that by working together we can find a better solution that works for all South Africans and removes the threat of criminal sanction from 11 million tobacco consumers in the country."The ban on cigarettes and alcohol has set off a debate on civil liberties in a country with one of the world's most liberal constitutions. While South Africa was an early adopter of public smoking regulations, many see the bans as a symbol of government overreach.Though its coronavirus policies may have succeeded in keeping the outbreak in check, some are calling the government hypocritical. Junk food remains readily available. And officials strictly limited outdoor exercise during the lockdown.In a country increasingly struggling with diabetes and obesity, such inconsistencies undercut the government's argument that it is guarding the public's health, said one South African constitutional law expert, Pierre De Vos."In the long term, if the government overreaches and it wants to continue imposing these limits when the threat has subsided, I think the courts will invalidate this," he said.Still, the ban may have yielded at least one former smoker: the man who bought the box of sawdust."I cannot just go around losing money like that," he said. "I just said to myself, 'Nah, man, it's not worth it. I'll stay home and eat sweets, as that's what's legal now.'"This article originally appeared in The New York Times.(C) 2020 The New York Times Company

The novel coronavirus pandemic has now killed more than 275,000 people worldwide. Over 3.9 million people across the world have been diagnosed with COVID-19, the disease caused by the new respiratory virus, according to data compiled by the Center for Systems Science and Engineering at Johns Hopkins University. The actual numbers are believed to be much higher due to testing shortages, many unreported cases and suspicions that some governments are hiding the scope of their nations' outbreaks.

The tech giant has often been accused of mistreating workers, but our desire for instant gratification is part of the problem

Tim Bray resigned as an Amazon vice-president last week. “Who he?” I hear you say. And why is this news significant? Answers: first, Bray is an ubergeek who’s an alumnus of many of the outfits in tech’s hall of fame (including DEC, Sun Microsystems, the OED project at the University of Waterloo, Google’s Android team and, eventually, Amazon Web Services); and second, he resigned on an issue of principle – something as rare as hen’s teeth in the tech industry.

In his blog, he wrote: “I quit in dismay at Amazon firing whistleblowers who were making noise about warehouse employees frightened of Covid-19.” It was an expensive decision. Bray said the decision to resign would probably cost him more than a million dollars in salary and shares, and that he regretted leaving a job he enjoyed, working with good colleagues. “So I’m pretty blue.”

To campaigners’ dismay, the UK’s biggest hubs, Heathrow and Gatwick, are pushing on with plans to increase capacity

Christine Taylor has lived her entire life in the shadow of London’s Heathrow airport, her childhood bedroom affording a view of one of its two runways. She grew up in Sipson, a village that can trace its history back more than 1,000 years, but now sits immediately north of Britain’s busiest airline hub.

Now living a mile to the east in Harlington, Taylor, 62, is experiencing a rare moment of quiet, thanks to the dramatic reduction in air traffic caused by the coronavirus pandemic.

Desmond Mombeyarara, 34, was with his son when officers shot him with a stun gun

Anti-racism protesters have gathered outside a petrol station in Greater Manchester to demonstrate against the stun gun shooting by police of a black man in the company of his distressed son.

Desmond Mombeyarara, 34, was shot with a stun gun by police on Wednesday evening after officers stopped him for allegedly speeding.

Excellent film-maker that he is, Watiti seems to fit the Marvel blueprint far more easily than he does Star Wars’ more venerable, old-school template

When entertainment reporters play Hollywood roulette, the practice of attaching directors and stars to forthcoming movies based on little more than rumour, their little white balls nearly always seem to land on Taika Waititi’s number. If you’ve been keeping a close eye on this column over the past year, you’ve probably spotted the white-hot Kiwi director being touted for a remake of Flash Gordon and the next Deadpool movie among other projects, neither of which have yet come to fruition.

Waititi’s next film, according to reports this week, will be a Star Wars episode. Will he end up making it to the first day of production on this one? The chances seem better, as Disney has officially confirmed the appointment via the space saga’s official website, with 1917 co-writer Krysty Wilson-Cairns helping deliver a script. But this is Star Wars we are talking about – Colin Trevorrow, Josh Trank, Phil Lord and Christopher Miller, David Benioff and DB Weiss are among the numerous film-makers who have cheerily signed up to try to bring back the glory days of the long-running series in recent times, only to ultimately fall foul of Lucasfilm president Kathleen Kennedy’s merciless Force choke.

Julia Garner excels as a junior assistant to a predatory media mogul boss in Kitty Green’s powerfully understated #MeToo drama

A performance of few words but immense physical eloquence by Julia Garner anchors this impressively chilling #MeToo-era drama about workplace harassment and abuse. Following a day in the life of a young woman with dreams of making her mark in the film and television industry, it’s a sobering portrait of a dirty little secret that was brought into the news spotlight by the Harvey Weinstein scandal. All the more powerful for its understated tone, this low-key piece packs a hefty punch as it exposes the web of silence that enabled a very modern horror story.

Garner (who won an Emmy for her work on TV’s Ozark) is Jane, a high-achieving college graduate who finds herself on the bottom rung of the ladder as a junior assistant to an unnamed entertainment mogul in New York. The appointment may hold promises of great opportunities ahead, but for now it’s fairly soul destroying. An opening sequence, played out to the lonely strains of Tamar-kali’s sparse score, finds Jane being driven to the office before dawn, turning on the lights above her colleagues’ desks – first in, last out. Her tasks are menial yet weirdly demanding: making coffee, changing the paper in the photocopier, ordering lunch, and arranging travel and accommodation for an ever-changing roster of offhand executives and needy clients.

The star of M*A*S*H, The Long Goodbye – and more recently, Friends – talks about drugs, his fiery marriage to Barbra Streisand and getting his best reviews from Groucho Marx and Muhammad Ali

The best review ever received by Elliott Gould – renowned actor and star of M*A*S*H and The Long Goodbye; not to mention, Ross and Monica’s dad on Friends – was from Groucho Marx. The two of them had become close in the comedian’s latter years – so close, Gould says, “he used to let me shave him”. One day Marx asked Gould to change a lightbulb in his bedroom. Gould took off his shoes, stood on the bed and replaced the broken bulb. Marx told him: “That was the best acting I’ve ever seen you do.”

Gould, now 81, has been telling the story for decades – but it is clear even in our pixelated video call that it still delights him. “Isn’t that great?” he says, his distinctive nasal, New York baritone now deepened with age. As we speak he is sitting at a computer at a friend’s house in Los Angeles, relaxed in a blue hoodie, with a seemingly bottomless mug of coffee before him. In isolation on either side of the Atlantic, neither of us has anywhere to be. And after more than half a century in Hollywood, in which he went from leading man to exile and, eventually, fixture – Gould could fill days, not just hours, with his stories. Even without his eight-year marriage to Barbra Streisand.

He’s played a revolutionary hero, a horny teen – now Gael García Bernal is a reptilian choreographer in Ema, and locked down in Mexico city. Just don’t ask him to move to LA when all this is over

At the start of the century, the director Alfonso Cuarón was casting Y Tu Mamá También, the bawdy but plangent road movie he had written with his brother Carlos about two oversexed Mexican teenagers, the wealthy Tenoch and his poorer, grungier friend Julio. “Alfonso called me very excitedly,” recalls Carlos Cuarón. “He said: ‘I know who’s going to play Julio! I’ve seen him in Alejandro’s movie.’” Alejandro González Iñárritu, that is, whose ferocious dog-fighting drama Amores Perros was about to be released. “I said: ‘No, no, I’ve found Julio; I saw the perfect actor in this short film, De Tripas, Corazón. He’s incredible: his eyes, the way he manages silence ...’”

Eventually, the brothers realised they were talking about the same person: Gael García Bernal, who was then just 21. The son of theatre actors, he had become a star in his early teens on the Mexican soap opera El Abuelo y Yo (Grandpa and I) before decamping to London to study at the Royal Central School of Speech and Drama. Iñárritu plucked him out mid-term for Amores Perros and he stole that movie as the twitchy-hipped tearaway who was every bit as feral as his champion rottweiler. His mutable features could switch from cherubic to lupine to gravely smouldering; his nerve endings felt exposed like frayed electrical wires.

In Céline Sciamma’s Portrait of a Lady on Fire, we finally steer away from seeing intimacy through the male gaze

The portrayal of lesbians in mainstream cinema tends to involve prosthetic vaginas and gratuitous sex scenes; so Céline Sciamma’s Portrait of a Lady on Fire comes as a breath of fresh air. It is the story of the burgeoning relationship between two young women – emancipated artist Marianne (Noémie Merlant), who is commissioned to paint a portrait of sexually repressed Héloïse (Adèle Haenel), leading to a heated romance.

On paper, it looks like the classic lesbian cinematic narrative – there is a buildup of tension, they finally kiss, and then their possibility of a future together seems doomed. However, what makes Portrait of a Lady on Fire different is its heightened self-awareness. The film is constructed with lesbian representation in mind through careful interrogation of the lesbian gaze. There is a lot of looking. Marianne looks at Héloïse because she has to secretly paint her, and Héloïse looks at Marianne out of curiosity. Eventually, there is a shift in the way they start looking at each other – out of desire.

A princess seeking revenge after her royal privileges are revoked? A drifter trying to get away from her awful father? Or maybe a guardian of Captain Britain?

Now that Meghan Markle has had her royal purse strings cut, the time has come for her to prove that she is capable of making a living on her own merits. And, ever the everywoman, it has been reported that Markle’s first step is exactly the same one that we’d all make upon finding ourselves suddenly short of money – she has instructed her agent to find her a role in a superhero film.

At this point it’s best to assume that she’s looking for something more substantial than her pre-royal movie career offered; she won’t want a made-for-TV superhero movie, or to appear in a single scene of a larger film as a nameless woman whose only purpose in the universe is to give the middle-aged leading man something to absent-mindedly flirt at. So, who should she play? Luckily, as crowded as the superhero genre currently is, there is still plenty of untapped potential for her. Here are my suggestions.

From his fateful game of chess to a moving turn in The Diving Bell and the Butterfly, Von Sydow was the last standard bearer of Bergman’s high-minded movie idiom

•Max von Sydow dies aged 90
•A life in pictures

The opening of the seventh seal in the Book of Revelation, disclosing the truth of God’s existence and the second coming, will result in a mysterious silence in the kingdom of heaven – then the sound of trumpets and the thunderous uproar of Earth’s apocalyptic ending. In the movies, no actor has ever represented these ideas more seriously, nor shown humanity’s anguish in the face of God’s implacable silence or unassuageable anger more clearly, than Max von Sydow. He was virtually a book of revelation in himself.

The passionate severity of Von Sydow – and his ability to impersonate the ascetic nobility of some impossibly remote priestly or knightly order but with very human flaws – formed the bedrock of Ingmar Bergman’s The Seventh Seal and the staggering series of films he was to make with Bergman in the 1950s and 1960s. Beyond that, he virtually epitomised an entire, distinctively high-minded attitude to cinematic art in Europe. His films for Bergman were composed in a movie idiom that drew on Ibsen and Strindberg, Sjöström and Dreyer – and of which, since Bergman’s death in 2007, Von Sydow could be said to be the final standard bearer.

Despite having made 130 more films – including six Tarantinos – Jackson trails king of the curse word Hill. But then he wasn’t in The Wolf of Wall Street …

With the movie industry shut down due to coronavirus, now is a valuable time for us to look back and properly examine the attraction that we have to certain figures. Are we drawn to Tom Hanks because he exudes a sense of benevolent paternalism that we tend to find subconsciously appealing? Do we flock to Marvel films because we seek the clarity of a good-v-evil dynamic in a world where those are becoming increasingly opaque?

And why do people go and see Jonah Hill films? Seriously, why?

Alan Yang’s film about the lack of understanding between generations strikes a chord, and is so relevant as coronavirus racism spreads

• Read all the Lockdown watch films here
• The best arts and entertainment during self-isolation

Inflamed by President Trump’s casual phrase “Chinese virus”, anti-Asian sentiment is erupting all over the world. As a British-Vietnamese person who has been spat on because of the colour of her skin, the film Tigertail is a glimmer of hope – a way of showing the truth, and connecting Asian communities at a time when panic and misinformation serve to break us apart. Alan Yang’s multi-generational love story Tigertail weaves in Yang’s cultural self-discovery and features memories of Taiwan, as experienced by the protagonist Pin-Jui. Weighted against the present tide of anti-Asian bigotry, this tender story about honesty and lost love is more relevant than ever.

“American culture has been negligent in portraying Asian-American people as fully realised human beings,” Yang told the Deadline podcast. Yang, who worked on Parks and Recreation before co-creating Master of None, recalled the trepidation he felt in the early days of his career, in a cultural landscape where east Asians were rarely represented, or stereotyped as hardworking automatons. Yang said he had felt restricted to using only white characters in his early pilots, fearing that all-Asian or Asian-American scripts would never be accepted. But this was before the film successes of Crazy Rich Asians, The Farewell and Parasite brought real Asian faces to mainstream culture.

With cinemas closed and major titles delaying their release, the Academy has changed its rules to welcome some streaming titles. Will they regret it?

‘What about the Oscars?” might not be the question at the top of your mind as you consider the manifold uncertainties raised by the coronavirus pandemic. A Hollywood awards ceremony scheduled for the end of February 2021, one might think, has fewer immediate concerns than most cultural institutions do right now. Yet panic has been rising within the Academy: the show itself may go on, but with cinemas closed for the foreseeable future and dozens of major titles either rescheduling or indefinitely delaying their release dates, will it have have enough standout films to celebrate?

For some weeks now, the joke around the industry has been that Leigh Whannell’s hit psychothriller The Invisible Man – one of the few popular and critical successes to be released in the year’s early months – may as well collect its gongs now. But a crucial rule change announced on Tuesday by Academy CEO Dawn Hudson and president David Rubin has ensured that it will face some competition after all, even if its rivals never see the inside of a cinema.

Mark Lawson and Dan Milmo discuss the sustainability of the streaming service. Plus: Lara Spirit on why you should register to vote before Tuesday’s deadline

Netflix has risen from obscurity to be one of the most powerful media companies in the world with more than 150 million global subscribers. It has launched critically acclaimed hits such as House of Cards, The Crown and Unbelievable, as well as showcasing the back catalogues of popular television series. But as part of its rapid growth, the company has racked up huge debts.

Joining Anushka Asthana to discuss the long-term sustainability of Netflix are the TV critic Mark Lawson and the Guardian’s deputy business editor Dan Milmo.

Wagner Moura and Ana de Armas give strong performances in a mostly effective retelling of the life and tragic death of a celebrated Brazilian diplomat

There’s an old school charm to Sergio, documentarian Greg Barker’s narrative portrait of UN diplomat Sérgio Vieira de Mello, a dramatic retelling of a life he already brought to the screen in a 2009 documentary of the same name. Barker’s knowledge of Sérgio’s life and accomplishments is backgrounded by a clear respect for who he was and so while the film is factually detailed, as one would expect, it’s also rooted in a desire to showcase his humanity, both in and out of work, with Barker deciding to lean into full-tilt romantic tragedy, perhaps also as a way of differentiating his two Sergios.

Related: Love Wedding Repeat review – laboured Netflix romcom farce

This uncanny story of preppy drug dealers has a touch of Heathers and a bit of Bret Easton Ellis, and an intriguing take on what high school is really like

Tayarisha Poe, like her partial namesake, has a gift for the uncanny. She is the photographer and film-maker behind this feature debut, which began as an online multimedia project and was developed as a conventional movie through the Sundance screenwriters and directors labs. What has emerged is an intriguing, opaque, tonally elusive story that seems weirdly unfinished. It is set in a privileged high school – a world of ivy-covered stone buildings and shady quadrangles where rich kids are separated into malign and mutually hostile cliques. It has a touch of Donna Tartt and Bret Easton Ellis, a hint of Heathers and a bit of the elegant, disdainful satire of Dear White People.

Somehow, though, it is odder, more stylised and contrived, always holding out the possibility that it is set in the future, or in an alternative present on some other planet, or inside the head of one of its characters who is having a disturbing dream – the kind that ends just as it is about to give up its meaning. Right until the closing credits, I half-expected the face of each person on screen to flip upwards, revealing a Stepford-like set of dials.

An affectionate and absorbing documentary from film-maker Rachel Mason about her devout parents, who ran a famous adult bookstore in early-80s LA

Here is a documentary with an absorbing and unexpectedly complicated story to tell, whose paradoxes and sadnesses are not entirely resolved by the end. Artist and film-maker Rachel Mason has created an affectionate portrait of her elderly parents, Karen and Barry, who in many ways are like one of the (fictional) old couples in When Harry Met Sally.

Karen is a former journalist, devoutly Jewish, and Barry is a former special visual effects engineer who worked on Stanley Kubrick’s 2001 and invented a modification for kidney dialysis machines. But they found themselves in a tough financial spot in the early 1980s and took over Circus of Books, a gay porn bookstore in Los Angeles that also sold movies called things like Confessions of a Two Dick Slut and Don’t Drop the Soap, and was one of Larry Flynt’s first distribution points. Under their shrewd management, the store boomed, opened another branch and became a well-known meeting place for LGBT people, while all the time, the Masons were a conventional family who kept their three children well away from the business. Karen movingly – and honestly – recounts how upset she was to discover that one of her sons was gay: the business and family life were that separate.

Ad-Rock and Mike D host a convivial trip down memory lane in this filmed record of a live show staged in tribute to third member Adam Yauch

The release of this documentary coincides with #MeAt20, a heart-twisting craze on social media for posting pictures of yourself at 20 years old. Middle-aged people’s timelines are speckled with funny, sweet and sometimes unbearably sad images of themselves in unlined, unformed youth, doing goofy things in milky analogue pictures from back when you had 12 or 24 exposures on your roll-film camera and getting them developed at Boots was a pricey business. That’s what I thought of while watching this engaging, oddly moving film from Spike Jonze: a record of the live stage show he devised at the Kings Theatre in Brooklyn, New York, in tribute to white hip-hop stars and tongue-in-cheek party-libertarian activists the Beastie Boys. It is presented by the two surviving members, Adam Horovitz and Michael Diamond, in tribute to the third member, Adam Yauch, who died of cancer in 2012. Jonze is reuniting with the band after having directed a string of their music videos, including the crime-TV spoof for their single Sabotage in 1994.

Horovitz and Diamond amble on stage, apparently dressed head-to-toe in Gap, and appear for all the world to be about to unveil the iPhone 4S, although actually their jokey anecdotalism makes the show in some ways like the regional tours once presented by George Best and Rodney Marsh. With amiably rehearsed back-and-forth banter, they introduce the embarrassing photos and excruciating TV clips that are shown on a big screen. And the effect of seeing them juxtaposed with the plump-faced frizzy-haired imps of 1986 is startling and bizarre. In the present day, the advancing years seem to have boiled away the badass attitude, leaving behind the quirky humour.

A manic pre-summer caper skirts near dark territory but remains a mostly kid-friendly tale of an unusual family

A year after Sony’s wonderfully inventive Into the Spider-Verse became the first non-Pixar/Disney/Dreamworks film to win the best animated feature Oscar since 2011, the race was again populated by outliers. Frozen 2 was snubbed and instead Laika crept back into the spotlight with Missing Link (after winning the Golden Globe) and Netflix snuck in with two originals – Klaus and I Lost My Body – marking the streamer’s first time breaking into the pack. While Toy Story 4 might have ultimately won out, the lineup continued to reflect both a widening field and an embrace of more left-field choices, a much-needed jolt of energy in what used to be a two-horse race.

Related: Trolls World Tour review – eyeball-frazzling sequel offers same again

Chris Hemsworth plays a super-tough mercenary on an all-guns-blazing mission to rescue a crime lord’s kidnapped son

Sadly, this has nothing to do with dentistry. Extraction is a made-for-Netflix action thriller from veterans of the Marvel Comic Universe – screenwriter Joe Russo, stunt-specialist-turned-director Sam Hargrave and star Chris Hemsworth. It’s based on the graphic novel Ciudad (which Russo co-authored), transferring the action from the Paraguayan city of Ciudad Del Este to Dhaka in Bangladesh.

Extraction is a little bit hokey and absurd, and the very end has an exasperating cop-out – but it has to be admitted that, in terms of pure action octane, Russo and Hargrave bring the noise, and there are quite a few long-distance “sniper” scenes in which people get taken out from miles away as the bullet travels through their skulls with a resonant thoonk.

A visually distinctive, semi-effective Canadian thriller pits a First Nation community against a zombie invasion

Given how movies about the undead refuse to die, a tweak on what’s become a decaying formula is always a welcome surprise, especially if said tweak involves a little more than “what about zombies but strippers”. Back in the 60s, and at rare times since, the zombie subgenre has been used as a way of sneaking social commentary into horror, the set-up of an invading force destroying a community allowing for a range of sly metaphors.

Related: 'I'm indigenizing zombies': behind gory First Nation horror Blood Quantum

This heartwarming documentary traces the lives of a baseball star and her partner, now in their 90s, who pretended to be ‘just good friends’ for decades

This documentary from Netflix is a real heart-soother. Directed with tremendous sensitivity and intimacy by Chris Bolan, it’s a love story about two women now in their 90s – Terry Donahue and Pat Henschel, who have been together since the 1940s.

For decades they kept up the pretence of being “just good friends” to their families before finally coming out a few years ago. Talking to outsiders, they still describe each other as “cousins”. The legacy of shame and fear among older people in the gay community is explored in the film, but the overwhelming mood here is love.