The Hollywood star – who had been nominated for multiple Oscars but never previously won – was honoured at the Academy’s annual Governors awards, along with Dolly Parton, Wynn Thomas and Debbie Allen

Tom Cruise finally received an Oscar on Sunday night in Los Angeles – though not for a specific acting role. The star of Top Gun, Jerry Maguire and the Mission: Impossible series was given an honorary Academy Award at the annual Governors awards, which are designed to reward lifetime achievement.

In a statement before the event , Academy of Motion Picture Arts and Sciences (Ampas) president Janet Yang cited “Cruise’s incredible commitment to our film-making community, to the theatrical experience, and to the stunts community has inspired us all”. Recalling his efforts to shoot the seventh Mission: Impossible in 2020 , Yang added that Cruise “helped to usher the industry through a challenging time during the Covid-19 pandemic”.

The 26-year-old’s debut album I Love My Computer has already netted her some of Australia’s most prestigious prizes – and it’s all about the delight and depravity of growing up on the internet

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Ninajirachi is having a dream run with her debut album I Love My Computer – and between leading this year’s Aria nominations with eight nods and the rapturous crowds at sold-out shows, she knows it.

“I want to live up this one before I move on, because it might be hard to come back to this headspace and time,” says Nina Wilson. “I don’t want to rush into the future.”

The director has taken fresh aim at the new film, saying that producer Seth MacFarlane ‘totally missed’ the spoof-comedy style that defined the original Naked Gun franchise

Original Naked Gun director David Zucker has gone back on the attack over the recent reboot starring Liam Neeson, after appearing to soften his tone in the wake of its release.

In an interview with Woman’s World , Zucker said that Seth MacFarlane, producer on the new Naked Gun and previously director and co-writer of the Ted movies “totally missed” the spoof-comedy style that Zucker, along with collaborators Jerry Zucker and Jim Abrahams, made famous in Airplane! and the three original Naked Gun films.

Sofie Benoot’s film opens out from the film-maker’s medical problem to a diverting reflection on humankind’s deep roots in ancient minerals

The elegant, humorous, susurrating Welsh voice of Siân Phillips sets the keynote for this whimsical essay documentary from Belgian film-maker Sofie Benoot about the nature of rock and stone, and the mysterious interrelation between our bodies and the landmass of Earth.

Benoot’s starting point is the kidney stone that has just been removed from her body, an intriguingly smooth and worn pebble; it’s a personal event she assigns to her offscreen alter ego, voiced by Phillips. This quasi-fictional narrator musingly notes that once upon a time she provided the voice for nature documentaries; quite true, Phillips has indeed narrated some nature documentaries, which appears to be the reason why Benoot cast her.

EFG Jazz festival, Royal Festival Hall, London
The pioneering 81-year-old vibes player, keyboardist and percussionist creates a controlled whirlwind of experimentation and excitement

Absolutely nothing about this set feels predictable: at 81, Mulatu Astatke is still pushing the boundaries of genre. Even on his farewell tour, there is no easing in, either. The father of Ethio-jazz and his band immediately play Tsome Diguwa as if conjuring a thunderstorm, which in turn crashes straight into Zèlèsègna Dèwèl, a piece written in the 4th-century Ethiopian tradition, its harmonic minor tonality sounding almost Arabic.

Astatke has a serious demeanour. Unsentimental, he speaks only to introduce songs or instruct the band like a schoolteacher. But he views his vibraphone with care and bewilderment, playing with intense familiarity yet almost as though discovering it for the first time. His fascination with his instrument holds the audience captive in turn. During Yèkèrmo Sèw – which fittingly translates to “a man of experience and wisdom” – Astatke’s solo fills the room, water-like in its shapeshifting.

As the author publishes a new story collection, we rate the work that made his name – from his dazzling Booker winner to an account of the 2022 attack that nearly killed him

“It makes me want to hide behind the furniture,” Rushdie now says of his debut. It’s a science fiction story, more or less, but also indicative of the sort of writer Rushdie would become: garrulous, playful, energetic. The tale of an immortal Indian who travels to a mysterious island, it’s messy but charming, and the sense of writing as performance is already here. (Rushdie’s first choice of career was acting, and he honed his skill in snappy lines when working in an advertising agency.) Not a great book, but one that shows a great writer finding his voice, and a fascinating beginning to a stellar career.

From flood protection and encouraging wildlife to fixing doors and reducing fuel bills, a new initiative aims to empower residents and make their homes more comfortable

Link Road is home to an unassuming row of Victorian terrace houses in Ladywood, a deprived district of inner-city Birmingham . But inside one of these two up, two downs, a domestic revolution is happening.

At No 33 Link Road, a property bought by community group Civic Square and named Retrofit House, it’s open week. Events include a series of talks, classes and performances – there’s a timetable pinned by the front door so you know when to head to the back bedroom to learn about biomaterials or into the garden for a workshop on mending doors.

Igor Bezinović uses local residents of what is now Rijeka in Croatia to re-stage the vainglorious Italian protofascist’s ragtag takeover of the Adriatic port city

This intriguing documentary from Croatian film-maker Igor Bezinović is partly a comic opera and partly a chilling message from the past. It is about Bezinović’s hometown of Rijeka, a port on the Adriatic which after the first world war was the site of one of the 20th century’s strangest episodes, whose key moments the director stages through re-enactments with locals. The film is in effect a protofascist Passport to Pimlico .

In 1918, this city, with its significant ethnic Italian population, was known as Fiume and was formerly ruled by the recently destroyed Habsburgs. After the war it was not absorbed into the victorious Italian nation as many expected but left under the control of the Kingdom of Serbs, Croats and Slovenes (whose name was later changed to Yugoslavia). Enraged by this betrayal, hothead Italian aristocrat, poet and cocaine addict Gabriele D’Annunzio led a bizarre insurgency with 186 mercenaries or “legionaries”, with whom he carried out a sub-Napoleonic landing in Fiume and established it as a kind of pro-Italian city state under his absolute control.

The latest in our ongoing series of writers highlighting their most rewatched comfort movies is a trip back to 1980s London and the predatory music industry

I used to watch Breaking Glass when I worked a very corporate job in the City. With its vision of London at the end of punk and the beginning of the Winter of Discontent , the film provided me a blast of gritty, unvarnished relief in the light of endless training courses and encouraged groupthink.

Released in September 1980, it was disliked by critics (Q magazine memorably quipped: “Breaking Glass? More like Breaking Wind … ”) but through today’s eyes feels relevant again.