The star hopes for some more of that Book Club magic although she’s the weakest link in a trio buoyed by Kathy Bates and Alfre Woodard

The many gasps that met the $100m-plus box office total for 2018’s Book Club were not quite shared by all. The film, a frothy comedy led by four women over the age of 65, might have been an outlier at the time but it proved that once again, when smartly catered to, underserved audiences will come out en masse, a more inevitable result than many seem to think. When Bridesmaids proved this with younger women back in 2011, the industry was lethargic in its response, a wave of adjacent green lights failing to come as expected but Book Club had an instant impact, a string of grey-hued imitators in its wake.

But luck ran out a little faster than expected. Jane Fonda’s 80 for Brady and Diane Keaton’s Poms both fizzled upon release before even a Book Club sequel couldn’t lure audiences out, making less than a third of what its predecessor made. The reluctance of some older cinemagoers to return to the cinema as a result of the pandemic was an issue but so was positioning – nothing felt like an event compared with Book Club – and quality – nothing felt quite as sparky as it either. Keaton, who recently travelled to the UK for a British spin on the formula with Arthur’s Whisky, is trying her luck again with Summer Camp, a similarly lightweight tale of underused older female actors having fun on a bigger stage than they have become accustomed to.

With new chapters in the worlds of Mad Max and Planet of the Apes out now, Guardian writers have picked their favourite big screen franchises to date

When a blockbuster franchise is seven movies in (and counting), and the consensus choice for worst entry was directed by John Woo, arguably the most influential action film-maker of his time, you’re looking at an uncommonly consistent series. Though the Mission: Impossible movies have cycled through many directors – one apiece for Brian De Palma, Woo, JJ Abrams and Brad Bird, before settling on Christopher McQuarrie – the first film, particularly the astounding Langley break-in sequence, established the franchise as a showcase for impeccable crafted set pieces. The plots may be an enjoyably hokey tangle of global threats and clever unmaskings, but the series’ determination to keep topping itself, leaning on the physicality of stunt work and practical effects, has provided reliable thrills for approaching three decades. With each film, Tom Cruise continues to outrun his own mortality and another classic sequence or two is added to the inventory, from Cruise dangling from the Burj Khalifa high-rise during a sandstorm in Ghost Protocol to him zipping off a cliff on a motorcycle in Dead Reckoning Part One. It’s a high-wire act that has yet to tumble off the line. Scott Tobias

The star plays an analyst forced to see AI’s benefits in a brash sci-fi adventure that plays like it was made two decades ago

Memorial Day weekend has long been a vital, lucrative calendar date in Hollywood, a three-day stretch that’s birthed blockbusters such as Mission: Impossible, The Lost World and Top Gun: Maverick. As George Miller’s bombastic Mad Max prequel Furiosa urges those to the big screen, Netflix has something for the majority staying home – the sci-fi adventure Atlas, and it’s the kind of big, dumb, irony-free schlock that would have premiered theatrically on this very date two decades prior. And perhaps that’s the best way to view it, as knowing nostalgia bait, designed to appeal to those who prefer to look back rather than forward, an exercise in early ’00s immersion.

If only that’s how those involved with Atlas actually saw it, then maybe there’d be more fun to be had. But as with many of the streamer’s other mockbusters – its more naked attempts to compete with the biggest of boys – it’s all too synthetic and serious to possess anything close to self-awareness.