Reiner’s own films reshaped modern comedy and drama with their intelligence, empathy and range. But through his company, Castle Rock, he paved the way for Seinfeld, Sorkin and many more

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As a film-maker, Rob Reiner championed humour, civility and intelligence – qualities you suppose would be out of step with the Hollywood of the 1980s where he made his name, and in the 1990s where he scored a series of extraordinary, far-reaching successes. Reiner had a family interest in the workings of on-screen comedy: his father Carl had played a key role on Sid Caesar’s TV shows, which themselves were revolutionary, and helped birth a new generation of screen comics by directing Steve Martin’s film debut The Jerk. Rob had become a household name as Meathead, the liberal foil to Carroll O’Connor’s bigoted Archie Bunker in 70s sitcom All in the Family (the equivalent to Mike Rawlins v Warren Mitchell in the British original, Till Death Us Do Part). But it was as a director and producer that he really made his impact felt.

In 1984, Reiner released This Is Spinal Tap, a “mockumentary” about a fictitious heavy metal band from the UK that rewrote the rules on what comedy could do. It sent up rock’n’roll behaviour and codified its cliches (with Reiner himself doing a hilarious parody of Martin Scorsese’s hosting role in The Last Waltz) and gave us zingers that haven’t lost their comedy power more than 30 years on: “The numbers all go to 11”, “it’s such a fine line between stupid, and er … clever.” Its deployment of improvised comedy was revolutionary for a Hollywood feature, and while Reiner wasn’t the first to use the fake-documentary techniques for comedic purposes (that goes back at least to Woody Allen’s Take the Money and Run), it hugely popularised the mockumentary style; subsequent efforts include Bob Roberts, Fear of a Black Hat, Drop Dead Gorgeous and Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan. All these owe Tap a huge debt – as well as the microgenre of star Christopher Guest’s improv-mockumentaries: Waiting for Guffman, Best in Show and A Mighty Wind. Almost incidentally, Spinal Tap became a sort-of-real band, with tours, record releases and a follow-up feature (Spinal Tap II: The End Continues), in which the presence of music industry titans Paul McCartney and Elton John demonstrated the high regard in which the original was held.

Timothée Chalamet’s live-wire striver using ping pong as his ticket out of normie American life is just one of many wonders in this extraordinarily rich tale
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When reports started to emerge that Timothée Chalamet was going to play a ping pong champion in a film called Marty Supreme, the world (including this correspondent) rolled its eyes. Was Hollywood’s most annoying actor going to go for broke in what promised to be the most irritating film of all time? Well I am here to hold up my hand and say that first impressions couldn’t have been more wrong. Marty Supreme is one of the most exciting, indeed sensational films of the year, and if the Guardian film critics’ poll wasn’t a democracy, many of us would made it No 1 by some distance.

For it turns out that Marty Supreme is a character drama of quite remarkable richness, its excitement and sensation deriving from the nervous energy of its protagonist – who is indeed a ping pong player called Marty – but plying his trade in the decidedly non-quirky early 1950s where our hero, played by Chalamet, is essentially trying to use this non-traditional sport to plot a way out of the dullness and grind of his normie life, where he is on track to become a manager of a shoe store. Marty (whose last name is not actually Supreme, but the amusingly alliterative Mauser) is a pretty dislikable individual: happy to abandon a girl he gets pregnant, throw a fit when he loses a match, and think he can talk his way out of any kind of difficulty. But such is his verve, charisma and never-say-die attitude, he carries you with him.

The Housemaid actor received backlash in September when she left a comment on Instagram after the rightwing activist was killed

The Housemaid star Amanda Seyfried has said she is “not fucking apologising” for describing Charlie Kirk as “hateful” after the latter was shot dead in September.

Seyfried was speaking to Who What Wear when she was asked about her social media activity, including the backlash around her Kirk comment. “I’m not fucking apologising for that. I mean, for fuck’s sake, I commented on one thing. I said something that was based on actual reality and actual footage and actual quotes. What I said was pretty damn factual, and I’m free to have an opinion, of course.”

Currently in production the second prequel in the series, Sunrise on the Reaping, will likely feature the married couple ‘in a flash-forward’

Jennifer Lawrence and Josh Hutcherson are to appear in the new Hunger Games movie, The Hunger Games: Sunrise on the Reaping, which is in production.

The Hollywood Reporter said it confirmed the pair’s return to the Hunger Games series, in what is the sixth film in the franchise. Both will play the same characters as in the original set of films – Lawrence as Katniss Everdeen and Hutcherson as Peeta Mellark – with the Hollywood Reporter suggesting they will “likely appear in a flash-forward”. At the close of The Hunger Games: Mockingjay – Part 2 (released in 2015), Everdeen and Mellark are married with children.