Crybabies: The Scaring review – chills and laughs abound in twisty tale of demonic possession

Philharmonia Orchestra/Dudamel (Decca) There’s a cinematic flourish to many of Hopkins’ compositions, together with fine arrangements of Welsh tunes and pieces dedicated to family Anthony Hopkins has, it turns out, has been composing music all his life. Now, at the age of 88, the Welsh-born Hollywood actor makes his Decca debut, securing the services of LA Philharmonic’s outgoing music director Gustavo Dudamel to bring his music to life. So, what does an Oscar winner sound like? Not surprisingly, there’s a significant cinematic influence, inspired by the music that caught the attention of a lad growing up in Margam, a suburb of Port Talbot. The opening Fanfare and March is a catchy, Technicolor splash, like everything here harmonious and written from the heart. Ditto the Khachaturian-flavoured Two Pieces for Orchestra. Welsh roots are honoured too: My Fatherland, featuring six traditional tunes, four sung in Welsh, would not seem out of place at the Last Night of the Proms...

A teasing tale of the friendship between a writer and an actor explores the fallout from fame, and the blurring between pretence and reality M is a celebrated film actor. A star since childhood, now the face of a major fashion brand, she has been famous all her life. That her career closely resembles Natalie Portman’s has been gleefully seized upon by the press, something Rachel Cusk must surely have anticipated: in the novel, M’s first film has its sex scenes cut at her mother’s insistence, as happened with Portman’s 1994 debut Leon, while her ballerina movie is recognisably Black Swan. M is also, in the words of the nameless and genderless narrator of Life of M, “a good sport”. When the narrator suggests writing M’s autobiography, M likes the idea. “Would you just make it up?” she asks. A celebrity autobiography is seldom the work of the celebrity herself. And yet any suggestion that the narrator will serve as a kind of ghostwriter to M is dispensed with in a few pages. The pair meet for coffee at a luxury hotel and, after the narrator’s partner falls suddenly and seriously ill, for lunch in a restaurant. The lunch is unsatisfactory, an attempt at intimacy that the narrator acknowledges afterwards to have been a mistake. Though M is determined to live as normal a life as possible (“her personal task is to become real, or rather to acquire some reality”), the narrator is uncomfortably aware of their own falseness with M: “It was as if I was acting, while M came across as authentic and real. It was as if she was the only one good enough at acting to attain reality.” After that the two of them do not see one another again “for a long time”...

Despite stars Leslie Mann, Anna Faris and Isla Fisher and the writers behind The Hangover, this tale of friends at a luxury hotel is a dud Jon Lucas and Scott Moore are the screenwriters who struck gold nearly 20 years ago with The Hangover, a brilliant stag-weekend nightmare comedy about what happens in Vegas, which sadly spawned a terrible (though lucrative) franchise. Now, as writers and directors, they have tried turning it around and making a movie about how middle-aged women behave on a longed-for spa weekend at a luxury-porn hotel. The result is a comedy without gags, a comedy which, for all the strenuous high-jinks, is afraid to be flippant or mean or, indeed, funny in any way. Leslie Mann plays a hotshot lawyer called Jane who can’t make room in her life for romance; Anna Faris is goofy Sophie, PA to a rich asshole; Michelle Buteau is outspoken badass Coco, angry at her ex-husband dating again; and Isla Fisher is landed with the stridently unfunny role of Mel, a wild child who makes the other three nervous, but whose life-affirming no-filter honesty is going to break everyone’s emotional logjam and sort out their lives. As for Jane, it looks as if the hotel’s super-hot super-sensitive yoga teacher, Kai (Adam Demos), is going to hook up with her...