Lee's film, in which the women of Chicago decide to go on a sex strike, is often muddled – but never dull.
The Dutch director, who has died aged 82, stole the unfinished reels for Phoenix’s last film Dark Blood from after coming close to death in 2007.
It wasn’t just Hollywood that revelled in the glorious adventures offered by the Western as a genre – Europe made its fair share, too.
It is astonishing, with actors as gifted as Colin Firth and Emma Stone, that Woody Allen’s latest film so badly misses the mark.
Lone Scherfig’s film adaptation of the 2010 play Posh feels unbalanced: we want to see a bit of naughty fun before the nastiness kicks in.
The film, adapted from Laura Wade’s Bullingdon Club-based play Posh, fails to address the fact that it isn’t just the restaurant-smashers who benefit from Oxbridge elitism.
Pride takes a subject that might be considered earnest or marginal and smuggles it through in jazzy, feel-good colours.
Susan Mizruchi considers Brando a kind of one-man UN. Alas, she also unwittingly demonstrates how elitist and dictatorial her putative freedom fighter could be.
Hollywood is scaling back on analogue film, but in the UK dedicated fans are organising screenings in 35mm to try and keep the medium alive.
Like all things human, the 35mm reel is slowly shuffling off this mortal coil. This year, Paramount Pictures became the first big studio to announce that it would no longer release 35mm prints of movies in the US.
Our film critic Ryan Gilbey previews the 58th London Film Festival, which opens next month.
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