With their claustrophobic close-ups and desolate wide shots, both films are stunning portraits of life on the brink.
This film, adapted by Gillian Flynn from her bestselling thriller, is a whodunnit without a body.
Maps to the Stars places elements of ghost story, black comedy and Hollywood satire in a screwball framework.
With her speech at the UN, the actress has taken a new role – that of public feminist. The threats to leak nude photos of her online that followed shortly after are sadly not an unusual example of how women who speak out are treated.
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.
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