For every stab at dirty realism in Fury, there is a sanitising touch to make everything clean again.
The news that both a Dad’s Army film and Ghostbusters 3 are in the works is great for nostalgia fans. But how do you go about updating something well-loved without wrecking it?
Bhardwaj relocates the action to Kashmir in the mid-1990s. If the graft doesn’t quite take, it’s because the film is so persuasive in portraying the oppression of the Kashmiri people that the woes of Hamlet seem small beer.
The Motion Picture Association of America may have a poor track record on equality - but in the case of Pride their decision was just and correct.
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.
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.
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.
Our film critic Ryan Gilbey previews the 58th London Film Festival, which opens next month.
In The Guest, Stevens plays David, a stranger who pitches up on the doorstep of a grieving American family. He claims to be a friend of their eldest son, who died in combat in Afghanistan but it’s clear to the viewer he’s bad news.
Sin City: A Dame to Kill For imagines what 1940s cinema might have looked like with CGI and no Hays Code - but it falls short of that era’s crackling dialogue, smoky characters and emotional pull.
Dogfight at the Southwark Playhouse shows that a musical using an existing film as its springboard is no more or less likely to succeed than an entirely original work. And rightly so.
Jesse Eisenberg and Dakota Fanning star as eco-warriors in Kelly Reichardt’s tense new film, two radicals who plan to blow up a hydroelectric dam.
Guy Pearce and Robert Pattinson star in David Michôd’s distopian thriller The Rover: a film with an uncertain mission at its core, like a post-apocalyptic Dude, Where’s My Car?
Robin Williams, who died yesterday aged 63, was a powerhouse performer. He will be remembered primarily for his electric, comic roles, but to appreciate his talents fully we need to look to his mistakes.
Ben Whishaw stars as a grieving lover in this tale of cross-generational, Anglo-Chinese friendship.
Though the notorious Russian roulette scene looms large, The Deer Hunter is a tender – and even optimistic – depiction of the human capacity to endure.
Despite its occasional longeurs and lapses of logic, post-global-freeze thriller Snowpiercer is an intoxicating mishmash of stunts and ideas which deserves to be seen in UK cinemas.
The latest addition to the Planet of the Apes franchise is the toughest yet - the transition from playful ape and human interaction to bloody horror comes across as scarily plausible.
“Nobody’s talking about movies the way they’re talking about their favourite TV shows,” says veteran director Steven Soderbergh, whose retirement, which isn’t really a retirement, has been stirring up controvesy this week.
Ryan Gilbey celebrates the best work by individual Pythons outside of their famous collaborations, from John Cleese’s slick Brit-flick A Fish Called Wanda to Eric Idle’s Beatles pastiche The Rutles.
Made over more than a decade, this is a film that reminds us life is seen by children from a different angle.
Critics and audiences may have long given up on British painter-turned-director Peter Greenaway, but his sensuous, smart, arty films are asking questions few others would dare to contemplate.
Jon Spira's forthcoming documentary Elstree 1976 focuses on the Star Wars cast members time forgot: from voice-artists to extras and wookiees.
Four young teenagers face violence and desperation on the road to California in this modern road movie with clear echoes of John Ford’s The Grapes of Wrath and Michael Winterbottom’s In This World.
The trend for distributors to refuse advanced previews for critics speaks volumes about their attitude to the press - but it’s a risky strategy, and doesn’t always mean the film is a dud.
Time and again this smart sequel turns down the opportunity to make homosexuality the butt of the joke. Instead, it provides a welcome mainstream attack on homophobia.
As the illegitimate mixed-race daughter of an admiral in 18th-century England, Dido Elizabeth Bell’s status is too high to allow her to eat with the servants, yet too low to permit her to join guests for dinner.
Fruitvale Station imagines the last day of Oscar Grant's life - a young black American shot dead by a police officer in 2009. The film may be rooted in truth, but it's a long way from documentary.
The esteemed director joins Kevin Smith and William Nicholson among the ranks of writers and directors who blame critics, and their lack of experience, for disliking their films.