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.
John Turturro's fifth film as director is remarkable for getting so much wrong. The characters are vacuous, it misfires comically, but worst of all is his choice of leading man.
In A Touch of Sin, the ordinarily placid and reflective Chinese director Jia Zhangke bloodies his hands - creating technicolour violence from real, grisly stories which take aim at social injustice in China.
Cinema has never suffered from anxiety about the "unseen off-screen". Three new London plays, Good People, Let the Right One In and 1984, are adapting to new ways of presenting what is happening off-stage.
I'm not saying it isn't Fassbender under Frank Sidebottom's mask, but the playfulness that comes with doubting it adds a chemistry that is essential to the very best cinema.
Schwarzenegger's mere presence causes the plausibility of a scene to drop by 75 per cent - so it's a mystery why a capable director like David Ayer would cast him in his latest pulpy thriller.
Two reissues show the actor in contrasting roles, one in Stanley Kubrick’s moral drama set during the First World War, another as a hungry reporter bored witless at a small-town American paper.
The love story between a slave and a noblewoman is clearly influenced by Titanic, but better described as Gladiator with a topping of molten lava.