These are not politicians, or powerful corporations meddling with our data, they are Hollywood executives bickering like anyone else. The free speech argument just doesn’t add up.
The first two parts of Peter Jackson’s super-sized Hobbit trilogy held their own, but the director squanders all his best assets in this sorry mess of a final installment.
Cinemas are going to be full of biopics in the next couple of months – in preparation, Ryan Gilbey picks the best examples of the form from the past few years.
This gritty tale of eastern European rent boys in Paris might at first sound like Ken Loach gone gay. But the effect is more redolent of a Gus Van Sant spin on Oliver Twist.
The greatest offerings from the only new film genre to have emerged in the last 50 years.
The way Turing’s story is told is comparable to the montage in Big Brother when Davina McCall told evictees: “Let’s have a look at your best bits.” The Imitation Game is Alan Turing’s best bits.
Nineteen months after his death in April 2013, a new documentary tells the story of Chicago Sun-Times film critic Roger Ebert - his bravery in the face of illness, and his uniquely democratic approach to cinema.
It’s hard to care about the future of civilisation when we meet so few members of it worth saving and most of those behave like they know they’re in a movie.
Ryan Gilbey is chilled by new releases The Badabook, Annabelle and It Follows.
Meanwhile, the suspension of disbelief is getting harder and harder to pull off.
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.