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.
There is a fascinating backstory to France's first animated feature, but it doesn't need one - all the genius and magic lies in the film itself.
Lukas Moodysson, director of Lilya 4-Eva and Container talks about his new (and most accomplished) film We Are the Best! in which three Stockholm teenagers form a punk bank.
Husband and wife duo Hélène Cattet and Bruno Forzani's have created a new giallo film with all the necessary beauty and depravity expected of the genre, but without the intelligence and terror of a classic.
Fans cannot live on special effects alone. It is Andrew Garfield's super powers, as Peter Parker without the mask, that justify the explosions and non sequiturs that follow as soon as he puts it on.
Two films into his directing career, the former star of the IT Crowd has yet to exhibit an original voice.
The 1982 film about racism and prejudice is back – and its grittiness and conscientiousness is still there.
The director of the Oscar-winning A Separation returns with a new family drama, this time set in a Parisian suburb.
Scarlett Johansson stars as the otherworldly, predatory protagonist in this unsettling sci-fi thriller.
Jonathan Glazer's new film Under the Skin, starring Scarlett Johansson, took fourteen years to make it to the big screen. Novelist and screenwriter Alexander Stuart recalls the project's early days.
Anderson’s style became paralysed around the time of The Royal Tenenbaums and this is no exception.
The short film, unlike the short story, is a stray with no home - which is why a cinema release of the eight short films that competed at the Baftas is a joyous subversion of the norm.