Most of the "fans" who cried heresy when Ben Affleck was announced as the new Batman are fans of nothing but their own opinions. This isn't the first time they've been wrong.
Where Oliver Hirschbiegel's 2004 film "Downfall" showed us the complexities of its central character, "Diana" fails to extend the same generosity to the Princess of Wales.
Ryan Gilbey reviews The Artist and the Model - the story of a reclusive sculptor in occupied France, whose artistic spirit returns when his wife spots a young homeless woman, loitering in the town square.
Last week Ryan Gilbey expressed discomfort at a scene in Richard Curtis's new time travel rom-com About Time, and was astonished by the responses he received.
The time travel element in <em>About Time</em>, Richard Curtis's new comedy, has produced a disastrous scene that should be studied by future generations as the wrong way to deploy a theoretically rich comic device.
One Direction's first film manages to balance contradictory versions of its mega-famous subjects to great effect, giving glimpses of both the public and private incarnations of the band members.
Ryan Gilbey tries to puzzle out an ice cool drama from Shane Carruth - a circle-of-life story with psychedelic maggots.
Kuma, the new migration drama from Austrian-Kurdish director Umut Dag, is a subtle movie distorted by its director's razzle-dazzle approach.
Alan Partridge: Alpha Papa develops and deepens a character we know and love - a humble comedy with the right amount of sanity.
With newspapers laying off arts writers, the suggestion The Lone Ranger has been ruined by dishonest reviewers seems paradoxical. Perhaps there are other reasons behind the blockbuster's US flop?
Ryan Gilbey explains why he'd take the jubilant Sandra Bullock cop comedy over Nicholas Winding Refn's self-conscious sixth-form artiness any day of the week.
Noah Baumbach and Greta Gerwig's Manhattan-esque comedy, shot entirely in black and white, brings the force and intimacy of a love story to bear on the relationship between two Brooklyn-based flatmates.
William Wyler's 1953 romantic comedy Roman Holiday introduced Audrey Hepburn to the world. With the film's re-issue, the power of her first leading role hasn't diminished one bit.
Edgar Wright and Simon Pegg return for the final instalment of their "Cornetto" trilogy: a raucous comedy slightly gnarled by its lofty ambitions.
Is it ever right to leave a film early? After all, going to the cinema is about so much more than what’s on the screen.
Bula Quo! might be tired, naive and desperately middle-of-the-road, but spare the pop-film genre! I can't be the only one who looks at Rizzle Kicks or Dizzee Rascal and thinks: give those kids a movie.
Director Ben Wheatley - "a Guy Ritchie for hipsters" - has attracted something of a devoted following. But surely it's time for him to start making movies that reach beyond his fan base?
Ryan Gilbey wonders why <em>Despicable Me 2</em> had to be made.
Ryan Gilbey reviews three documentaries: <em>The Act of Killing, Pussy Riot: a Punk Prayer</em> and <em>Stories We Tell.</em>
The Stone Roses are back, whether you like it or not. Two new films, Spike Island by Mat Whitecross and Shane Meadow's Made of Stone, boast of the band's greatness, without offering much of a reason for it.
One film? Anyone can do that. A set of two? Just bookends. Three is a force to be reckoned with.
Daniel Craig apologised for Quantum of Solace in 2011, and this week, Glenn Close has expressed regret publicly for her portrayal of a woman with mental illness in Fatal Attraction. But was it necessary?
Claude Miller's new adaptation of Thérèse Desqueyroux has some neat acting from Audrey Tautou, but the film fails to catch fire.
If you’ve seen The Cement Garden, Pan’s Labyrinth or The Others, you are already familiar with some of the pictures which wouldn’t exist without Carlos Saura's Cría cuervos.
Another installment of the second-unfunniest comedy franchise in town.
Blood, mud and splinters.
It may be controversial to say so, but he's really something, isn't he?