From some of the earliest surviving home videos to revealing social commentary from the Sixties and Seventies, there are exciting finds waiting for you.
It is time to drag them away from each other for the benefit of both.
Manglehorn and Mission: Impossible - Rogue Nation show two approaches to ageing on screen.
We might be twenty years on from Toy Story, but Inside Out is proof that computer-animated features can still deliver giddy imaginative crescendos.
Though they are rarely operational these days, lighthouses remain culturally powerful and maintain a strong hold on the imagination.
There's a struggle at the heart of Ant-Man between the corporate and the eccentric.
Body-swap storylines are the perfect premise for filmic fun, so why is the most recent offering in the genre, Self/Less, so disappointing?
A carpenter who knows it is better to give than to receive? Magic Mike is basically Jesus.
Looking behind the preferred casts of directors throughout the history of cinema who always use the same actors.
They're not very long.
One in two people in India defecate in the open, but the solution isn’t as simple as just building more toilets. Now Bollywood is making a satirical comedy that hopes to change minds about sanitation.
Dumont isn’t satirising small-town small-mindedness so much as trying to understand how it functions – where it starts, what inflames it.
In that grey area between documentary and fiction, the movie finds a new kind of truth.
This film laments the way Winehouse's life was intruded upon while relying on the same methods to create drama.
Dear White People never exactly loosens up; the screenplay would make a good PhD thesis.
To dismiss him as a right-wing cigar-chomper would be to disregard that rare phenomenon – a true star, an embodiment of the aspirations of his time.
The Beta Band's John Maclean makes his directorial debut with a wry, rootsy love story.
A new BBC Four documentary reminds us not to take this director for granted.
Films set on trains are some of the best.
It takes a lot to keep an audience onside when it’s not clear what the thrust of a film is, but Les combattants manages it.
Ryan Gilbey reviews two sequels: The Look of Silence and Jurassic World.
The actor passes away after respiratory problems and heart failure.
Looking back at the exploitation enterprise of Menahem Golan and Yoram Globus's cinematic output.
Poor old Tommy-baby. His entire oeuvre, when you stop to consider it, seems like an illustration of Dostoevsky’s dictum: “The more I love humanity in general, the less I love man in particular.”
Caroll Spinney has been playing Sesame Street's star for 46 years. I Am Big Bird shows the man behind the feathery mask.
These back-room frumps whisper instructions into the earpieces of tuxedo-wearing spies out on the casino floors, or save them from pursuers by launching strategic missile attacks at a moment’s notice.
It’s junk cinema but, like the Millennium Falcon, it’s fast junk – and don’t you dare call it junk unless you’re a fan, for only its fans can criticise it.
To look at the campaign for Tomorrowland, you’d think Disney had already decided it was yesterday’s news.
Ryan Gilbey is left feeling chilled by Abderrahmane Sissako’s remarkable Timbuktu.
Fact versus fantasy.