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.
Recent torture pornographers such as Eli Roth arguably have aligned themselves with 1970s American horror auteurs not only to legitimise their work but to cash in on their rebel credibility.
Reading the books correlated with higher political tolerance, less predisposition to authoritarianism, greater support for equality, and greater opposition to the use of violence and torture.
With over 75 years of history, comics boast a multitude of inspirational female, black and even disabled characters. Superman is, at its heart, an immigrant tale, while X-Men is an allegory of the fight against fascism.
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?
The star of To Have and Have Not and The Big Sleep has had a stroke aged 89. But did she always get the roles she deserved?
The American actor and comedian has been found dead at his home in California, aged 63.
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.
There’s such pleasure for the listener in hearing something you know being chewed over properly.
Drawing largely on home movies shot by the subjects in the 1930s, the picture pieces together the circumstances that led to several unexplained deaths.
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.
Not only does the film look like a bunch of sexist tropes strung out in a row, but if Christian Grey's knots are anything to go by he's rubbish at kink as well.
A new report uncovers the gender imbalance in the film industry, made worse by the issue of class.
The film world is keen on releasing a director's cut, which differs from the final version of the movie; publishers should do the same with books.
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.
Jonathan Holloway’s adaptation rightly cherished many things that the film ultimately minimised, in particular the novel’s mourning of the extinction of various animal species.
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.
San Paolo, published posthumously in 1977 and presented here for the first time in English as St Paul, is Pasolini’s screenplay for the life of the apostle.
Films that feature actual cinemas in them often combine them with a sense of nostalgia for lost youth, for the picture houses of a bygone era.
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.