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.
The actor’s comments about the infantilisation of culture have caused a storm. Is he right to want to put away childish things?
Because most Hollywood films are so bad at dealing with female characters, Mad Max: Fury Road stands out for trying. But it still uses lazy, sexist tropes and clichéd plot devices.
As Mad Max: Fury Road hits our screens, we look back at the 1979 original exploitationanza.
Céline Sciamma’s third coming-of-age film subverts expectations every step of the way.
Top Five is a cleverly profane version of Woody Allen's Stardust Memories, but sometimes it veers into self-sabotage.
Too often, films are very inarticulate when talking about books.
We’ve seen too many Friday the thirteenth films to buy the sight of teenagers venturing into the deep, dark forest, but the deep, dark internet is another matter.
“Are you bent? Are you queer?”
If the Marvel fan base, like an elephant, is large but easily startled, Roy Andersson's minimalist vignettes in A Pigeon Sat on a Branch Reflecting on Existence ask the viewer to endure discomfort.
Today, Hitchcock is reverred for his contribution to cinema. But his reputation as a "serious" director came late, as new biographies from Michael Wood and Peter Ackroyd reveal.
On paper Tony Stark, aka Iron Man, should be a super villain. But somehow, he’s a hero, and what’s more, he’s the only American superhero you want to have a beer with.