Half-love letter, half-biopsy, Charlie Lyne's documentary analysis of teen movies is full of flashes of madness.
Oscar Isaac exploits his unique charisma and mutable appearance in two of the biggest films released this awards season.
In Ex Machina, Alex Garland – writer of The Beach and 28 Days Later – suggests that the brave new dawn of artificial intelligence will not kill off our crappy old gender dynamics. Helen Lewis meets him.
Film posters are addicted to showing a faceless woman from behind, with her legs framing the real hero.
Despite strikingly similar prodigies and deranged mentors, Whiplash and Foxcatcher offer two very different takes on the mentor/pupil relationship.
There was a bit more to Agincourt than a dozen Rada graduates standing around between two curtains.
The physicist is held up as an example of what you can achieve in life if you have a disability, but he was only diagnosed with motor neurone disease when he was 21 – his career was set in motion while he was still able-bodied.
The trend for using long-dead actresses to front campaigns aimed at female consumers is at best tasteless and at worst insidious.
The paintings are anything but dry in Frederick Wiseman's documentary about the London gallery.
On Stephen Sondheim’s 85th birthday, he will be revered as the genius of musical theatre. But his failures are just as fascinating as his successes.
The smart, insightful and oddly underrated US actor Ethan Hawke on first meeting River Phoenix, the Sony hacking crisis and “the beauty of censorship”.
The new year already offers the promise of Tilda Swinton in a fetching wig and the scariest film since Halloween. What's not to like?
Ryan Gilbey casts an eye over the Christmas fare.
It is strange that the full terror of the volcano has rarely been harnessed for narrative purposes – most films about eruptions end up as camp disaster flicks.
These are not politicians, or powerful corporations meddling with our data, they are Hollywood executives bickering like anyone else. The free speech argument just doesn’t add up.
The first two parts of Peter Jackson’s super-sized Hobbit trilogy held their own, but the director squanders all his best assets in this sorry mess of a final installment.
On screen and off, Hollywood is terrible at giving opportunities to anyone who isn’t white, and one of the US’s biggest stars is calling them out on it.
Cinemas are going to be full of biopics in the next couple of months – in preparation, Ryan Gilbey picks the best examples of the form from the past few years.
This gritty tale of eastern European rent boys in Paris might at first sound like Ken Loach gone gay. But the effect is more redolent of a Gus Van Sant spin on Oliver Twist.
The golden generation that made Italy such a cinematic force in the mid-twentieth century may be long gone, but recent output suggests that Italian cinema is more vibrant than it has been in a long time.
This is Ridley Scott we are talking about. He’s a superstar director. If anyone is a position to challenge Hollywood’s prejudices, it’s him.
Murray plays Vincent, a crabby, pasty-faced soak whose days are spent mooching around his neighbourhood, frequenting dive bars and canoodling with a pregnant prostitute.
Anti-war films often aren't because they still glamourise combat, or fail to ask questions about the wider political reasons for nations to go to war.
The greatest offerings from the only new film genre to have emerged in the last 50 years.
While it is no hardship to gaze upon ravishing images of the landscape as its autumnal glow vanishes under an icy crust, there’s not much to keep the intellect thrumming over the course of 196 minutes.
The way Turing’s story is told is comparable to the montage in Big Brother when Davina McCall told evictees: “Let’s have a look at your best bits.” The Imitation Game is Alan Turing’s best bits.
Nineteen months after his death in April 2013, a new documentary tells the story of Chicago Sun-Times film critic Roger Ebert - his bravery in the face of illness, and his uniquely democratic approach to cinema.
It’s hard to care about the future of civilisation when we meet so few members of it worth saving and most of those behave like they know they’re in a movie.
Consumed doesn’t read as a novel by a man who has spent most of his life writing screenplays – except, perhaps, that it reacts in the opposite direction, towards an art-house pacing.
Ken Adam’s design for the War Room in Stanley Kubrick’s Dr Strangelove is one of Hollywood’s most iconic images. David Hayles talks to the man who brought it into being.