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.
Beyond propaganda, trying to get under the skin of despots and dictators is a near-impossible task.
Ryan Gilbey examines Mamet’s plays for clues to his changing politics.
Do "whatever it takes" to get your film made.
The more outlandish the film becomes, the looser its grip.
This film isn’t bad. Worse: it’s mediocre.
The vast majority of films about lesbians are underpinned by a uniquely cringemaking brand of earnestness; Appropriate Behaviour breaks the mould.
Cara Delevingne stars in the latest film from director Michael Winterbottom, which takes its inspiration from the murder of Meredith Kercher.
A Brooklyn-based comedy that's more than just jokes about avocado and almond-milk sorbet.
Japanese animation company Studio Ghibli favours contemplation over manufactured climaxes, and this film is no different.
A new BBC Radio 4 three-part series covers all aspects of the industry.
BFI Southbank's LGBT film festival Flare has become more eye-catching. Now it dazzles.
Why has it taken us so long to realise that the strongest, most exciting voices, shaping our opinions of cinema are women?
Writer and director Desiree Akhavan has created an authentic, relatable story – with a heroine we hope will triumph.
Clever pacing and Julianne Moore's Oscar-winning performance can't disguise the hedged bets and risks not taken.
New ways to get film to audiences, plus democratising technology, have heralded a boom in documentaries.
Ryan Gilbey reviews It Follows, directed by David Robert Mitchell.
Richard Linklater’s Boyhood is clearly the superior film, but the Academy isn’t considering long-term trends or trying to make a statement. Like an impetuous child, it just grabs the thing that feels good in that particular moment.
And the Oscar goes to...
There was far more to the festival than Fifty Shades.
Terrence Malick’s Knight of Cups is insipid – but Andrew Heigh's 45 Years proves it's not all bad.
All good relationships are built on respect, trust and consent - and the one at the centre of this film contains none of that.
We can’t disparage these actors any more than we can blame a man in a hammerless world for failing to bang a nail into the wall.
The film, made by Winding Refn’s wife Liv Corfixen, is an intriguing contribution to the film-behind-the-films genre and a revealing study of ambition and vulnerability.