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.
Mark Lawson’s weekly Critic’s Notes.
Ryan Gilbey is chilled by new releases The Badabook, Annabelle and It Follows.
In 2014, it shouldn’t be cutting edge to see a Hollywood movie that features a fair representation of gay people.
Meanwhile, the suspension of disbelief is getting harder and harder to pull off.
The cinema of amusing male arrested development has been a familiar subgenre for some time, but recent releases demonstrate that there’s gold to be found in femme floundering.
Central character Laila is hounded by reminders that she’s different, but refreshingly, never accepts this herself.
The vilification of Islam has reached such heights that when the Muslim Sultan Mehmet II is cast opposite history’s bloodiest psycho-tyrant, it’s Dracula who emerges as the tragic hero.
It’s time we recognised that Quentin Tarantino’s much-lauded movie is about nothing, says nothing and makes you feel nothing.
For every stab at dirty realism in Fury, there is a sanitising touch to make everything clean again.
From De Niro’s snarl to DiCaprio’s sinewy wildness, no director has explored masculinity as acutely as Scorsese, writes Tom Shone
The news that both a Dad’s Army film and Ghostbusters 3 are in the works is great for nostalgia fans. But how do you go about updating something well-loved without wrecking it?
Bhardwaj relocates the action to Kashmir in the mid-1990s. If the graft doesn’t quite take, it’s because the film is so persuasive in portraying the oppression of the Kashmiri people that the woes of Hamlet seem small beer.
Thompson is best known for playing complicated intellectual women, often in period dramas. But at the outset, sketch comedy was where she saw herself.
The Motion Picture Association of America may have a poor track record on equality - but in the case of Pride their decision was just and correct.
Gone Girl is not anti-feminist. True equality is admitting that women can be evil too.
A recent spate of biopics focused on the cultural icons of France’s prosperous decades after World War Two prompt the question: what is it about those years that keeps French cinema harking back to them?
This film, adapted by Gillian Flynn from her bestselling thriller, is a whodunnit without a body.
Maps to the Stars places elements of ghost story, black comedy and Hollywood satire in a screwball framework.
The Dutch director, who has died aged 82, stole the unfinished reels for Phoenix’s last film Dark Blood from after coming close to death in 2007.
It wasn’t just Hollywood that revelled in the glorious adventures offered by the Western as a genre – Europe made its fair share, too.
It is astonishing, with actors as gifted as Colin Firth and Emma Stone, that Woody Allen’s latest film so badly misses the mark.
Lone Scherfig’s film adaptation of the 2010 play Posh feels unbalanced: we want to see a bit of naughty fun before the nastiness kicks in.