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.
The civil rights drama and political farce could not seem more different. But David Oyelowo and James Franco share a dynamism sadly overlooked in awards season.
Their triumph came through recognising that although their own oppression was important, it didn’t mean they couldn’t recognise others’ struggles as well.
Oh, and moaning women. These are the films of the year, the ones that we think best capture the tenor of the times. Yet they are only interested in one half of the human tableau.
Thomas Pynchon's novel makes for a wistfully funny film adaptation.
After Parks and Rec, 30 Rock and Bridesmaids, why do some in the industry still doubt women are funny?
Our desire for historical accuracy in films, TV programmes and books often tells us more about ourselves than it does about art.
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.