Lukas Moodysson, director of Lilya 4-Eva and Container talks about his new (and most accomplished) film We Are the Best! in which three Stockholm teenagers form a punk bank.
A life mesmerisingly truncated, James Dean left behind only three films, and the gaping absence of the career that might have been.
My friend Emma worships Wes Anderson; I can’t stand him – so we were looking forward to a good row after The Grand Budapest Hotel.
The veteran actress best known for Murder, She Wrote had an emotional return to her East End roots this month with a series of screenings and a personal appearance.
Fans cannot live on special effects alone. It is Andrew Garfield's super powers, as Peter Parker without the mask, that justify the explosions and non sequiturs that follow as soon as he puts it on.
From London leather men to prostitution in American suburbia, the renamed BFI Flare offered up an eclectic programme.
A cinematic paean to postwar London uses rare footage from the BFI. But has time edited out the boring bits?
Kate Winslet's part in dystopian drama Divergent might just represent the ideal new character type for the English actress: ice queen.
Civilisation as we know it could collapse in 15 years, something which is reflected in the viewing habits of today’s kids.
Two films into his directing career, the former star of the IT Crowd has yet to exhibit an original voice.
The director has done his Bible homework.
The patriotic superhero has been resurrected on screen in the past few years. John Gray argues that Cap's appeal lies in timeless ethics dating back to ancient Greece.
The 1982 film about racism and prejudice is back – and its grittiness and conscientiousness is still there.
The director of the Oscar-winning A Separation returns with a new family drama, this time set in a Parisian suburb.
The story of a Sicilian hit man whose life is changed by the blind sister of his intended target struggles on the border between grittiness and sentimentality.
Scarlett Johansson stars as the otherworldly, predatory protagonist in this unsettling sci-fi thriller.
The inhibitions of adulthood mask creativity. No wonder grown-ups love movies about kids.
Jonathan Glazer's new film Under the Skin, starring Scarlett Johansson, took fourteen years to make it to the big screen. Novelist and screenwriter Alexander Stuart recalls the project's early days.
Anderson’s style became paralysed around the time of The Royal Tenenbaums and this is no exception.
In her speech at Essence Magazine’s Black Women in Hollywood event, the Oscar winner spoke of how she used to be “teased and taunted about her night-shaded skin”, and how she arrived at the realisation that beauty doesn’t come in shades.
12 Years a Slave takes best picture, and Gravity cleans up in the technical categories.
The short film, unlike the short story, is a stray with no home - which is why a cinema release of the eight short films that competed at the Baftas is a joyous subversion of the norm.
If I had my way, David O Russell's complex, sublime American Hustle would sweep the board - but the fact is no single film is likely to take the whole haul, and the smart money's on the earnest and populist.
With new cinemas in China popping up at the rate of ten a day, Feng Xiaogang is the Chinese answer to Steven Spielberg: a reliable box office hitter.
The sexual exploits of Joe, played by Charlotte Gainsbourg and newcomer Stacy Martin, are depicted without modesty - but the film stops short of being pornographic, tempered as it is by comedy, provocation and grim detail.
As the Berlinale draws to a close, Ryan Gilbey savours a couple of gems, while questioning how some films earned their spots at the festival.
Ryan Gilbey reports from the Berlin Film Festival 2014, where a viscous thriller about a soldier separated from his unit in 1970s Belfast rubs shoulders with a tender comic-drama starring John Lithgow and Alfred Molina.
The villain is named Lord Business, a man who hates “hippie-dippy stuff” and thunders over Bricktown, where the workers drink Over-Priced Coffee™. No wonder Fox News declared the film “anti-capitalist”.
They may seem like an odd pairing, but Spike Jonze's film about a man who falls in love with his operating system and Alain Guiraudie's tale of a murder at a secluded cruising spot show the lengths people will travel to forge a connection.
Friends who hate <em>Inside Llewyn Davis</em> complain about the tonal monotony, from the plot down to the colour palette, but it’s about the seeming impossibility of change. It looks how depression feels.