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.
Tipped for Oscars success in the US, this humanistic portrayal of two Texans importing HIV medication from Mexico is played expertly by Matthew McConaughey and Jared Leto.
Dickens’s mistress Nelly Ternan is a reminder of how much great male authors owe to their forgotten wives and muses.
An interview with Adam Curtis, producer of the BBC documentaries The Power of Nightmares and The Century of the Self.
Louis CK's early film Tomorrow Night has been made available for $5 on the comedian's website - and it's well worth checking out.
Julie Welch’s semi-autobiographical 1983 film <em>Those Glory Glory Days</em> is that rarest of things, a film about football that works.
The theme of an ordinary Joe, or Jai, fighting bribery and political corruption permeates Indian action cinema.
A new film following Mitt Romney from his failed first presidential bid in 2007-8 to his doomed candidacy in 2012 may not be political dynamite, but it is an oddly compelling portrait of a very awkward man.
The film aspires to mimic the qualities that make a movie stand out during the pre-Oscars rush - but despite a highly qualified cast and credible producers, it falls well short of the mark.
John Goodman, who plays a jazz musician and junkie in the Coen Brothers' Inside Llewyn Davis talks to Kate Mossman about wigs, panic attacks and reuniting with Roseanne.
The smug and stylish directors suffer from a tendency to promote mood over story. Their best films are a canny pairing of the two, but their worst are whimsical and affected.
Leonard DiCaprio's "bestial, carnivalesque performance" dominates The Wolf of Wall Street - Martin Scorsese's flashy indictment of corporate culture, with a disappointingly two-dimensional supporting cast.
The debate over whether Scorsese glorifies or condemns the activities of US stockbrokers in the 1980s and 1990s has tipped into something much uglier - something personal. This is not criticism, it's just petty.
Slavery was cholera in water, it infected everyone; a daily routine, spiteful, petty and perverse, its many perpetrators faceless and unexceptional. How did it come about - and what should we think about the thousands who are similarly shackled today?