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.
The film, adapted from Laura Wade’s Bullingdon Club-based play Posh, fails to address the fact that it isn’t just the restaurant-smashers who benefit from Oxbridge elitism.
Pride takes a subject that might be considered earnest or marginal and smuggles it through in jazzy, feel-good colours.
Susan Mizruchi considers Brando a kind of one-man UN. Alas, she also unwittingly demonstrates how elitist and dictatorial her putative freedom fighter could be.
Hollywood is scaling back on analogue film, but in the UK dedicated fans are organising screenings in 35mm to try and keep the medium alive.
Like all things human, the 35mm reel is slowly shuffling off this mortal coil. This year, Paramount Pictures became the first big studio to announce that it would no longer release 35mm prints of movies in the US.
Our film critic Ryan Gilbey previews the 58th London Film Festival, which opens next month.
The problem is that film is a form of immortality but it is disturbing if we see the ghost too soon or with scars that remind us of their departure.
In The Guest, Stevens plays David, a stranger who pitches up on the doorstep of a grieving American family. He claims to be a friend of their eldest son, who died in combat in Afghanistan but it’s clear to the viewer he’s bad news.
Sin City: A Dame to Kill For imagines what 1940s cinema might have looked like with CGI and no Hays Code - but it falls short of that era’s crackling dialogue, smoky characters and emotional pull.
Dogfight at the Southwark Playhouse shows that a musical using an existing film as its springboard is no more or less likely to succeed than an entirely original work. And rightly so.
Jesse Eisenberg and Dakota Fanning star as eco-warriors in Kelly Reichardt’s tense new film, two radicals who plan to blow up a hydroelectric dam.
Recent torture pornographers such as Eli Roth arguably have aligned themselves with 1970s American horror auteurs not only to legitimise their work but to cash in on their rebel credibility.
Reading the books correlated with higher political tolerance, less predisposition to authoritarianism, greater support for equality, and greater opposition to the use of violence and torture.