Not only does the film look like a bunch of sexist tropes strung out in a row, but if Christian Grey's knots are anything to go by he's rubbish at kink as well.
A new report uncovers the gender imbalance in the film industry, made worse by the issue of class.
The film world is keen on releasing a director's cut, which differs from the final version of the movie; publishers should do the same with books.
The latest addition to the Planet of the Apes franchise is the toughest yet - the transition from playful ape and human interaction to bloody horror comes across as scarily plausible.
“Nobody’s talking about movies the way they’re talking about their favourite TV shows,” says veteran director Steven Soderbergh, whose retirement, which isn’t really a retirement, has been stirring up controvesy this week.
Ryan Gilbey celebrates the best work by individual Pythons outside of their famous collaborations, from John Cleese’s slick Brit-flick A Fish Called Wanda to Eric Idle’s Beatles pastiche The Rutles.
Made over more than a decade, this is a film that reminds us life is seen by children from a different angle.
Critics and audiences may have long given up on British painter-turned-director Peter Greenaway, but his sensuous, smart, arty films are asking questions few others would dare to contemplate.
Jonathan Holloway’s adaptation rightly cherished many things that the film ultimately minimised, in particular the novel’s mourning of the extinction of various animal species.
Jon Spira's forthcoming documentary Elstree 1976 focuses on the Star Wars cast members time forgot: from voice-artists to extras and wookiees.
Four young teenagers face violence and desperation on the road to California in this modern road movie with clear echoes of John Ford’s The Grapes of Wrath and Michael Winterbottom’s In This World.
The trend for distributors to refuse advanced previews for critics speaks volumes about their attitude to the press - but it’s a risky strategy, and doesn’t always mean the film is a dud.
San Paolo, published posthumously in 1977 and presented here for the first time in English as St Paul, is Pasolini’s screenplay for the life of the apostle.
Films that feature actual cinemas in them often combine them with a sense of nostalgia for lost youth, for the picture houses of a bygone era.
Time and again this smart sequel turns down the opportunity to make homosexuality the butt of the joke. Instead, it provides a welcome mainstream attack on homophobia.
An unconventional romance between two young cancer patients is not as hard-hitting as it could be.
Here are lesbians, bisexuals, fat people, tattooed people, old people, disturbed people, constipated people, people without teeth and of course crooked people.
As the illegitimate mixed-race daughter of an admiral in 18th-century England, Dido Elizabeth Bell’s status is too high to allow her to eat with the servants, yet too low to permit her to join guests for dinner.
Tennis has not become ugly. It has got more beautiful. Professionalisation did not ruin its balletic strand; it deepened it. The ultimate athletes turned out to be lighter, leaner and more mobile.
Sport’s love affair with the myth of thwarted victory.
Fruitvale Station imagines the last day of Oscar Grant's life - a young black American shot dead by a police officer in 2009. The film may be rooted in truth, but it's a long way from documentary.
The esteemed director joins Kevin Smith and William Nicholson among the ranks of writers and directors who blame critics, and their lack of experience, for disliking their films.
Kirby Dick’s Oscar-nominated documentary reveals the extent to which rape in the military is ignored and covered up.
Jimmy’s Hall returns Loach to early-20th-century Ireland, the site of a previous success. The new film could be called The Wind That Shakes the Barley II: This Time It’s Heart-Warming.
And celebrating the unlikely kinship of Alan Bennett and Philip Roth.
John Turturro's fifth film as director is remarkable for getting so much wrong. The characters are vacuous, it misfires comically, but worst of all is his choice of leading man.
A new documentary about the American Samoa football team (who hold the world record for the biggest international defeat – 31-0 to Australia in 2001) gives hope that professional sport won’t always be prejudiced against those who are different.
In A Touch of Sin, the ordinarily placid and reflective Chinese director Jia Zhangke bloodies his hands - creating technicolour violence from real, grisly stories which take aim at social injustice in China.
Cinema has never suffered from anxiety about the "unseen off-screen". Three new London plays, Good People, Let the Right One In and 1984, are adapting to new ways of presenting what is happening off-stage.
The last film from Hayao Miyazaki, Japan's Walt Disney, has been met with controversy. But his career is one of wonder and enchantment