Ten years on from the schmaltzy Richard Curtis-fest.
Ryan Gilbey praises two new films, by Sebastián Lelio and Stephen Frears, in which two women are coping with the wreckage of their lives from the far side of middle age.
The British filmmaker, who died last week, made an impressive contribution to British cinema in the 90s - most memorably in "Safe", "Face" and the genre-bending opus "Ravenous".
Clio Barnard's tale of two Bradford boys, literally on the scrapheap, has little in common with the Oscar Wilde fairytale that gave it its name.
Unlike the babbling brook of Hollywood – with its suppression of truth, fake heroes and warmongering – a masterpiece, or just a good movie, is unforgettable.
It's no secret I'm a fan of Jackass - and Bad Grandpa, with a superb performance by newcomer Jackson Nicoll - is Jackass at its best.
Paul Greengrass's new thriller pits two excellent leading men (a debut actor, Barkhad Abdi, and a veteran, Tom Hanks) against one another - authentic performances which survive the film's mannered direction.
The perfect film role for this daring funny man is out there somewhere - but he hasn't hit the mark just yet.
Geeks versus the government.
The biopic "Hannah Arendt" credits Professor Arendt, responsible for some of the most publicly enduring theories in 20th century philosophy, with an intellectual interiority mostly reserved – at least in the public eye – for white men.
It used to seem pointless and self-congratulatory - but in the right circumstances, applause can signify solidarity, celebration and joy.
This picture downgrades its ambitions along the way. When Nick says he wants to take his and Meg's lovemaking into another dimension, it sounds like an unpromising episode of The Twilight Zone.
Compared with <em>The Social Network, The Fifth Estate</em> is craven and cartoonish.
What is it that particularly irks King about a film that was so universally acclaimed?
Ryan Gilbey welcomes the change of scene in Woody Allen's latest film, which hinges entirely on its leading lady's full-blooded performance.
Birgitta Jónsdóttir talks about what Wikileaks biopic The Fifth Estate got wrong.
Most of the "fans" who cried heresy when Ben Affleck was announced as the new Batman are fans of nothing but their own opinions. This isn't the first time they've been wrong.
Where Oliver Hirschbiegel's 2004 film "Downfall" showed us the complexities of its central character, "Diana" fails to extend the same generosity to the Princess of Wales.
If anyone needed proof that sex is something girls do rather than have done to them, it's this.
Ryan Gilbey reviews The Artist and the Model - the story of a reclusive sculptor in occupied France, whose artistic spirit returns when his wife spots a young homeless woman, loitering in the town square.
Bill Nighy, who lives alone and finds sleeping difficult, says he passes the time by watching YouTube clips of Christopher Walken on his phone – when he isn’t working, that is.
Tickets for LFF 2013 go on sale on this Thursday (12 Sept). Our film critic Ryan Gilbey picks ten of the most promising films from this year's line up.
Whether it is done as intentionally as in <em>Elysium</em> or not, films and TV series form part of a lens that shows us distorted refractions of our world.
The Great Beauty represents a clear maturation in style for Paolo Sorrentino - a film that is both emphatic and proportionate in its methods.
Last week Ryan Gilbey expressed discomfort at a scene in Richard Curtis's new time travel rom-com About Time, and was astonished by the responses he received.
The time travel element in <em>About Time</em>, Richard Curtis's new comedy, has produced a disastrous scene that should be studied by future generations as the wrong way to deploy a theoretically rich comic device.
One Direction's first film manages to balance contradictory versions of its mega-famous subjects to great effect, giving glimpses of both the public and private incarnations of the band members.
Ryan Gilbey tries to puzzle out an ice cool drama from Shane Carruth - a circle-of-life story with psychedelic maggots.
Kuma, the new migration drama from Austrian-Kurdish director Umut Dag, is a subtle movie distorted by its director's razzle-dazzle approach.
As far as Morrissey concerts go, the one immortalised in his latest film Morrissey: Live isn't the best. It saddens me to say it, but my love affair with Mozza is well and truly over.