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.
Sherlock Holmes gets to be brilliant, solitary, abrasive, Bohemian, whimsical, brave, sad, manipulative, neurotic, vain, untidy, fastidious, artistic, courteous, rude, a polymath genius. Female characters get to be Strong.
Alan Partridge: Alpha Papa develops and deepens a character we know and love - a humble comedy with the right amount of sanity.
Henry James and the myth of freedom.
With newspapers laying off arts writers, the suggestion The Lone Ranger has been ruined by dishonest reviewers seems paradoxical. Perhaps there are other reasons behind the blockbuster's US flop?
Noah Baumbach and Greta Gerwig's Manhattan-esque comedy, shot entirely in black and white, brings the force and intimacy of a love story to bear on the relationship between two Brooklyn-based flatmates.
French, the Observer’s main film critic since 1978, will retire in August. Douglas McCabe assesses the work of a critic who was determined to see every film in its social, historical, cultural and aesthetic context.
Drake Doremus's pale blue drama stars Guy Pearce as a middle-aged musician looking for a break from his humdrum life. When British exchange student Sophie Williams (Felicity Jones) arrives, he sees a second chance to regain his youth.
William Wyler's 1953 romantic comedy Roman Holiday introduced Audrey Hepburn to the world. With the film's re-issue, the power of her first leading role hasn't diminished one bit.
Edgar Wright and Simon Pegg return for the final instalment of their "Cornetto" trilogy: a raucous comedy slightly gnarled by its lofty ambitions.
Haifa al-Mansour, the first woman ever to direct a feature film in Saudi Arabia, talks to Steve Yates about how her film <em>Wadjda</em> came together.
Is it ever right to leave a film early? After all, going to the cinema is about so much more than what’s on the screen.
Alex Gibney's WikiLeaks documentary rightly celebrates Bradley Manning, while at the same time providing plenty of ammo for Julian Assange's many critics.
The documentary film The Act of Killing asks Indonesian death-squad leaders to re-enact their crimes for the camera. They boast openly about their massacres as we observe the real effects of living a fiction.
Director Guillermo del Toro has spoken with open passion about this ludicrous, ludicrous film. In fact, he's right: it's pretty good.
Bula Quo! might be tired, naive and desperately middle-of-the-road, but spare the pop-film genre! I can't be the only one who looks at Rizzle Kicks or Dizzee Rascal and thinks: give those kids a movie.
Director Ben Wheatley - "a Guy Ritchie for hipsters" - has attracted something of a devoted following. But surely it's time for him to start making movies that reach beyond his fan base?
Ryan Gilbey wonders why <em>Despicable Me 2</em> had to be made.
Ryan Gilbey reviews three documentaries: <em>The Act of Killing, Pussy Riot: a Punk Prayer</em> and <em>Stories We Tell.</em>
Will Self's "Madness of Crowds" column.
Like Someone in Love by the Iranian director Abbas Kiarostami uses prostitution as a means to pursue its own ends: an analysis of identity and everyday role playing, without the slightest hint of smut.
Viewers often admit to wanting to “know what happened when the cameras stopped rolling” and in their purest form sequels answer those questions.