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.
With over 75 years of history, comics boast a multitude of inspirational female, black and even disabled characters. Superman is, at its heart, an immigrant tale, while X-Men is an allegory of the fight against fascism.
Guy Pearce and Robert Pattinson star in David Michôd’s distopian thriller The Rover: a film with an uncertain mission at its core, like a post-apocalyptic Dude, Where’s My Car?
The star of To Have and Have Not and The Big Sleep has had a stroke aged 89. But did she always get the roles she deserved?
The American actor and comedian has been found dead at his home in California, aged 63.
Ben Whishaw stars as a grieving lover in this tale of cross-generational, Anglo-Chinese friendship.
Though the notorious Russian roulette scene looms large, The Deer Hunter is a tender – and even optimistic – depiction of the human capacity to endure.
There’s such pleasure for the listener in hearing something you know being chewed over properly.
Drawing largely on home movies shot by the subjects in the 1930s, the picture pieces together the circumstances that led to several unexplained deaths.
Despite its occasional longeurs and lapses of logic, post-global-freeze thriller Snowpiercer is an intoxicating mishmash of stunts and ideas which deserves to be seen in UK cinemas.
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.