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Once bold and necessary, the director’s modern portrayals of poverty now exclude the people they claim to represent.
Director Olivier Assayas explores the prospects of the printed word in the digital age.
The man behind Brass Eye and Four Lions tells Helen Lewis about the confected terrorism plots that inspired his new film.
Adewale Akinnuoye-Agbaje’s autobiographical drama about a British-Nigerian becoming a racist skinhead leaves too many questions unanswered.
Joaquin Phoenix’s performance makes this film seem better than it is – but Joker remains insubstantial and inconsistent.
From Ad Astra to High Life to First Man, Sad Men In Space™ are having a moment.
Strippers on the big screen are typically gritty decoration or gruesome punchlines. In Lorene Scafaria’s film, they're working-class women trying to build decent lives.
Father-son relationship problems aren’t enough to drive this film forward.
The film leaves nothing left to ridicule, no cliché unexploited and no spectacle to recommend it.
Waad al-Kateab’s tender film, framed as a letter to her baby daughter, records her life during the siege of Aleppo.
It just isn’t good enough. I can’t take It any more. I’m over It.
