Dustin Hoffman and Lily Tomlin are existential detectives who you could hire to investigate the meaning of your life. Their nemesis is Isabelle Huppert. Hilarity ensues.
Edd Elliott offers the first in a series of cautionary tales on the topic of corporate takeovers. What does Nora Ephron have to teach us?
Despite some curious tweaks to the plot, the first part of Peter Jackson’s epic return to Middle-earth has plenty going for it, writes Matt Fasham.
Despite some annoyingly blunt and simplistic narrative elements, Ang Lee’s LIFE OF PI is the work of a master visual storyteller, writes Jim Ross.
Today is the thirteenth anniversary of Robert Bresson’s death. Rosy Hunt commemorates his life with a review of DIARY OF A COUNTRY PRIEST, one of Martin Scorsese’s influences.
Although SEVEN PSYCHOPATHS never hits the heights of IN BRUGES, and isn’t as clever as it purports to be, McDonagh offers a bundle of meta-movie laughs, writes Jim Ross.
The memorable opening sequence from THE SHINING was shot by Jeff Blyth, a photographer and director with over 40 years’ experience in Hollywood. We caught up with him to find out how he got started.
Rich pickings at this year’s Underwire Film Festival at the Ritzy in Brixton included panel discussions, one-to-one support events for filmmakers and a generous helping of short film screenings. Jo Shaw reviews.
INDIE GAME is a glowing testament to the current standard of independent game design: consumers produce better digital media than their mainstream counterparts, writes Jonathan Toomey.
We spoke to Jesse about his directorial debut JASON BECKER: NOT DEAD YET, a documentary about a guitar hero who hasn’t let Lou Gehrig’s Disease stop him recording music.