Penny Woolcock’s inner-city gang documentary humanises people who have been demonised for too long, writes Gavin Midgley.
Gavin Midgley speaks to producer Rebekah Tolley about the making of acclaimed documentary WE WENT TO WAR and its director Michael Grigsby.
Michael Grigsby’s final film is an outstanding and immensely moving examination of the true cost of war, writes Gavin Midgley.
In early Spring, arthouse and mainstream films rub shoulders in a way they rarely do during summer or winter. A good film is a good film, no matter where it’s from or where you see it, writes Associate Editor Gavin Midgley.
John Logan – the writer behind GLADIATOR, THE AVIATOR, HUGO and SKYFALL – was in energetic and affable form at this year’s Watersprite Student Film Festival in Cambridge.
Terence Stamp is on impressively dour form in Paul Andrew Williams’ modest film, writes Gavin Midgley.
Counting down to Valentine’s Day with the ADDICTED TO LOVE theme. AI is a tale of unrequited love: maternal love, childhood love, innocent love.
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.
Hitchcock’s other great horror masterpiece, THE BIRDS remains an extraordinarily effective exercise in apocalyptic terror, writes Gavin Midgley.
This slice of film geek nirvana charts the attempts to restore a colour version of Georges Méliès’ A TRIP TO THE MOON, one of the greatest and most influential films from the silent era.
Neil Brand talked us through the world of silent cinema at this year’s Cambridge Film Festival, offering commentary as well as a terrific musical soundtrack to a variety of short films.
A rarity among Alfred Hitchcock’s films in that he wrote as well as directed it, THE RING is perhaps his first fully rounded feature. Nearly two hours in length, this absorbing tale concerns two boxers competing for the love of a girl, and the resulting emotional see-saw is quite compelling, despite an utterly conventional plot. [...]
With BLACKMAIL, Hitchcock continued to refine his unique ability to mix murder and suspense with generous helpings of comedy. Gavin Midgley reviews.
What is there left to say about the film that was recently voted the greatest movie ever made in Sight and Sound magazine’s prestigious decennial poll? Gavin Midgley has something to say.
With THE LODGER, Alfred Hitchcock really began to hit his stride, and he has oodles of fun trying to throw the audience off the scent, writes Gavin Midgley.