Film At the Cinema The body as battlefield Art-house directors are shock artists now – and one of them has made the best film ever about slavery
Film At the Cinema The silent era on steroids In “Gravity” and “All is Lost”, no blocks are busted. Everything comes down to survival – and silence
Film At the Cinema From minimalism to mooching We need our cool cats as much as our hotheads, but Ryan Gosling’s new film marks the end of the Method
Film At the Cinema A great American achievement If there is such a thing as film history, it should now have a special place for the “Before Sunrise” trilogy
Film At the Cinema Napoleon needs to move us Sentimentality is not a flaw in a film-maker. Kubrick’s script about Napoleon could do with more
Film At the Cinema The three for all Character building: great films arise when director, star and protagonist all merge into one
Film At the Cinema Sheer American cragginess In Hollywood, physiognomy is destiny. Spielberg knows it and shows it again in his “Lincoln”
Film At the Cinema Locked-in lost souls Paul Thomas Anderson’s “The Master” is a little too masterly for its own good
Film At the Cinema American exotic Film-makers are less interested in America than they used to be. But now a gem of a movie bucks the trend