Joss Whedon’s take on Shakespeare’s rom-com is charming yet forgettable, writes Gavin Midgley.
Jonathan Smith presents SUMMER IN FEBRUARY, based on his own original novel. “A triumph of antiquated posturing and quite unimaginative storytelling,” writes Ed Frost.
Fabulously gay, darling! For about the first half, anyway. And then BEHIND THE CANDELABRA turns into a slightly dreary tale of human weakness and failure, writes Keith Braithwaite.
Kyrgyzstan’s submission for Best Foreign Language Film in the Academy Awards of 2013, THE EMPTY HOME, explores how individual ambition in the modern world has its price.
Although Michael Shannon delivers a superb performance, THE ICEMAN can only be carried so far by that and his ever-changing facial hair, claims Jim Ross.
The Daleks appeared at the Cambridge Picturehouse recently in two films from the Amicus stable, starring that celebrated gentleman of British genre cinema, Peter Cushing.
Oppenheimer’s “extraordinary, lucid” documentary challenges former Indonesian death squad leaders to cinematically reenact their mass-killings. (UK release 28 June)
Andrew Nickolds dives in to this new French comedy, a “primary-coloured confectionery” set in the world of speed typing.
Almodóvar muddies the waters between good and bad, masculine and feminine, movement and inertia, real life and spectacle with TALK TO HER.
Mixed performances and a mismanaged soundtrack balanced by a powerful denouement: Dan Harling reviews Baz Luhrmann’s interpretation of THE GREAT GATSBY.