Cinema

The French master film-maker Jacques Audiard has never been anywhere near Hollywood plot school. His films contain gathering menace — something somewhere is going to go horribly wrong — but where the menace will come from, and who will get hurt, is anyone’s guess. In his astonishing prison drama A Prophet the threat to its

I once forced some pals on a skiing holiday to spend an afternoon off the slopes watching Chalet Girl. Suffice it to say, I have a high tolerance for lowbrow ski films. So if saccharine tales about plucky Alpine underdogs really aren’t your thing you might want to give my views a miss — as

The big hitter this week is, of course, Batman v Superman, but if you want to learn something new, and meet characters that’ll stay with you long after, well, get yourself to Court. This is an Indian courtroom drama in which the wheels of justice grind so slowly you’ll want to scream, and now I

High-Rise is Ben Wheatley’s adaptation of J.G. Ballard’s novel, and it is deeply unpleasant, if not deeply, deeply unpleasant. (Ideally, I would wish to repeat ‘deeply’ several hundred times, but I do not have the space.) Based on the dystopian notion of tower-block residents regressing into a primitive state once societal norms and the class

Anomalisa is an animated film written by Charlie Kaufman, and while the temptation is to label it a midlife crisis movie, because labels make life so much easier, it is not that clear-cut, just as it never is with Kaufman, who has always refused to explain himself. (Asked what his films are about, his stock

The latest film from the Coen brothers is a comedy set during the ‘golden age’ of Hollywood and in some respects it is utterly delicious. George Clooney wears what is effectively a leather miniskirt throughout, which may not be ‘age-appropriate’, as they say, but is wholly pleasing. (I was personally delighted, I must confess.) And

The Benefactor is both a bad film and a thoroughly inexplicable one. It’s one of those what-were-they-thinking projects that wastes decent talents — Richard Gere and Dakota Fanning, most notably — for no discernible purpose and has you thinking throughout that whatever they were paid it wasn’t enough, and even if they’d been offered more,

Scholarly filmgoers may recall a movement that sprouted from Danish soil called Dogme 95. It worked to a Spartan set of rules and regs. In Dogme titles there could be no lighting and no soundtrack, no locations pretending to be other locations. Hell, there were probably no Portaloos on set and actors fixed their own

‘I’m pretty sure there’s a lot more to life than being really, really, ridiculously good-looking,’ said a pouty Derek Zoolander back in 2001. Well, apparently not. Because Zoolander 2, the long-awaited sequel to Ben Stiller’s cult hit undercutting the male-model industry, is a good-looking bore, a fashion faux pas where hot celebrities such as Kate

The TV sitcom Dad’s Army ran on the BBC from 1968 to 1977 (nine series, 80 episodes) with repeats still running to this day (Saturday, BBC2, 8.25 p.m.) and I sometimes watch these repeats with my dad (92) and we laugh like idiots and I sometimes watch with my son (23) and we laugh like

Like The Revenant and The Big Short, Spotlight is yet another Oscar contender ‘based on true events’ — although it has now been suggested that The Revenant was 99.7 per cent made up. (Does this matter? Only, I suppose, in the sense that you should know what you’re watching.) But we’re on firm ground with

The Big Short is a drama about the American financial collapse of 2008. It talks you through sub-prime mortgages, tranches, credit-default swaps, mortgage-backed securities, collateralized debt obligations …and, yes, I just bored myself to tears typing that list. I had to prop my eyes open with matchsticks typing that list. I would even propose that

The Revenant is a survival-against-the-odds film that so puts Leonardo DiCaprio through it I bet he was thinking, ‘I wish I was back on that boat that went down.’ He is mauled by a bear. Viciously. He is buried alive. He eats still-throbbing, blood-dripping raw liver, and quite forgets his manners. (Wipe your chin, man;

This is the week of The Hateful Eight, the latest Quentin Tarantino film, but Tarantino being Tarantino, there were no screenings for reviewers, so I’ve yet to see it. There also seems to have been some falling out with the Cineworld, Picturehouse and Curzon chains such that their cinemas won’t be showing the film at

The Danish Girl is based on the true (if heavily revised and simplified) story of Lili Elbe, one of the first people ever to undergo sex reassignment surgery, but while the timing of this is right — transgender issues are surely the next equality frontier — the film itself somehow isn’t. It’s OK. It’s probably

Apologies if you were expecting a review of Star Wars here, but Disney is not allowing critics access prior to the film’s opening on the 17th, and anyway, we’ve got Grandma, which was made for $600,000 in 19 days and has a running time of 79 minutes and stars a 76-year-old, so there is that.

Lewis Grassic Gibbon’s Sunset Song is the best-remembered title of a short career. Born in 1901, he was dead by 1935. The novel hymned the rhythms of rural life in north-east Scotland in prose that to modern ears sounds as if it comes from a museum of Grampian folklore. At its heart is Chris Guthrie,

Carol is an easy film to admire — so beautiful to look at; entirely exquisite — but such a hard film to feel anything for. Based on Patricia Highsmith’s 1952 lesbian novel The Price of Salt, this is a love story that, here, doesn’t venture below the waist, literally, emotionally or metaphorically. It glides across

This is a documentary in which three men travel across Europe together, but they’re not pleasurably interrailing, even though there are often times they probably wished they were. For two of them, Niklas and Horst, the journey is about confronting their fathers, who were high-ranking Nazi officials responsible for the deaths of millions of Jews,