MOVIE OF THE WEEK: Elephant is a compelling response, to the haunting question of what Columbine meant for a country in love with guns, writes Peter Bradshaw.

There comes a time, in the middle of every Cannes festival, when everyone asks themselves the same question. What’s the film we’re all talking about? What has grabbed us by the lapels? In previous years, it’s been Michael Moore’s Fahrenheit 9/11, or Gaspar Noe’s rape-revenge nightmare Irreversible, or Michael Haneke’s surveillance thriller Hidden. And this […]

MOVIE OF THE WEEK: Noah Baumbach’s The Squid and the Whale is exquisitely painful and root-canal-jabbingly uncomfortable, writes Peter Bradshaw.

NOT THE MOVIE OF THE WEEK: John Madden’s latest feature, Proof, starring Anthony Hopkins and Gwyneth Paltrow, just doesn’t add up, writes Peter Bradshaw.

NOT QUITE THE MOVIE OF THE WEEK: Atom Egoyan’s Where the Truth Lies has the rich potential for suspense, for drama, for comedy and for just about everything, but it fails to deliver, writes Peter Bradshaw.

ANIMATION OF THE WEEK: Nick Park’s delightful animation, Wallace and Gromit: The Curse of the Were-Rabbit, is a lovely family film packed with cheeky gags and buoyant fun, writes Peter Bradshaw.

MOVIE OF THE WEEK: Director Jim Jarmusch’s new film, Broken Flowers is his most enjoyable and accessible work for some time, writes Peter Bradshaw.

b>MOVIE OF THE WEEK: Kiss Kiss, Bang Bang is a film, incessantly displaying a preoccupation with its own storytelling structure and cheekily blowing the lid off other movies’ tropes and wiles, writes Peter Bradshaw.