Two thrill-offering movies are being released this week, but they are being marketed in very different ways.
After <em>Chocolat, What’s Eating Gilbert Grape? </em>and <em>The Cider House Rules,</em> Lasse Hallström moves on to the fish course.
Months before the release of <em>The Grey</em>, this newspaper had already received a message from some lupine anti-defamation league.
<em>Young Adult</em> and <i>The Hunger Games</i> both explore the uncomfortable space between youth and maturity.
It is now 13 years since <em>American Pie</em>, and all those virginities are well and truly lost.
<i>Wrath of the Titans</i> features silliness and predictability in epic proportions, writes <b>Shaun de Waal</b>.
<em>Christopher and His Kind </em>is the adaptation of the autobiography by Christopher Isherwood.
Glenn Close has been trying to get a film of <em>Albert Nobbs</em>, George Moore’s novella set in the 1800s, off the ground since 1982.
At its best, <em>Carnage </em>is a spiky satire on contemporary bourgeois correctness; at its worst, it;s a strained piece of upscale dinner theatre.
Let us not overstate the wonderfulness of <em>The Artist</em>, writes <b>Shaun de Waal</b>
<i>The Artist</i> has to be the first film that has left <b>Peter Bradshaw</b> weeping tears of joy.
<em>Tinker Tailor Soldier Spy</em> is absorbing in its thinky, downbeat way; it’s an intelligent adaptation of a long, complicated tale .
<em>Rampart</em> is a gripping movie, and a great addition to the Ellroy canon.
<i>This Means War</i> is an example of what Hollywood refers to as a "high-concept" movie — and what French critics call la haute poppicocquerie.
<i>My Week with Marilyn</i> is a lovely film with plenty of charm, humour, a bittersweet flavour, and a nice feeling of solidly contained Britishness.
Poor Margaret Thatcher: her transformation into biopic drag queen is now complete.
Slick, vanilla Afrikaans romcom <i>Semi-Soet</i> is just what the South African film industry needs, writes <b>Phillip de Wet</b>.
<b>Shaun de Waal</b> imagines the script conference for formulaic thriller <i>Man on a Ledge</i>.
Adam Sandler’s latest comedy <em>Jack and Jill </em>may mark the moment when cinematic cross-dressing officially stops being funny.
Sexuality and the prison house of the self are the themes of <em>The Skin I Live In,</em> Pedro Almodóvar’s fantastically twisted new film.
David Fincher has given <em>The Girl with the Dragon Tattoo</em> a very serious software and operating-system upgrade.
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/ 23 December 2011
In terms of box-office receipts <i>Midnight in Paris</i> is Woody Allen’s biggest hit yet.
<em>Mission: Impossible — Ghost Protocol</em> is an exercise in American excess.
When <b>Shaun de Waal</b> told a friend he’d enjoyed <i>Puss in Boots</i>, he was told his critical sensibility had obviously decayed.
When first I saw there was a movie coming up called <em>Platteland,</em> starring Steve Hofmeyr, I made a mental note: Miss it.
<i>Outside the Law</i> is far from subtle. Director Rachid Bouchareb presents his narrative pretty bluntly and with pretty broad strokes.
<em>Anonymous</em> has more than "a certain amount of plot" — it’s very plotty indeed, detailing secrets, conspiracies and revelations.
Two South African movies open this week, and they couldn’t be more different.
A new film takes a look at Allen Ginsberg’s life and legacy, including the poem that made him famous.
<i>Colombiana</i> is a fairly satisfying film, if you’re into shooting and chasing and jumping.
<i>TAC — Taking Haart</i> could be seen as propaganda, or part of the TAC’s campaign to win hearts and minds. But it’s good propoganda.
We have yet to hit upon a formula that marries the job of mirroring "the nation" and the business of making money.