Since the 1960s there has always been plenty of flesh at Cannes. As the red carpet is rolled out, Peter Bradshaw awards his own Palme Phwoar.
Michael Keaton is tremendous as the superhero movie star trying to reinvent himself as a serious actor in Alejandro González Iñárritu’s ‘Birdman’.
Peter Bradshaw reviews Woody Allen’s Blue Jasmine.
In A Separation, Iranian writer-director Asghar Farhadi takes a scalpel to his bourgeois homeland.
The 50th anniversary of the big-screen Bond is the right time to pull off something big.
Frankenweenie, Tim Burton’s new movie, is a feature-length treatment of a 1984 short originally rejected by Disney for being too "dark".
This mockumentary about Rodriguez is an interesting footnote to a denied cultural history: the history of South Africa’s white liberal class.
Seth MacFarlane, the creator of TV’s Family Guy, has co-written and directed a stoner fantasy-comedy that is cynical and lethargic, sour and dour.
It’s a joke that some will find in sacrilegious bad taste. For others, the self-aware craziness is the whole point.
Steven Soderbergh’s ‘Magic Mike’ somehow looks like a much darker and more challenging movie than is actually the case.
Five years after the ropey Spider-Man III crawled out of the multiplex plughole, starring a jaded Tobey Maguire, the reset button has been pressed.
The Dictator is set to make Peter Sellers’s Inspector Clouseau a model of subtlety and sensitivity.
Director Andrea Arnold and cinematographer Robbie Ryan strip Emily Bront’s only novel down to its bare essentials: pain, anger and love.
In 2010 Iranian filmmakers Jafar Panahi and Mohammad Rasoulof were sentenced to six years in prison for alleged crimes against national security.
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.
<i>The Artist</i> has to be the first film that has left <b>Peter Bradshaw</b> weeping tears of joy.
<em>Rampart</em> is a gripping movie, and a great addition to the Ellroy canon.
Poor Margaret Thatcher: her transformation into biopic drag queen is now complete.
Can bad children happen to good parents, or do they reveal their parents’ flaws? This is the question raised in <i>We Need to Talk about Kevin</i>.
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.
Surely Ritchie, and his writers Michele and Kieran Mulroney, should be handed the keys to the James Bond franchise.
George Clooney’s political drama <em>The Ides of March</em> is about a Democratic primary campaign unfolding in the key state of Ohio.
<i>Biutiful</i> is sometimes beautiful – and sometimes exasperating, questionable and absurd.
As big-name actors prove a box-office turn-off, now may be the time for mainstream Hollywood stars to take a hike, writes <b>Peter Bradshaw</b>.
For 30 years after the death of Alfred Hitchcock, the French film-maker Claude Chabrol near single-handedly kept alive a genre.
<b>Peter Bradshaw</b> reviews <i>The A-Team</i>, which he sys is an intermittently entertaining feature-length revival of the 1980s TV series.
With <i>The White Ribbon</i>, Michael Haneke returns to his classic themes of guilt, denial and violence as the mysterious symptom of mass dysfunction
<b>Peter Bradshaw</b> reviews Christopher Nolan’s new movie, <i>Inception</i>. It stars Leonardo DiCaprio.
EUROPEAN MOVIE OF THE WEEK: <b>Peter Bradshaw</b> reviews reviews <em>The Ghost Writer</em>, starring Ewan McGregor.
NOT THE MOVIE OF THE WEEK: <b>Peter Bradshaw</b> reviews <i>The Men Who Stare at Goats</i> , starring George Clooney and Ewan McGregor.
MOVIE OF THE WEEK: Peter Bradshaw reviews <em>Spread</em>, a pessimistic movie about a Los Angeles hustler played by Ashton Kutcher.