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.
<b>Shaun de Waal</b> assesses three views of the state of the continent and wonders whether radio can help to stop the ‘Big Men’ retarding progress.
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.
PD James has previously expressed her great admiration for Jane Austen. Now she has gone the whole hog and written an Austen pastiche.
Let us not overstate the wonderfulness of <em>The Artist</em>, writes <b>Shaun de Waal</b>
<em>Tinker Tailor Soldier Spy</em> is absorbing in its thinky, downbeat way; it’s an intelligent adaptation of a long, complicated tale .
<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.
<b>Shaun de Waal</b> imagines the script conference for formulaic thriller <i>Man on a Ledge</i>.
<em>Margin Call </em>is a striking film about the 2008 crash.
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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.
The charm and nice feelings that <em>New Year’s Eve </em>is supposed to project are smothered in schmaltz.
A variety of writers ruminate on the challenges facing South Africa, offering insights and advice that the government is unlikely to heed.
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.
Ivan Vladislavic plays not only with the idea of unwritten books or stories, but also with the idea of finishing itself.
<i>Outside the Law</i> is far from subtle. Director Rachid Bouchareb presents his narrative pretty bluntly and with pretty broad strokes.
The publicity material for<em> Shanghai </em>mentions in passing that it’s a <em>Casablanca </em>kind of movie. Is it?
<em>Anonymous</em> has more than "a certain amount of plot" — it’s very plotty indeed, detailing secrets, conspiracies and revelations.
Perhaps because <i>Skeem</i> is unapologetically South African, it was a hit at the Abu Dhabi film festival.
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.
It is not to be taken seriously, this version of <em>The Three Musketeers</em>, but it is fun in a preposterous sort of way.
Apart from challenging conventional sexual categories, Pride’s most outrageous performers question the beautiful.
<b>Shaun de Waal</b> has been mulling over the question of what we might call "local content" in South African movies.
Djo Tunda wa Munga’s picture of life in Kinshasa is all about survival and a future devoid of hope.
<b>Shaun de Waal</b> interviews Hélène Smit about her book on depth psychology.
<i>Colombiana</i> is a fairly satisfying film, if you’re into shooting and chasing and jumping.