Peter Bradshaw

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.