Annie opens with a brief parody of, well, Annie, as a little red-haired girl (with tell-tale unmatched eyebrows) finishes a classroom presentation (...)

There have been worse years for the film industry than 2014. Nonetheless, this gormless farrago feels like the manifestation of a vast collective nerv(...)

This is one of those allegedly pop-feminist comedies that invites audiences to root for the massed legions of decent women wronged by awful men(...)

Naomi Watts in Diana: “vulgar, tasteless and nonsensical without ever skirting the status of camp classic”

Elsewhere in this issue we discuss those film-makers who are discovering new routes towards excellence. This fellow breaks fresh ground. This other ch(...)