Celia Imrie's comments in Glamour villainise women - like me - who hate being catcalled. But we don't need to "lighten up" about catcalling, we need to shout about it and tell the world that IT'S NOT OKAY.
No one says they want to get rid of the NHS. Everyone praises it, across all parties. It is about as powerful a symbol of goodness that we have, so it would be too dangerous not to. But for decades now, there has nevertheless been a systematic undermining of its core values.
What happens if you mix classic British sitcom Waiting For God with Slumdog Millionaire? You get a bittersweet comedy with a Bollywood feel, aka The Best Exotic Marigold Hotel.
This year's Academy Awards ceremony, at four hours long, required a similar amount of endurance as some of the heavier dramas nominated. The difference is that whilst Neil Patrick-Harris' role as compère offered welcome comic relief, the winners of the 'big four' provided little.
Okay, it's not as clever as some of the best episodes of Hustle or classic movie The Sting, but it looked terrific, the leads were magnetic and there were some splendid scenes.
With awards season is in full swing, it was great to see dementia being brought to the forefront of conversation as Julianne Moore was awarded an Oscar for her role in Still Alice. One person in particular who was touched by the film was Lesley Loizou who works at Anchor's West Hall, a care home that offers specialist dementia care.
On screen women should be heroes and villains and navigate narratives that reassure us that the crap we go through isn't just us and we can aspire to be more than just a Bond girl. We need to gatecrash this boy's club that Hollywood is and encourage more females to make movies that tell our stories.
For studios, awards season is less about direct profit than it is a long-term exercise in branding. Awards help give the studio and actors a reputation for quality, allowing them to go on and sell bigger-budget films.
'Catch Me Daddy', the UK directorial feature debut from Daniel & Matthew Wolfe with honour killing as it's theme is ambitious, stunning and gripping cinema. Kornel Mundruczo's 'White God' is a unique, bizarre, audacious and extraordinary tale of a canine uprising on the streets of Budapest.
I was asked to review Sergei Loznitsa's new documentary record of the Ukraine protest movement Maïdan for Radio 4's Front Row programme this month. It's a timely film. Russia's black propaganda efforts since Maidan have been unrelenting...
With any momentous marketing success it's always worth taking a look at what it was that made it such a rip-roaring winner and whether that's translatable into other sectors. So, what lessons can be learned from Fifty Shades that don't involved a blindfold and a whip?
Aptly for a story about the trials of staging a Broadway play, the camera work gives the story a very theatrical quality: the transition from scene to scene is handled by plunging a part of the screen into darkness while simultaneously spotlighting another.
It's harmful for men to believe that financial success is what defines their masculinity - it implies that their hearts and personalities will never speak louder than their wallets, and will certainly never be enough to interest a woman.
If we take a quick look at this year's Golden Globe Award winners, the notion of a high-profile award winning film made for the mobile-first generation isn't as far-fetched as perhaps it first seems.
It's an industry where diversity means Denzel Washington. It's not news that a disproportionate number of directors are male, resulting in an inevitable plethora of egotistical, navel-gazing, cock-yanking films like Birdman, Boyhood and Whiplash, that feature women as little more than glorified set design.
Cyber thrillers can fall flat if they slip into the realms of cliche, but thankfully Blackhat gets the cardinal sin out the way early: assorted close up tracking shots of data transfer through chips and microscopic tech landscapes.