The result is patchy, but there's also a lot of love here. Aimed at a young audience, it's a checklist of classic moments from the strips, from Charlie trying to fly a kite to Snoopy's battle with flying ace The Red Baron.
Sherpa aptly captures the increasingly acrimonious tension between foreign climbers and their guides while highlighting the codependence between the two parties and awing the eyes with stunning cinematography featuring the world's most majestic mountains as a backdrop.
It's finally official in the UK - Star Wars: The Force Awakens has been rated 12A. While children under 12 are permitted, they have to be accompanied by an adult. More than that, it means as far as the British Board of Film Classification (BBFC) examiners are concerned, the new Star Wars film is unsuitable for children under 12.
Paul Weitz's 'Grandma' is a gem and Lily Tomlin wows - Guy Maddin's 'The Forbidden Room' is bizarre, inventive, surreal, absurd and hilarious - Lisa Vreela's documentary 'Peggy Guggenheim: Art Addict' offers a tantalising insight into a woman who championed the greats of modern art...
Though the year has been a triumph and with Star Wars: The Force Awakens, released on Thursday, predicted to be the biggest film of all time in the UK, it's all set to have a climax unrivalled in recent cinemagoing history.
Trust me when I say you'll be taken for a joyride into the quirky and kinky depths of LA that Hollywood would never dare reveal - Tangerine is full throttle and unforgiving.
Most of these extraneous activities are well documented, but they're worth repeating in the vague hope people decide that maybe they should try and avoid partaking in them, if only to be considerate enough to those in the auditorium who are there to, and I'll whisper this so as not annoy anyone, enjoy the BLOODY PICTURE.
Carol is too emotionally exhausting for an immediate repeat viewing, but I want one. I want a second chance to hear all the unsaid words, to notice all the secret glances, the hopeful hands reaching out to nothing.
On January 23rd, we're going to screen the movie for the public for the first time at my favourite film festival in the world, Horror-on-Sea. Then, after that premiere, we destroy that version and never screen it again.
With HIV infection accepted as an integral part of this life, it's a sobering picture of a vicious cycle that trades the search for happiness for addiction, emotional turmoil and a self-destructive emptiness.
The film defies the norms of 1940s Hollywood. For example, Doris is working in a senior management position at Macy's flagship store in New York, while Fred is often seen rolling-up his sleeves around the house in a swap of the traditional gender roles of the time.
as diverse as Minister of Culture in Haiti and his current position as President of FEMIS, the prestigious National Film School of France, experiences that contribute to a unique directorial vision.
Haynes dares you, compels you, to fall in love with Blanchett's titular Carol, and by the time you're finally allowed to draw breath at the end, you realise you are already far gone. Shot on a remarkably modest budget, it has the feel of an obvious awards contender and a project any producer should have been willing to fling at least a moderate amount of cash at.
I'm on the East Yorkshire set, and the concept art, story, and the fact it features David Bradley (Harry Potter, The Strain, Game of Thrones) has me intrigued. The rest of the cast are also on good form; there are some stars in the making here.
It's no secret that here in the UK we have a whole host of talented individuals, from superstar footballers to incredible actors, and more - and more - of them are heading overseas to find more fame in the bright lights of Hollywood and beyond.
Some (men) say that Pinter has just as much disdain for men. His male characters vary from a bit pathetic to utterly cruel. But the point is that the leverage they have in the world comes from more than what's between their legs.