It is a great day when a film such as this, a key and significant film, fruit of a wonderful golden passage in film-making history, is brought fully to light. It is a great day when credits expunged by the forces of darkness are restored to their proper place and talent be hailed as they should be
They say that the jobs you have the most fun on are the ones the public enjoy the least but early word on WSKTOW is very positive and I have to say I'm incredibly proud of it. Of course, making a good film isn't enough. The press usually give my films a mauling but then I don't make them for the press.
On receiving a Fellowship at the BFI, Al Pacino said: "If you put any movie on a big screen nowadays, I'll love it. I mean, who wants to watch movies on iPhones? I'm so tired of that." I too love a good night out at the cinema, but he's wrong. Sorry Mr Pacino but millions of people watch films on their mobile devices worldwide, and Video on Demand (VOD) is their preferred choice.
The 75 minutes epic features the band's catchy tunes, a never before seen interview and exclusive backstage tour footage, all in true high definition and a 5:1 surround sound; "an epic event for Directioners".
It is five years now since Duncan Campbell's Make it New John rolled off the production line. Pristine and gleaming in its 2009 plates, Campbell's film was very much that year's model.
It is hard to describe just how depressing it is to work in an industry where women are reduced constantly to the sum of their parts and not even named. The worrying thing is that this is a common practice.
Before the halfway mark, I considered leaving A Most Wanted Man, Anton Corbijn's tortuous, leaden, almost event-free version of John le Carre's novel. But no, I thought.
The Hundred-Foot Journey is a wonderful film, and a treat for both your tummy and your eyes. Produced by the screen gods that are Steven Spielberg and Oprah Winfrey, it was never going to be a disaster.
Film festivals face an additional hurdle to other types of arts organisations: Netflix and the pre-domination of online movie providers. This means that the traditional ways people access and watch movies has shifted from movie theatres and DVDs to online distribution.
Now in their fifth year, the International Screenwriters' Lectures, hosted jointly by BAFTA and the BFI, have cemented their worldwide reputation as the most prestigious forum for celebrating the peculiar genius of screenwriting.
A wondrous event took place in London town last night. A premiere like no other, vInspired's Swing The Vote set out to reveal what's remained a secret 'til now: exactly what will get the UK's 18-24 year olds to the ballot box next summer.
Summer is over, just look outside for proof, but right around the corner to help combat those post-summer blues is the UK's premier film extravaganza, the 58th BFI London Film Festival... I've picked out a few of the key highlights so you can be first in the queue when the tickets go on sale on 18 September.
It was evident that this photo was meant to be art (whatever that means). And the fact that it was shot by one of the world's leading photographers is meant to reinforce that claim. But while it is a powerful and strong image, it also shows that this image isn't 'feminist' as Claire Cohen, writing for the Telegraph, says, or a 'victory for small breasted women'.
The presence of Josh Brolin, Joseph Gordon Levitt, and original stars Bruce Willis, Powers Boothe, Jessica Alba and Rosario Dawson gel nicely. The hard boiled characters and narrative are terrific, violent, sexy, extreme, brutal and seductive, but strip away the visuals and creative flourishes and truth is you're left with some rather dull stories.
American filmmaker Josh Evans' new movie Death in the Desert is a classic. I was privileged to get an exclusive preview of this brand new film. The prolonged panoramic and panning landscape shots burn into your mind with the light and the dark and the shadows. The cast and the characters they play are captivating as is the dark and addictive story.
Between them, Inman and Holman set about placing Gilles Peterson and his enduring quest for new Brazilian music at the centre of the narrative, with the veteran musicologist, for the first time, producing an album of music for which his passion is unrivalled.