Playing the notoriously uncool music critic Lester Bangs in Cameron Crowe's 2000 film Almost Famous, Philip Seymour Hoffman remarks, 'great art is about conflict and pain and guilt and longing'. Found dead, alone, and with a needle of heroin in his arm in his New York apartment this month, the conflict and pain that linked so many of Hoffman's characters began to resonate with the final image of the man himself.
The famously neurotic director has not been accused by anyone else of sexual assault, his loving wife Soon-Yi defends their relationship vigorously and he will probably never be charged, let alone found guilty of what he's been accused of. But between what has been alleged by Dylan and what we know of Soon-Yi, who among us will ever think of him in the same way again?
The Academy Awards are closing up on us... it's time to bring on the glamour. February is indeed preparation month as talent gear up to look their sharpest for their arrival at Hollywood's Kodak theatre for the March 2nd event.
Set during the war in Afghanistan, Lone Survivor charts the failed United States Navy SEALs mission Operation Red Wings. Four Navy Seals are sent on a covert mission to neutralise a high ranking Taliban operative.
Already out in the US, Here are 5 reasons UK grown-ups, along with their inner child, should go to see The LEGO Movie this weekend...
On this solo Saturday, after watching Steve McQueen's '12 Years a Slave', I hurriedly left the theatre fighting back tears with a lump in my throat, numb to the people around me, ran to the toilet locked myself in a cubical and burst into tears.
Teenage uses archive footage alongside narrated stories of real young people of the time, the film explores the birth of the modern teenager as well as early subcultures like the Bright Young Things and the Swing movement in the United States. The film also explores what life was like for teenagers under the Nazis.
The Jim Broadbent-Lindsay Duncan dream team with Hanif Kureishi's script and Roger Michell's spot on direction give a beautifully observed mini triumph.
One afternoon 2 years ago, I wrote 2 pages of script. Next week I'll be walking up a red carpet, in a pretty sensational (borrowed) dress to the World Premiere of a film those 2 pages have become part of.
Should we worry about these remakes, or just enjoy the opportunity to see new versions of some of our favourite stories? If we listen to the vast majority of film critics, it seems we should be rather more than worried.
Netflix is threatening the giants of the entertainment industry. The company started by targeting cable channels, leveraging a huge catalogue of content to build a subscriber base and challenge these businesses' distribution models. Now it's set its sights on cinemas.
Chris Pine ticks all the boxes as the fourth big screen incarnation of Tom Clancy's CIA analyst. Kevin Costner is excellent as his mentor; Keira Knightley gives a good American accent, and director Kenneth Branagh is solid as the villain.
Onscreen taboos and misrepresentation around abortion, when it is such a common issue in the lives of women are extremely problematic. And even Dirty Dancing may never have depicted it were it not for the amazing attitude of writer Eleanor Bergstein who turned down sponsorship for the movie to preserve the story.
Cristian Mungiu's 2007 Palme d'Or winner, '4 Months, 3 Weeks, 2 Days' and Cristi Puiu's 'The Death of Mr Lazarescu' show the strength and quality of the Romanian New Wave.
One of my New Year's Day rituals is to go through all the films I saw in cinema the previous year and compiling a list of top 10 titles. Yes, I realise I'm a bit late posting this, but here are my favourite films from 2013:
What is often overlooked, or downright ignored, when such claims are made, is whether 'real' audiences feel misled, or lied to. Because, if audiences actually believe this, if they feel they are regularly being mis-sold or duped, then why does the trailer remain so incredibly popular? Why do millions of people search for, and download, new trailers every day?