I like Reynolds as an actor, and even I was bored.

It exists on the rung below Venice, Cannes and Berlin, but it’s often more interesting and more daring.

The spark of genius in Sorkin’s script is that it’s structured around three key product launches across a decade and a half, instead of attempting a full biography.

Brooklyn is not a depressing film, but it has the power to make you feel great nostalgia and sorrow.

With less resources and facing a race against time to digitise the massive collection, it sounds like a pretty bleak time to be the CEO of the National Film and Sound Archive. But Loebenstein is upbeat...

It’s skilfully made, and sooo grim.

Two Best Picture nominated films that take a very different approach to the topic of sexual predators.

Will you be watching? Or will you be turning off, disgusted? Critic Ashley Clark discusses the backlash, and the backlash against the backlash.

MOMA curator Dave Kehr on lost films and the pitfalls of digital restoration.

Tender, warm and even romantic, but it’s also slightly bloodless.