Helen O’Hara

For the first half of 2024, the main talking point around the movies was that no one was going to see them. Why weren’t audiences flocking to see Ryan Gosling drive stunt cars and flirt with Emily Blunt? Why did Furiosa flop when the last Mad Max film was such a hit? It was especially perplexing given that last year, the worldwide box office had seemed to finally rebound from the post-pandemic doldrums. Studio fortunes are improving, however, on the backs of some major kids movies and the monster success of Inside Out 2 and Deadpool & Wolverine. So how about we all stop wringing our hands, and begin appreciating what’s been a pretty great year for movies so far, both in the mainstream and at the arthouse? You’ll notice some of these movies came out in the US at the back end of 2023, but we’re basing this list on UK release dates to include the best worldwide releases from between January and December. And there is plenty more coming, so keep this one bookmarked. RECOMMENDED: 📺 The best TV shows of 2024 (so far) you need to stream🔥 The best horror movies and shows of 2024🎥 The 100 greatest movies ever made

With, seemingly, about 116 different streaming platforms churning out new small-screen shows, you’d expect a few of them to land. Even so, 2024 has been a feast of excellent TV. We’ve had Shōgun, Baby Reindeer, a return for the ever-brilliant Slow Horses, a new series of Industry, a show that’s gathering fans like a coked-up trader acquiring stock options, another run of outlandishly funny Aussie sitcom Colin From Accounts and the nicest surprise of them all: an adaptation of Jilly Cooper’s Rivals so fun, it’ll make you want to don shoulder pads and make out with the nearer polo player.  Not everything has been worthy of eight or so hours of your time, with Armando Iannucci’s so-so superhero satire The Franchise and powder-puff Game of Thrones spinoff House of the Dragon arriving with high hopes that they failed to live up to. Still, whether you subscribe to Netflix, Prime Video or Apple TV+, or just keep it strictly terrestrial, there’s plenty of bangers out there to catch up on between now and the end of the year. Here are our suggestions for where to start.RECOMMENDED: 🎥 The best movies of 2024 (so far)🔥 The best TV and streaming shows of 2023📺 The 100 greatest ever TV shows you need to binge

Three-fourths of the way through 2024, and it’s safe to say this has been a banner year for horror movies. In fact, it seems like all the buzziest films to come out so far aim to terrify. What’s truly great about the current horror bumper crop is that none of the standouts really resemble one another.  Cannes hit The Substance has finally landed, Osgood Perkins’ hit Longlegs mixes ’90s serial killer procedurals with the Satanic panic of the previous decade, while I Saw the TV Glow is like David Lynch directing Buffy the Vampire Slayer. Late Night with the Devil makes found-footage fun again, while In a Violent Nature invented a new subgenre that people are calling ‘ambient slasher’ – just to name a few. Below, you’ll find our ongoing picks for the scariest movies of 2024. 🎃 The 100 best horror films ever made 😱 The scariest movies based on a true story 🔥 The best films of 2024 (so far)

Stunt professionals put their bodies, and sometimes even their lives, on the line daily to pull off the coolest action beats in blockbusters. There’s no Oscar for it (yet) and they rarely get to walk the red carpet, but make no mistake, they’re the lifeblood of many of our favourite movies. And if you sell ice packs, they’re probably your number one customers. To celebrate stunt work and action choreography, the BFI is putting on Art of Action, a major new season of screenings, talks and events across the UK. The slate includes more than 40 action spectaculars from Buster Keaton to John Woo, and re-restored classics from Point Break to Seven Samurai. The season runs from October to December, and to mark the occasion we’ve asked a few of the top stunt people in cinema to pick one stunt that blows them away.  So which death-defying deeds most impress stunt legends like Chad Stahelski, Vic Armstrong, Simon Crane and Melissa Stubbs? Read on to find out. BFI’s Art of Action takes place at cinemas across the UK from Oct-Dec 2024  RECOMMENDED: 💥 The 101 greatest action movies ever made👊 The 30 best fight scenes ever filmed

Comedies are the omelettes of the movie world: they seem easy to do, so you get very little credit when they come off – and definitely no awards – but people sure as heck notice when they’re a sticky, shell-filled mess. But we’re giving that misconception a slapstick boot to the backside, because nothing could be further from the truth. A good comedy – and definitely a great one – is a work of alchemy dependent on perfect comic timing, performances, storytelling and, obviously, a LOL-filled script all have to come together to produce gold. And a comedy that endures and appeals across different language and cultural barriers? That’s called a miracle.This may be why you’d have to be all funny bone to call this a vintage year for big-screen comedy. But things are ramping up, with Hit Man, The Fall Guy and the more PG-funny IF all delivering mid-year mirth and more laughs in prospect with Nicole Kidman-Zac Efron romcom A Family Affair and Deadpool & Wolverine ahead. Here’s where to find the uplift, silliness and pratfalls amid all the worthy Oscars fare and grown-up dramas. RECOMMENDED:  The best movies of 2024 (so far)The 100 best comedy movies of all time: from Duck Soup to Spinal Tap.The greatest romantic comedies of all time

Even a stopped clock tells the right time twice a day – and even a terrible movie can contain flashes of genius. If you’re willing to sit through enough dreck, sometimes a miracle will unfold before your eyes: a scene that genuinely makes the ticket price seem almost like value for money and that takes the edge off right that sinking feeling you get when a movie turns into a turkey before your eyes. And, from Darth Maul’s moment of glory to everything Raul Julia does in Street Fighter, those moments deserve celebrating, because it’s not their fault that everything around them is made of potato peelings and offal. Here are the 50 best bits in the very worst movies. RECOMMENDED:🗑️ The 40 best bad movies ever made.🛵 The best cult classic movies of all time.

The movie industry has always been crawling with monsters, and we don’t just mean those old-school studio heads who use to torment starlets. We’re talking about the monsters borne from childhood nightmares, or the deranged imaginations of some very creative adults. We’re talking predatory aliens. We’re talking vampires and werewolves. We’re talking skyscraper-sized apes, sentient globs of carnivorous space goo, interdimensional leather daddies and razor-toothed sewer clowns. In some cases, the monsters of cinema have become as famous as any actor – movie stars unto themselves.  It’s those most iconic beasts, demons and kaiju we’re saluting in this list of the greatest movie monsters of all-time. A few caveats: this list largely follows the same parameters as our monster movies list, meaning that it steers away from non-mutated animals – sorry, Bruce the Shark and the spiders from Arachnophobia – as well as slasher villains such as Freddy Krueger or Michael Myers. But zombies? Trolls? Brundlefly? You’ll find them all below.  Recommended: 👹 The 50 best monster movies ever made💀 The 100 best horror movies of all-time🧟 The best zombie movies of all-time👹 Cinema’s creepiest anthology horror movies🩸 The 15 scariest horror movies based on true stories

Television used to be considered one of the lowest forms of entertainment. It was derided as ‘the idiot box’ and ‘the boob tube’. Edward R Murrow referred to it as ‘the opiate of the masses’, and the phrase ‘I don’t even own a TV’ was considered a major bragging right. And for a long time, it was hard to say that television’s poor reputation was undeserved.  A lot has changed. Television is now the dominant medium in basically all of entertainment, to the degree that the only thing separating movies and TV is the screen you’re watching on. Now, if you don’t own a television – or a laptop or a tablet or a phone – you’re basically left out of the cultural conversation completely. The shift in perception is widely credited to the arrival of The Sopranos, which completely reinvented the notion of what a TV show could do. But that doesn’t mean everything that came before is primordial slurry. While this list of the greatest TV shows ever is dominated by 21st century programs, there are many shows that deserve credit for laying the groundwork for this current golden age. Chiseling them down to a neat top 100 is difficult, so we elected to leave off talk shows, variety shows and sketch comedy, focusing on scripted, episodic dramas, comedies and miniseries.  So don’t touch that dial – these are the greatest TV shows of all-time. Recommended: 📺 The best TV and streaming shows of 2024 (so far)🔥 The 100 greatest movies of all-time🎬 The most bingeable series on Netflix

Has movie music ever been better? With legends like John Williams and Howard Shore still at work, Hans Zimmer at the peaks of his powers, and the likes of Jonny Greenwood, AR Rahman, Mica Levi, and Trent Reznor and Atticus Ross knocking it out of the park, the modern film score is a Dolby Atmos-enhancing feast of modernist compositions, lush orchestral classicism and atmospheric soundscapes.What better time, then, to celebrate this art form within an art form – with a few iconic soundtracks thrown in – and pay tribute to the musicians who’ve given our favourite movies (and, to be fair, some stinkers) earworm-laden accompaniment? Of course, narrowing it all down to a mere 100 is tough. We’ve prioritised music written for the screen, but worthy contenders still missed out, including Dimitri Tiomkin’s era-defining score for It’s a Wonderful Life and Elton John’s hummable tunes for The Lion King.To help do the narrowing down, we’ve recruited iconic movie composers, directors and broadcasters like Philip Glass, Carter Burwell, Max Richter, Anne Dudley, AR Rahman, Emilie Levienaise-Farrouch, Edgar Wright and Mark Kermode to pick their favourites. Happy listening!Recommended: 🔥 The 100 best movies of all time.🪩 The 50 best uses of songs in movies.💃 The greatest musical movies ever made.

2023 was a big year for little horror movies. Sure, the most dominant films of the year were full of vibrant colours, cheery vibes and decades-old IP. But if the talk around the popcorn machine wasn’t about Barbie or The Super Mario Bros. Movie, it was often about some small, freaky nightmare whose budget wouldn’t cover the catering on those other blockbusters. Like M3GAN, the year’s first mega-memed movie about a doll come to life. Or Skinamarink, another viral phenomenon borne from the world’s shared childhood nightmares. Or Evil Dead Rise, the latest reboot of the splatstick franchise that somehow manages to be bloodier and more straight-up terrifying than the original. No true horror movie made much of a dent in the box office – unless you count Oppenheimer, which is certainly horrifying, but doesn’t exactly fit under the umbrella. But several scary movies insinuated themselves into the cultural conversation, and we wouldn’t be surprised to see them make their way into the regular Halloween rotation, if nothing else. Here are the 16 horror movies of last year that left us the most shaken.  RECOMMENDED:  🔪 The best horror movies and shows of 2024 (so far)💀 The 100 greatest horror films of all time🔥 The best movies of 2023 (so far)📺 The best TV shows of 2023 you need to stream

Like one of those mighty redwoods you can drive a car through, David Attenborough has loomed over all our lives for seven decades now – in the most benevolent, life-giving sense imaginable. The great man is like an ecosystem of all his own: a constantly evolving source of technological wizardry, consistently brilliant broadcasting firsts, and a passion for wildlife and the planet that has inspired and informed in equal measure. Not to mention, a soothing voice to tell us all about bugs that can carry ridiculously enormous leaves and the perils of being a tiny, floating albatross when there are tiger sharks about. Everything he (and, to be fair, his skilled camera operators and technical gurus) has done has been touched by genius. But where to start and what to prioritise in this happily massive body of work? To help, we’ve sorted the impeccable from the just​-merely​-extraordinary. But watch them all, obvs. RECOMMENDED:🦁 Sir David Attenborough on a life of wonders.📺 The 66 greatest documentaries of all time.

British-born director Christopher Nolan has reinvented the comic-book movie, somehow made a thriller that takes place entirely inside the mind, spawned significant scientific contributions to astrophysical theory and just turned a story of nuclear physics into a smash-hit summer blockbuster. And he did it all without even rumpling his suit. But which is his best work? We took a look back… RECOMMENDED: 📽️ The 100 best movies of all time🔥 The best movies of 2023 (so far)

So far, there have been seven Transformers films and two of the top three have been prequels: the genuinely charming Bumblebee and the okay-compared-to-its-predecessors Rise Of The Beasts. It makes the prospect of this prequel, returning our robots-in-disguise heroes to their animation roots, a bit more enticing. Sure enough, this makes three of the top four films prequels, but the format means there’s still an air of inevitability about many plot developments here: we always know, in a prequel, that some characters will survive to fight another day and others will go back for good.  Our heroes are the goofily enthusiastic Orion Pax (voiced by Chris Hemsworth) and more law-abiding D16 (Brian Tyree Henry), two small, downtrodden mining robots. They lack the ability to transform, so labour daily in the dangerous mines of Cybertron to find their power and food. However, an unexpected discovery and Orion’s obsession with Primes, the franchise’s powerful warrior robots, sends them to the planet’s surface, along with their boss Elita-1 (Scarlett Johansson) and hanger-on B-127 (Keegan-Michael Key), where they learn something that will change everything.  It’s consistently pretty entertaining, even if it takes a while to get going. The voice cast, which also includes Steve Buscemi, Laurence Fishburne and Jon Hamm, does very good work; hardcore fans may miss voice-of-Optimus-Prime Peter Cullen’s sonorous tones, but Hemsworth doesn’t even attempt an approximation until the end, rightly

The prodigal son returns in this quietly-told drama from director Dominic Savage and star Elliot Page. As with Savage’s TV series, I Am, director and star conceived the story and then the cast largely improvised the dialogue that drives it along. Sometimes that results in meandering or overblown moments, but the general thrust is powerful enough to carry it along.Page plays Sam, a trans man living in Toronto who returns to his family home for a visit for the first time in four years. He makes the journey with considerable trepidation: while his family are outwardly supportive of his transition, he fears that their feelings are considerably more complicated (and time will prove him right on that). Worse, the return opens up his own memories of unhappiness and alienation, even when he reconnects with his first love Katherine (Hillary Baack): she is now married with children, and wary of allowing the surviving spark between them to grow. Savage and Page explore some of the complexities of transition through the family members. Sam isn’t a saint – he can be surly and defensive even before he has good cause to lash out. Equally, some of the family show open hostility to his identity and disrespect to his life. There is an enormous love for him, but hesitance too, a wariness that makes him visibly uncomfortable. His time with Katherine is more encouraging: while Sam repeatedly says he’s not looking for a relationship, his almost magnetic attraction to her suggests otherwise.  Somet

What are we going to remake in 40 years if the only things we’re making now are tired sequels to old franchise reboots? While 2021’s Ghostbusters: Afterlife introduced a young cast and rural location to balance out the original team and same-old threats, this sequel brings everything back to the original film – even recycling some of the same jokes. But they’re a pale echo of its greatness in an overly stuffed and only occasionally fun spectral adventure. Once again, it’s written by Jason Reitman and Gil Kenan; this time the latter takes directing duties. Like Afterlife, it’s lazily nostalgic and fond of recycling old jokes rather than cracking new ones. There’s a story of sorts for McKenna Grace’s likeably geeky would-be ghostbuster, but barely anything for Carrie Coon, Paul Rudd or British comedian James Acaster. Let us assume that Bill Murray’s part is inconsequential by choice. It all smacks of a franchise actively ghosting anything original or innovative, and fatally haunted by past triumphs.In cinemas worldwide Mar 22.

There’s a mild sense of subversion from the opening seconds of Thea Sharrock’s (Me Before You) new film, as the usual cosy British movie score – you know, the one with the gently tinkling piano keys – is undercut by a steel guitar more reminiscent of a western showdown at high noon. What’s fun is that both feel appropriate to this odd comedy, based on a true story. Here the duellers here are Olivia Colman’s pious middle-aged spinster and an uninhibited Irish single mother played by Jessie Buckley. Their weapons of choice? The kind of bad language that would have your granny reeling. Incredibly, it’s based on the true story from 1920s Littlehampton, a chocolate box of an English seaside town. Colman’s upstanding Edith Swan started to receive grotesquely worded and flagrantly libellous letters, scandalising the whole town, and everyone leapt to blame her potty-mouthed, no-better-than-she-should-be neighbour Rose Gooding (Buckley). The police prosecuted Rose for criminal libel but some, notably pioneering Police Officer Gladys Moss (Anjana Vasan), began to suspect that they’d fingered the wrong woman. As it were. Cue a battle of wits, wills and nosiness, as some of Rose’s friends sleuth to find the real culprit and Edith eats up her moment in the sun. Her inappropriate relish is rendered a little more sympathetic as we learn about her domineering father (Timothy Spall, on monstrous form). Even so, it’s far, far easier to root for the straightforward, outspoken Rose. Sharrock has

It’s great to see an action film acknowledge that there is more to the UK than simply London. This proudly northeastern film makes good use of its locations and a cast that mostly have roots in the area, but in its plot and sometimes its tone it feels retro rather than fresh. Our hero is Jack Dawson (The Invisible Man’s Oliver Jackson-Cohen, convincing), a former motocross champion-turned-soldier who returns from the army to look after his brother Simon (a highly likeable Leon Harrop). Unfortunately, his way of doing this is to agree to a pick-up for a local drug dealer, which inevitably goes wrong. Cue anonymous bad guys chasing him and Simon disappearing, sending Jack on a revenge-stroke-retrieval race against time.There are effective action set pieces from writer-director Jamie Childs, a veteran of big-budget TV who uses his locations cleverly and who has a strong cast to work with: Thomas Turgoose provides light touches, Jenna Coleman plays a femme fatale and Vivienne Acheampong pops up to steal a scene. But the overbearing soundtrack from Deadly Avenger and Si Begg can’t paper over a plot that feels familiar and the distinctly ’90s tone – perhaps due to the weak villains. There’s commendable ambition here, but Jackdaw can’t fly the flag for the northeast quite as high as it might like. In UK cinemas Jan 26

This second part of Martin Bourboulon’s Alexandre Dumas adaptation is every bit as dashing and daring as its predecessor – helpfully recapped here – making it officially the best new action franchise of 2023 (part 1 came out in April) that is also the best new action franchise of 1844. It manages to feel faithful even when the plot deviates wildly from the books, because it never loses sight of the essential elements and earns the leeway to throw some new complications at its sword-wielding heroes and villains without the purists blowing their tops.a Eva Green’s full range of skills have rarely been so thoroughly showcased. As sneaky noble woman Milady, she seduces and double-crosses, fences and fights, plots and panics, often dressed as a man and looking somehow even cooler than last time. She is also very much the driver of the plot: as the Musketeers head off to fight the Protestants of La Rochelle on the behest of Louis XIII (Louis Garrel), she weaves among all the warring sides and leaves chaos in her wake. D’Artagnan (François Civil) encounters her early on in his desperate search for his kidnapped girlfriend Constance (Lyna Khoudri), and belatedly realises that Milady may be the lost wife of Athos (Vincent Cassel). Cue romantic complications for both men. An adventure yarn has rarely been so thoroughly satisfying There is an amusing side quest for Aramis (Romain Duris) and Porthos (Pio Marmaï) involving a novice nun, which is just as well as the main narrative has very

Hollywood films don’t come much more ripped from the headlines than this account of the 2021 GameStop financial scandal that saw ordinary day traders take on Wall Street and win. Or did they? Rather than a simple story of underdogs vs The Man, director Craig Gillespie (I, Tonya) has made a complicated, sometimes funny story that is not a comedy, and sometimes feels like a horror.   Paul Dano, in Fabelmans-esque gentle dad mode, is Keith Gill, aka Fierce Kitty, a small time YouTuber who posts about his investments. He encourages his followers to buy stock in GameStop, a US retail chain that has been heavily shorted by Wall Street. His quixotic campaign snowballs, leaving the big firms that have bet against the stock price facing a loss of billions. Hedge funder Gabe Plotkin (Seth Rogen) is particularly exposed, and faces public humiliation as ordinary people – played by the likes of America Ferrera, Anthony Ramos and Talia Ryder – see their fortunes soar, at least on paper. It would be a Cinderella story but for Gillespie’s reminders that these small investors can’t afford to write off their possible losses, in contrast to the corporates they are facing. It’s a point given visual resonance in the pandemic-era setting, where the poor protagonists and rich men’s staff are largely masked, while the billionaires never have to hide their faces.  Consequences are other people’s problems. It’s good to be reminded that late-stage capitalism considers us all dumb money There is, perhap

For every faithful ‘Musketeers’ adaptation there’s another one with flying galleons or dogs playing people. Apparently the French have had enough, and have reclaimed their classic novel for a two-part epic (part two arrives at the end of 2023). Thanks to some judicious plot tweaks and a full-bodied commitment to action, director Martin Bourboulon (Eiffel) has succeeded in making the best Alexandre Dumas adaptation in decades.The year is 1627 and young d’Artagnan (François Civil) is riding to Paris to join the Musketeers when he happens upon a murderous scuffle. This proves significant to a link between the Queen, Anne of Austria (Vicky Krieps), and an English minister; one that Milady (Eva Green) and her boss Richelieu (Eric Ruf) are trying to manipulate. D’Artagnan and the friends he soon makes will have to foil these plans to save the Queen and King Louis XIII (Louis Garrel). It’s a strong cast even before you get to the titular trio: Athos (Vincent Cassel), Aramis (Romain Duris) and Porthos (Pio Marmai). Then it becomes clear that this is sort of a Gallic Avengers, a ludicrous embarrassment of riches in fabulous costumes and swishy wigs. What really sets it apart, however, is the smartness of its adaptation. Bourboulon hews close to Dumas for iconic moments – d’Artagnan’s rash introduction to his fellows, Athos’s backstory – but is never slavish. He draws out timely questions of religious and political paranoia to give depth to the effectively chaotic fight scenes, shot in

There’s nothing wrong with putting familiar characters in a new genre; The Muppets made a career of it. With the earliest of AA Milne’s stories now out of copyright, this horror twist on the Hundred Acre Wood could have been a witty, punky spin on ‘Winnie the Pooh’. Unfortunately, writer-director Rhys Frake-Waterfield’s has made just another sadistic slasher movie, notably only for its inexpressive animal masks. Here, a gang of mutant beasts have turned to cannibalism and murder after their childhood friend, Christopher Robin (Nikolai Leon), grew up and stopped bringing them food. Now Pooh and Piglet attack anyone who ventures nearby – notably Chris Robin, back for a visit, and a pack of girl friends on a weekend break. The issue is not so much the abuse of beloved childhood icons as the assumption that having Piglet kill people is enough to carry a movie. Apart from regularly dripping honey from his motionless snout, this Pooh (Craig David Dowsett) has nothing in common with Milne’s creation; rather than having to run from bees, for example, he seems to control them, judging by one, entirely unexplained third act scene.  It revels in misogyny and titillation and gore, but forgets to give us characters It’s very bad – and worse, it’s a missed opportunity. Copyright law really is unfit for purpose; it fails to ensure that creators are rewarded in life and stops innovation or reinvention by others. If Frake-Waterfield had done something exciting or clever here, he might have d

There’s a fine tradition of Christmas-set action movies, thanks mainly to the entire career of Shane Black (Lethal Weapon, The Long Kiss Goodnight, Last Action Hero: all Christmas movies) and, of course, Die Hard. But Santa himself rarely gets in on the action. Until now, at least. In this fun action-thriller, David Harbour’s Santa is less Saint Nick and more John Wick.The Lightstone family, including dad (Alex Hassell), his estranged wife (Alexis Louder) and their adorable daughter (Leah Bradley), arrive home to his family estate for Christmas. His outrageously rich and powerful mother Gertrude (Beverly d’Angelo, in a witty nod to Christmas Vacation) rules the family with an iron wallet, but she’s targeted by a thief calling himself ‘Scrooge’ (John Leguizamo) and his goons. Luckily for the Lightstones, midway through delivering their presents, Santa (Harbour) has collapsed in a disillusioned, drunken stupor upstairs. Moved by the youngest Lightstone’s plight, he tools up to take on the thieves. There are over-familiar touches of Bad Santa, and it’s yet another Christmas story about the problems of a super-rich kid, which is perhaps not the most relatable option these days. But Dead Snow director Tommy Wirkola keeps it all moving briskly, and there are some hilariously inventive deaths involving beloved Christmas paraphernalia.   You’ll never look at nutcrackers the same way again But Harbour is enormous fun as Santa, equally at home with scurrying away in panic, drunkenly r

Becoming Jane. Miss Potter. Dickinson. However slight the recorded romantic history of a well-known female author is, you can be sure it will become a key part of her biopic. Joining the trend now is this account of the life of Emily Brontë, which spends a chunk of its time on a romance that may not have happened. It’s well played and well written, but it’s an odd addition to a story that is remarkable even without invention: studios need to start letting spinsters be spinsters. Debutante director Frances O’Connor, previously best known for her acting roles in the likes of Mansfield Park, shows a real feel for the texture and tenor of the Brontë sisters’ lives here as she establishes a bustling, intellectually vibrant house for the three sisters – Charlotte (Alexandra Dowling), Emily (Emma Mackey) and Anne (Amelia Gething) – their brother Branwell (Dunkirk’s Fionn Whitehead) and vicar father Patrick (Adrian Dunbar). Our heroine, Emily, spends her time out on the moors dreaming up new stories and struggles to limit herself to the role available to her in 19th century society. Enter William Weightman (Oliver Jackson-Cohen), the vicarage’s new curate.  The love story that follows is delicately played by both. O’Connor just manages to step around the tropes of the genre as the two young intellectuals move from vague hostility to true connection. Nanu Segal’s cinematography backs them up, switching from colours of rain and heather to sun and wind, bringing a sense of change and ho

In times of stress and unrest, there’s a lot to be said for the simple pleasures of a thriller where the world’s anxieties are reduced to a simple struggle to survive only one threat: in this case, an enraged cat on the prowl. This effort, from Everest director Baltasar Kormákur, doesn’t exploit its premise to the max, but with the help of a solid cast it manages enough tension to distract us from, well, all our other tension. Idris Elba is Nate, a doctor who has taken his bereaved daughters Mer (Iyana Halley) and Norah (Leah Sava Jeffries) to South Africa on safari, to visit their late mother's home and see her old friend, gamekeeper Martin (Sharlto Copley). Alas, this little gang arrive in the wilderness to find a rogue lion on the loose. The menaced posse must find a way back to safety as it stalks them through the bush. In keeping with the modern tendency to give every villain a sympathetic backstory, this king of the jungle is merely acting out after its pride are slaughtered by poachers. As with any modern man versus nature tale, there’s a distinct temptation to side with the baddie here – despite the cast’s considerable efforts to make their thinly written characters likeable. Still, it poses an almost supernatural threat to every human it encounters, capable of taking down an entire village without an effective shot being fired, apparently. As with most man vs nature tales, the temptation is to side with the baddie Kormákur creates some effective jump scares and cons

Helen O’Hara, author of ‘Women vs Hollywood: The Fall and Rise of Women in Film’, on why it’s okay to stop worrying and love Ken in Greta Gerwig’s smash-hit feminist blockbuster. If you’re the sort of man who genuinely tries to be a feminist (not the sort of man who calls himself a feminist), Barbie may have made you a bit uncomfortable. Maybe you found yourself thinking that Ryan Gosling’s Ken was the best thing in it, and now you’re wondering if you’ve betrayed the sisterhood by not embracing the full potential of this female-led film. If that’s the case, you adorable try-hard, rest easy: you are not alone. And it’s okay to feel that way. To explain why, a few spoilers for Barbie will follow. First and foremost, Ken is a creation not only of Ryan Gosling, but also of Gerwig’s direction and Gerwig and her partner Noah Baumbach’s writing. That means that he is a product of a collaboration between the sexes, something that is entirely feminist whether its end result is presented by a man or a woman. This is an auteur-made film, after all. If we’re going to give Christopher Nolan credit for everything that happens in Oppenheimer, then we should also give Gerwig credit for everything that happens in Barbie. Not to mention that star Margot Robbie, a producer on the film, could have kicked off if she thought he was unbalancing things. Secondly, and far more important, if you found Gosling funny that’s likely because you realise he’s poking fun at our current gender norms. Ken’s de

Good news for superhero fans! Another new Marvel show is coming to Disney+, and this one looks like tons of fun. Ms Marvel is the story of a New Jersey teenager of Pakistani origin, Kamala Khan, and she could come to play an important part in the Marvel Cinematic Universe going forward. Here’s what you need to know about the newest super-kid on the block. When is Ms Marvel streaming? All six episodes will be landing on Disney+ worldwide on June 8. Is there a trailer for Ms Marvel? There is! You can watch it below. Where does Ms Marvel fit into the Marvelverse? For those who haven’t been keeping up with the MCU, the pandemic forced a short break and a delayed release date for a few films and shows in 2020, but it all came roaring back with its Phase Four in 2021, the phase that continues with Ms Marvel. First out the gate was Disney+ hit WandaVision, followed by Black Widow on the big screen. Falcon & The Winter Soldier then gave us some spy shenanigans, before the Loki series took us in cosmic new dimensions and messed with the space-time continuum. Then What If…? explored some of the possibilities that might arise from multiple timelines in animated form, before Marvel returned to the big screen with Shang-Chi and Eternals. In December Hawkeye delivered a good-natured romp and Spider-Man: No Way Home brought some of that timey-wimey, multiple-reality confusion into live action. It’s a lot to keep up with. Now, following the dark-tinged Moon Knight, wh

It’s been a hard year for cinemas, but a good one for cinema. Despite the continuing upheaval in the world, great films did come out and this year’s Academy Awards have done a better job than usual of recognising them. There are still some upsets and oversights, of course, but a bit less outrage than usual – and for the second year in a row, a very clear frontrunner for Best Picture. Here are the headline nominations that leapt out at us. 1. The Power of the Dog is now hot favourite for Best Picture It’s a good day to be Jane Campion. Her extraordinary western The Power Of The Dog has most nominations with 12, ahead of Dune’s ten. And unlike the sci-fi epic they’re in all the most important categories: Oscar nerds will tell you that almost every Best Picture winner for the last 40 years has had a Best Editing nomination (Birdman is the lone exception), and almost all have Best Director nods. The Power Of The Dog is the only film in all three categories this year, making it a statistical lock on Best Picture. It’s also very good, which doesn’t hurt. But it does leave us facing the extraordinary prospect of two kinda-Westerns, both made by women and distributed digitally, being clear frontrunners in consecutive years. Oscar’s moving forward via the oldest of genres. Photograph: NetflixJesse Plemons and Kirsten Dunst are both nominated for ‘The Power of the Dog’ 2. It’s the year of the acting power couple Two real-life couples are celebrating paired nominations today, suggesti

This year’s Bafta nominations are a mixed bunch – lots of worthy contenders, a few glaring omissions (cough, West Side Story and Olivia Colman), and the odd curveball. Having slept on them, a few of the absentees have started to loom large in the mind. With the awards taking place on March 13 and the nominees locked down, there’s very little we can do to alter the facts at this point, beyond shaking a fist at the awards gods and having a bit of a moan. So we’ve done that instead. Where the heck is Olivia Colman?  Clearly Bafta voters have become bored of nominating Olivia Colman after her win for The Favourite and three wins (out of six nominations) for her TV work. But hey, she really is that good and you can’t just pretend otherwise just to mix things up. This year’s The Lost Daughter lives and dies on her performance, and she’s both spiky and sincere as an academic who develops a strange fascination with her holiday neighbours. Sure, she already has a film Bafta, three TV Baftas, an Oscar, three Golden Globes and an Emmy. But is it really enough? Does it even begin to compensate her for the time they overlooked her performance in Tyrannosaur? Photograph: NIKO TAVERNISE/NETFLIXLeonardo DiCaprio in ‘Don’t Look Up’ Why is Leonardo DiCaprio? If Bafta voters are bored of nominating Colman, they positively can’t resist DiCaprio. He’s been up for Best Actor six times before, and now he gets a seventh nod for Don’t Look Up. He’s as decent in the environmental comedy, but it’s no

After last year’s Academy Awards in an LA train station delivered all the glitz and glamour of an evening in, well, a train station, the 2022 version is already looking like a return to the swinging funtimes of Oscars of yore. Covid be damned, Hollywood is ready to party again – albeit with air kisses from an additional two yards away. And after three years without one, the Oscars will have a host to run the show on March 27. Early suggestions take in everyone from Tom Holland to Pete Davidson to Tiffany Haddish. Here’s our two cents worth on a few outstanding candidates to throw into the mix.  Hot favourites Tom HollandThe hot favourite among the Twitterati, the charming and charismatic Brit would bring something that the Oscars always yearns for: an actual audience. Holland is red-hot after No Way Home laid waste to the box office and would no doubt have younger viewers tuning in on the TV (once they’ve figured out what that is). Also, having Spider-Man the person hosting would also save the Academy from having to give Spider-Man the movie an award. If he comes on stage to Rihanna, the internet will physically break. Photograph: Shutterstock Tina Fey and Amy PoehlerYes, they're on record, repeatedly, saying they don't want to host the Oscars, but they slayed at the Golden Globes so maybe someone should throw money at them until they can't resist anymore. They would slay again.  Steve Martin and Martin ShortAn old-school vaudeville double act to bring showmanship, pisstak

There’s a truth about award shows that often goes unsaid for fear of appearing to be a sore loser: the odds are stacked against films made by, with or for women. The people that awards shows acknowledge tend to be male, their subject matter tends to be male and their leads tend to be male. The rather self-conscious grasp that cinema makes at importance every awards season is guided by voters who are mostly old, white men. For example, the Best Director nominations are chosen by the directing branch only, and that is, historically, overwhelmingly male. To be eligible to join you have to have directed two features, one within the past decade, a rate of work beyond the reach of many female directors until recently. Another factor is the kind of film that gets recognition. War movies, crime dramas, gangster stories, biopics of great men, portraits of damaged men, men’s struggles. Not just male stories, but stories about male anger and male violence.  Films about female ambition (Little Women), men working towards some sort of grace or peace (A Beautiful Day in the Neighborhood, Honey Boy), or female anger (Hustlers) are not considered as important. We’ve been told that films about men doing things, possibly violently, are more important than stories about women, in any capacity. There’s a far greater overlap between Best Actor and Best Picture than between Best Actress and Best Picture as a result. In the last twenty years, only two Best Picture winners have had female protagonis