I was 16 when the Tim Burton Batman film came out. At the time it was the most-hyped movie I could remember for several years. It was the first major comic-book film to come out for a while, and the first since the new wave of comics – and spec[…]

I’ve often been told that what makes Watchmen “unfilmable” is its complexity: this is surely not true. Generally this argument confuses complexity for detail, which nowadays is bread and butter to a sufficiently obsessive director a[…]

Here’s how, from the Guardian website. You review Not Real Films…[…]

The problem with any film of this second Narnian book is that — while it has strong scenes and beasts galore — the logic behind its structure is, more than anything else, Aslan Arses About (for c.1300 years). He’s not a tame lion, y[…]

I am probably not alone in the UK to having The Wizard Of Oz as one of my first film memories. Not at the cinema of course, but rather on television at Christmas, one of those yuletide traditions which I never questioned*. It may be where I got a fon[…]

Do you know of anything artistic knocking around at the moment called P1? Maybe a novel, or a collection of poetry. A play, preferably a good one, or maybe one of the English National Opera’s experimental jobs at the Young Vic? Why? Well I kind[…]

Russell Brand isn’t the best thing about Forgetting Sarah Marshall*, but he is very good in it. And interestingly what is so good about Brand in thsi film is that he is so gosh darned nice. Which has made me think about the Brand brand over her[…]

huntin for images of BRANES in pulp culture i came across THIS via boingboing: “In November 2006 Till Nowak created the image SALAD. For this image he created 12 digital vegetable models in 3ds max using photographic references. They were combined […]

I really enjoyed The Last Mistress, Catherine Breillat’s filmed version of d’Aurevilly’s novel. Look who am I kidding. d’Aurevilly means nothing to me, and I’ve never been a huge fan of Breillat’s sex comedies (suc[…]

Spanish horror movie [REC] is the second horror film this year to use the video-camera conceit. YOU ARE THERE as our cameraman films all the horror that befalls him, and who thoughtfully considers more about getting a good shot than getting away from[…]