WHILE the blood-thirsty Resident Evil videogame franchise continues to churn out new instalments of the series to the delight of joypad junkies, so we must suffer another sequel to Paul WS Anderson’s 2001 big- screen adaptation.
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FOR A second time, the so-called War on Terror supplies the plot for a Hollywood movie. Unlike the fact-based A Mighty Heart, however, The Kingdom is pure fiction with lots of big bangs and gun battles.
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THE concept of building the foundation of a film around Beatles classics performed by other artists has been tried before – to spectacularly disastrous effect.
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TONY GILROY, screenwriter of The Bourne Identity and its adrenaline-charged sequels, makes his directorial debut with this self- penned legal thriller set in a world where money overrules morality.
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THERE is something oddly sweet and charming about Hot Rod, a hare-brained comedy pitched somewhere between Talladega Nights and Napoleon Dynamite, that welcomes Saturday Night Live’s Andy Samberg to the big screen.
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SOME films have to be made, not for commercial purposes but to bring greater understanding of what is happening in the world. A Mighty Heart is one of those films.
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FROM the moment its seemingly indestructible hero brains a gun-toting goon with a raw carrot and snarls "Eat your vegetables!", Shoot ’Em Up delivers an eye-popping orgy of whizzing bullets, exploding scenery and eviscerated flesh.
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FIFTY years after Glenn Ford and Van Heflin cocked their pistols in the original 3:10 to Yuma, director James Mangold saddles up for a fast- paced remake that reinvigorates the western genre.
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SINCE opening the Venice Film Festival, Joe Wright’s immaculately crafted film has been anointed as the first bona fide Oscar contender of the year.
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THE feature film directorial debut of Friends’ David Schwimmer is a spry romantic comedy, which proves nice guys can finish last and still get the girl.
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ASH BRANNON and Chris Buck’s computer animated mockumentary waddles initially in the webbed foot- steps of Creature Comforts, introducing its loveable, feathered protagonists in a series of hysterical to-camera interviews.
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IN THE smash hit 2003 comedy Bruce Almighty, Jim Carrey’s television reporter played God with disastrous consequences, discovering that with great power comes great calamity.
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THE Hoax, from Oscar- nominated director Lasse Hallstrom, puts a fictionalised gloss on the true story of Clifford Irving (Richard Gere), a struggling author whose masterpiece is torn to shreds by his editor.
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