Michelle Williams is beguiling as screen siren Marilyn Monroe in this true story of an on-set dalliance.

Fiennes transposes an obscure Shakespearean tragedy from Roman times to present-day Europe.

The Artist manages to be both broadly accessible and sophisticated in its understanding of cinema.

Powerful, palpable and downright haunting, Martha Marcy May Marlene is a staggering cinematic achievement.

Pedro Almodóvar has developed a sense of style so unique his films occupy an idiosyncratic genre all of their own.

The gravitational force of depression is devastatingly and magnificently explored in Lars von Trier’s Melancholia.

Fabrice Luchini excels in this expertly crafted upstairs-downstairs comedy set in 1962.

fter his devastatingly arresting death trilogy (Gerry, Elephant, Last Days), Gus Van Sant takes a gentler look at the flipside of life.

This pitch-perfect documentary is a gentle, heart-warming and infectiously celebratory affair.

Birthday has its origins – rather too obviously – in a stage play by the film’s writer-director.

There’s a case to be made that Woody Allen’s career has been grievously underrated in its autumnal stage.

The Hunter boasts some striking cinematography; it’s just the internal landscape that feels a little lacking.