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After The Matrix (1999) and V For Vendetta (2005), the Wachowskis were ready to turn from darkness into the bright, bright candy-colored light. The result was Speed Racer (2008), an eyepopping postmodern explosion that honored the gravity-defying spirit of old-school anime…and which audiences couldn’t quite figure out.Host Rico Gagliano talks with Speed Racer star Roger Allam (The Thick of It), legendary special-effects artist John Gaeta (The Matrix), and others about how the movie was made, why it tanked, and why a growing army of acolytes start their days by watching its final action sequence.The latest season of the Mubi Podcast, Box Office Poison, dives into six visionary films...that were also notorious flops. Inspired by the new book of the same name by Tim Robey, film critic for The Telegraph, each episode takes a wild ride through a great movie’s rise, fall, and rise.Listen to episode six...

In 1994, indie darlings Joel and Ethan Coen went for the big time with a playful pastiche of classic Hollywood movies that pulled out every visual and comedic stop…and still crashed and burned at the box office. Host Rico Gagliano tells the story of the soaring Coen brothers movie that paved the way for the flatlands of Fargo (1996). Guests include Hudsucker’s legendary cinematographer, Roger Deakins, acclaimed film podcaster Karina Longworth (You Must Remember This), and more.The latest season of the Mubi Podcast, Box Office Poison, dives into six visionary films...that were also notorious flops. Inspired by the new book of the same name by Tim Robey, film critic for The Telegraph, each episode takes a wild ride through a great movie’s rise, fall, and rise.Listen to episode four below or wherever you get your podcasts:Apple PodcastsSpotifyMore...

This week on the Film Stories Podcast Network, our array of film and TV chats cover Ancient Rome, slasher movies and more. Here’s what we’ve been up to…

Reel Talk

Strength and honor all the way this week as Sam Stokes and guest Ian Buckley discuss Ridley Scott’s epic sequel Gladiator II. Are you not entertained?!

Britcom Goes to the Movies

Check it! Bo, join me main men Rob ‘Eaf and Guy Walka to chat all about Ali G: Indahouse, starring bredwin Sacha Baron Cohen, from 2003. Westside!

Modern Horror Podcast

The modern slasher is hacked about with this week as A. J. Black and Hugh McStay cover Chris Nash’s stripped back, artful 2024 bloodbath, In a Violent Nature…

Writers on Film

Don’t forget John Bleasdale’s discussion with Terrence Malick’s production designer Jack Fisk on ‘The Malick Hours’ series, but he also talks to recurring...

It’s hard to imagine Katharine Hepburn as anything but a Hollywood icon, but director George Cukor’s dreamy, gender-fluid comedy, Sylvia Scarlett (1935), derailed her career for years. Host Rico Gagliano tells the story of a movie with sexual politics way ahead of its time—and which paid for it dearly at the box office. Guests include movie star and Hepburn devotee Rebecca Hall, film scholar Elyce Rae Helford, and arts writer Lesley Chow.The latest season of the Mubi Podcast, Box Office Poison, dives into six visionary films...that were also notorious flops. Inspired by the new book of the same name by Tim Robey, film critic for The Telegraph, each episode takes a wild ride through a great movie’s rise, fall, and rise.Listen to episode three below or wherever you get your podcasts:Apple PodcastsSpotifyMore...

In the mid-1970s, legendary director William Friedkin—fresh off The Exorcist (1973)—helicoptered into South America with tens of millions of dollars…and emerged with malaria and a bleak, thrilling masterpiece: Sorcerer (1977). The only problem was the competition, a little movie called Star Wars (1977).Host Rico Gagliano tells the story of how Sorcerer (1977) crashed and burned at the box office—with help from the film’s screenwriter, Walon Green, Oscar-winning producer Mark Johnson, and more.The latest season of the Mubi Podcast, Box Office Poison, dives into six visionary films...that were also notorious flops. Inspired by the new book of the same name by Tim Robey, film critic for The Telegraph, each episode takes a wild ride through a great movie’s rise, fall, and rise.Listen to episode one below or wherever you get your podcasts:Apple PodcastsSpotifyMoreAfter listening, check out the latest “Mubi Podcast Expanded” piece which...

The first Babe (1995) was a family-friendly megahit. So for the sequel, why did director George Miller thrust his sweet porcine hero into a family-unfriendly nightmare? Host Rico Gagliano takes a trot down the mean streets of Babe: Pig in the City (1998), telling the story of its rise and box-office fall with the help of guests including Farmer Hoggett himself, James Cromwell, and voice of Babe, E. G. Daily.The latest season of the Mubi Podcast, Box Office Poison, dives into six visionary films...that were also notorious flops. Inspired by the new book of the same name by Tim Robey, film critic for The Telegraph, each episode takes a wild ride through a great movie’s rise, fall, and rise.Listen to episode two below or wherever you get your podcasts:Apple PodcastsSpotifyMore...

Box Office Poison, the latest season of the Mubi Podcast, tells the story of six films that were notorious financial disasters but have come to be celebrated as visionary. Host Rico Gagliano tells the wild stories of each film’s rise, fall, and rise, inspired by a new book of the same name by Tim Robey, film critic for The Telegraph. Guests include Roger Deakins, Rebecca Hall, Jamie Demetriou, and Robey himself. The following text is an excerpt from Robey’s Box Office Poison. To listen to the show and subscribe on your preferred podcast app, click here.Histories of studio filmmaking have a habit of skimming over the disasters—those moments of doomed expenditure that pull the curtain back on what the culture was thinking. As in: what the hell were they thinking?Failure fascinates, though, for all the reasons that surefire success is a drag. Merely log the...

It’s time to update your Golden Globe predictions at Gold Derby, because a major contender has just announced its awards strategy for the upcoming 2025 kudos. “The Substance” and its lead actress Demi Moore will compete in the Comedy/Musical categories, per our sister site The Hollywood Reporter. Previously, awards pundits assumed Mubi’s body horror flick would enter in the Drama races, but the satirical nature of the project convinced the campaigners — after a “debate even within the film’s and Moore’s camps” — to try their luck elsewhere.

This news comes on the heels of the November 4 submission deadline for the 2025 Golden Globes. THR’s Scott Feinberg previously unveiled the campaign strategies for many of the other films that could be seen as straddling the line between Drama and Comedy/Musical.

Moore plays Elisabeth Sparkle (that name just screams comedy!), a fading movie star who tries to gain...

With its body horror “The Substance” performing well at the box office, a rerelease of Tarsem Singh’s “The Fall” currently underway, and a successful streaming channel offering artful cinema from around the world, you’d think the fine folks at Mubi might slow down and smell the roses, but that doesn’t seem to be the case. Returning for its seventh season, Mubi is announcing a new installment of its award-winning audio-documentary series, “Mubi Podcast.” This new batch of episodes is inspired by film critic Tim Robey’s soon-to-be-published book, “Box Office Poison: Hollywood’s Story in a Century of Flops.”

Highlighting films such as “Sylvia Scarlett” (1935), “Sorcerer” (1977), and “Speed Racer” (2008), Robey’s book uncovers the history behind some of the entertainment industry’s biggest flops, contrasting their initial failure with the eventual acclaim they’d garner over time. Over six episodes, “Mubi Podcast” host Rico Gagliano will use this material as a guide,...

The provocative new film “The Substance,” about an aging celebrity (Demi Moore) who takes an illicit drug to be young again, opened on September 20 following its May premiere in competition at the Cannes Film Festival, where writer-director Coralie Fargeat won Best Screenplay. So we know what the festival jury thought. But what do critics think?

SEEGold Derby Oscar predictions 2025: Nicole Kidman, Selena Gomez now expected to receive noms [Updated September 19]

As of this writing the film has a MetaCritic score of 77 based on 51 reviews counted. Of those, 43 are classified as positive, six are mixed reviews, and two are pans. Over on Rotten Tomatoes, where reviews are counted simply as positive or negative, the film is rated 88% fresh based on 176 reviews; out of all those, only 22 critics give the film a thumbs down. The Rt critics consensus says, “Audaciously gross, wickedly clever, and possibly Demi Moore’s finest hour, ‘The Substance’ is...

When Kevin Hart started out, he made himself the butt of most of the jokes in his self-deprecating standup routines. Now, he fancies himself as a Hip Hop mogul type, launching businesses left and right and producing a steady stream of TV shows and films. Unfortunately, this flurry of output in recent years hasn't all been that great. Earlier this year, Hart starred in "Lift," which topped the Netflix charts despite being yet another generic streaming flick quickly buried by the tide of "content" spewing forth in the streaming age. Prior to that, Hart tried to bring an air of prestige to his streaming exploits by convincing Wesley Snipes to play his brother in Netflix limited series "True Story." Sadly for the comedian, Snipes proved to be the best thing about the show.

But none of this has deterred Hart. He's hosting Peacock chat shows, playing vault hunters in the...

The year 2022 in film, looking back, was a year of Grandiosity. Yes, Grandiosity, with a capital G. In this year’s Best Picture category, we have such hits as ‘Avatar 2: The Way of Water,’ ‘Elvis,’ ‘Top Gun: Maverick,’ ‘All Quiet on the Western Front,’ and ‘Everything Everywhere All at Once,’ whose title itself even nods to grandiosity. Even Todd Field’s ‘Tár’ has a sense of epic proportions to it. And then comes Damien Chazelle’s ‘Babylon’– a film of immense proportion excitedly dreamed up by the mind behind the multi-Oscar-winning ‘Whiplash’ and ‘La La Land,’ and packed with some of the biggest stars of our time – Brad Pitt and Margot Robbie, to casually name a few. A gigantic opus of a film clocking in at three hours and nine minutes long, reaching new heights in Chazelle’s oeuvre, audacious and ambitious as ever – and it flops! With a...

Screen International can reveal the critics participating in this year’s jury grid at the 2024 Cannes Film Festival (May 14-25).

Joining Screen’s reviewing team will be critics from 11 international outlets to give their verdict on the 22 films in Competition this year for the Palme d’Or.

This year’s critics are all returners to the jury grid with the exception of Nt Binh who replaces Michel Ciment for France’s Positif. Ciment passed away in November last year at 85 and was a long-time contributor to the jury grid.

The selection also includes Justin Chang for The New Yorker who...

Critics are lukewarm to negative about the Five Nights at Freddy's movie, calling it empty and unexciting. The animatronics in the movie received criticism, being described as unscary and lifeless, despite their design accurately resembling cuddly characters. Josh Hutcherson's performance is praised, being called the saving grace for the movie, but the story is described as a dreary portrayal of trauma that has been seen before.

The reviews are in for the Five Nights at Freddy's movie. The Blumhouse production, which was directed and co-written by Emma Tammi, is based on the series of horror video games of the same name created by Scott Cawthon. Josh Hutcherson stars as a nighttime security guard whose job at the closed-down family restaurant Freddy Fazbear's Pizza is complicated when he learns that the animatronic characters come to life at midnight to murder anyone still inside the building. The cast also includes Elizabeth Lail,...

‘Anatomy Of A Fall’ scored a 3 average while ‘Firebrand’ also landed on the grid on 1.8

Justine Triet’s Anatomy Of A Fall has joined May December in first place on Screen’s Cannes jury grid, after receiving an average score of 3 from the critics.

The French filmmaker’s latest Cannes entry received four stars from LA Times’ Justin Chang; The Telegraph’s Tim Robey and Le Monde’s Clarisse Fabre. This was followed by six threes and three twos, the latter of which came from Bangkok Post’s Kong Rithdee; Die Zeit’s Katja Nicodemus andTime Magazine’s Stephanie Zacharek.

Banel & Adama also lands on the grid with a 2.3 average.

Todd Haynes’ May December has taken the lead on Screen’s 2023 Cannes jury grid with an average rating of 3.

The psychological drama received two fours (excellent), from The Telegraph’s Tim Robey and filfan.com’s Ahmed Shawky, as well as eight threes (good) and two twos (average).

Click on the jury grid above for the most up-to-date version.

Julianne Moore and Natalie Portman star in the US filmmaker’s fourth Competition entry centring around an actress researching a couple’s controversial romance for a film adaptation. Haynes’ last Competition title,...

Documentary about rural Chinese people who move to work in a textile factory is currently on a 2.7 average.

Wang Bing’s documentary Youth (Spring) took the early lead on Screen’s 2023 Cannes jury grid, with a 2.7 average score.

A 212-minute chronicle of the lives of Chinese people who come from rural areas to work in a textile factory near Shanghai, it scored seven threes (good) from our critics, with one four (excellent) from Le Monde’s Clarisse Fabre. Scores of two (average) from The Telegraph’s Robbie Collin and Tim Robey, and Positif’s Michel Ciment, and a one (poor) from filfan.

Critics this year include LA Times’ Justin Chang, Die Zeit’s Katja Nicodemus, and Positif’s Michel Ciment.

Screen International has revealed its critics for the jury grid that will run throughout the 2023 Cannes Film Festival (May 16-27).

Joining Screen’s reviewing team will be critics from 11 international outlets to give their verdict on the 21 films in Competition this year for the Palme d’Or.

The results will be published in Screen’s Cannes daily magazines and for the first time the grid will also be updated live on screendaily.com.

Egyptian critic Ahmed Shawky joins the Screen jury critics...

With 1975's "Barry Lyndon," Stanley Kubrick took the constraints of the novelistic period piece and tore them apart. This adaptation of William Makepace Thackeray's novel "The Luck of Barry Lyndon" follows the rules of the so-called costume drama, the repression and restrained manners, and turns them into something else. The movie is chaotic and bitterly ironic, establishing and exploring two of Kubrick's most compelling characters over the course of its three hours.

Just before its making, Kubrick had previously explored the far reaches of space with "2001: A Space Odyssey" and the chilling causes and effects of violence with "A Clockwork Orange." Watching his movies gives the impression of a vast openness, not just in the compositions but in the staging of the characters and the viewer's flexibility of interpretation. His movies were massive and unpredictable simultaneously, inventing whole new worlds and visual languages out of nowhere. In search of something new,...

On August 12, Netflix released ‘Day Shift’ starring Oscar winner Jamie Foxx along with Karla Souza, Dave Franco and Snoop Dogg. Foxx plays Bud Jablonski, as a man with a mundane job that fronts for his real source of income, hunting and killing vampires as part of an international union of vampire hunters. The film currently holds a not-so-fresh rating of 58 at Rotten Tomatoes, but what exactly did the critics think?

See over 200 interviews with 2022 Emmy nominees

Stephanie Zacharek of Time Magazine praises the movie’s lead, stating Foxx’s film “has three things going for it, the first being its jaunty spirit and its reckless disregard for making any sense whatsoever. Ok, maybe that’s two things, but you get the drift.” In the end, the film delivers on what it promised. “Foxx goes above and beyond the call of duty, seemingly without even trying.”

Vincent Mancini of Uproxx begins...

Competition titles from Hirokazu Kore-eda, Lukas Dhont and Albert Serra face our jurors.

Albert Serra’s Pacifiction and Lukas Dhont’s Close landed mid-pack on Screen’s Cannes jury grid, while Hirokazu Kore-eda’s Broker disappointed our jurors.

Serra’s Pacifiction averaged 2.6, it tells the story of a high commissioner on the French Polynesian island of Tahiti, navigating local concern about French nuclear testing. The film took five threes (good) and two ones (poor) from our jurors. Le Monde’s Mathieu Macheret awarded the Catalan filmmaker a four (excellent) whilst Positif’s Michel Ciment gave it a zero (bad).

Click...

Saeed Roustaee and Claire Denis titles land on the grid.

Saeed Roustaee’s Leila’s Brothers and Claire Denis’ Stars At Noon landed near the bottom on Screen’s Cannes jury grid with middling scores from our jurors.

Iranian filmmaker Roustaee’s Cannes debut Leila’s Brothers received a 2.3 average. The film follows a woman who has spent her life caring for her impoverished parents and brothers. When she discovers her father is in secret possession of a valuable heirloom, the sale of which could change their fortunes, the family’s fragile bonds start to implode.

Click here to expand

Four jurors...

Saeed Roustaee and Claire Denis receive just average marks for their titles.

Saeed Roustaee’s Leila Brothers and Claire Denis’ Stars At Noon landed near the bottom on Screen’s Cannes jury grid with middling scores from our jurors.

Iranian filmmaker Roustaee’s Cannes debut Leila Brothers received a 2.3 average. The film follows a woman who has spent her life caring for her impoverished parents and brothers. When she discovers her father is in secret possession of a valuable heirloom, the sale of which could change their fortunes, the family’s fragile bonds start to implode.

Click here to expand...

With almost half of the titles scored, none have yet achieved an average score of three or higher.

Ali Abbasi’s serial killer drama Holy Spider has divided Screen’s Cannes jury grid critics, while Valeria Bruni Tedeschi’s Forever Young landed on the grid with the lowest average score so far.

Holy Spider, which follows a female journalist investigating the murder of sex workers in Iran, achieved a 2.1 average (with one score still to come in). The Telegraph’s Tim Robey and Robbie Collin and Meduza’s Anton Dolin awarded it a four (excellent), but it also picked up...

Kirill Serebrennikov’s biographical drama received an average of 2.3.

Russian director Kirill Serebrennikov’s Tchaikovsky’s Wife is the first title to take its place on Screen’s 2022 Cannes jury grid, dividing our critics.

The 19th-century biographical drama following the explosive relationship of Pyotr Tchaikovsky and his wife Antonina Miliukova received an average of 2.3 (with two reviews still outstanding), with five critics awarding it two (average).

Postif’s Michel Ciment awarded the film top marks with four stars (excellent) but The Telegraph critics Tim Robey and Robbie Collin gave it one star (poor).

Serebrennikov’s previous film Petrov’s Flu scored 2.3 on the 2021 Cannes jury grid,...

Kirill Serebrennikov’s biographical drama received an average of 2.3.

Russian director Kirill Serebrennikov’s Tchaikovsky’s Wife is the first title to take its place on Screen’s 2022 Cannes jury grid, dividing our critics.

The 19th-century biographical drama following the explosive relationship of Pyotr Tchaikovsky and his wife Antonina Miliukova received an average of 2.3 (with two reviews still outstanding), with five critics awarding it two (average).

Postif’s Michel Ciment awarded the film top marks with four stars (excellent) but The Telegraph critics Tim Robey and Robbie Collin gave it one star (poor).

Serebrennikov’s previous film Petrov’s Flu scored 2.3 on the 2021 Cannes jury grid,...

Justin Kurzel’s ’Nitram’ and Joachim Lafosse’s ’The Restless’ were the final two films to land on the grid.

Ryusuke Hamaguchi’s Drive My Car finished top of Screen’s 2021 Cannes jury grid, after the final two films reviewed by our ten critics were unable to match its winning score of 3.5.

Justin Kurzel’s Nitram received a mean score of 1.8, including three ones (poor) and three twos (average). The Telegraph’s Robbie Collin and Tim Robey were outliers though, awarding it a top score of four (excellent). The film, starring Caleb Landry Jones, follows the events leading up to a mass shooting in Tasmania.

Tilda Swinton and Sean Baker were among the human co-conspirators present to accept awards on behalf of the canine scene-stealers in their Cannes films at the irreverent Palm Dog Awards on the Croisette this afternoon. Masterminded by journalist Toby Rose in 2001, inspired by his own French fox terrier Muttley, the Palm Dog Awards show has become an annual treat on the penultimate day of the Cannes Film Festival, and celebrates its 20th anniversary this year.

Swinton accepted the Palm Dog prize on behalf of her very own trio of spaniels, who star alongside her in Joanna Hogg’s The Souvenir Part II. Hogg was present at the show too, albeit over FaceTime from Swinton’s iPhone.

The Jury Prize was shared by Sophie in Sean Baker’s Red Rocket, and Panda, the sheepdog in Valdimar Jóhannsson’s Lamb. Both directors were on hand to collect the prizes.

Baker, who arrived...

Today’s grid also includes Ildiko Enyedi’s ’The Story Of My Wife’.

Jacques Audiard’s Paris, 13th District and Sean Baker’s Red Rocket achieved middling scores on Screen‘s Cannes jury grid, whilst Ildiko Enyedi’s The Story Of My Wife failed to impress the majority of our jurors.

The latest film from Jacques Audiard – a Palme d’Or winner in 2015 with Dheepan – came out on top of the new arrivals with a score of 2.5, placing it fifth on the grid - just behind Asghar Farhadi’s A Hero. Helping the average were scores of four (excellent) from...

Wes Anderson’s ’The French Dispatch’ and Kirill Serebrennikov’s ’Petrov’s Flu’ both received middling average scores on the grid.

Wes Anderson’s The French Dispatch and Kirill Serebrennikov’s Petrov’s Flu both received middling average scores on Screen’s 2021 Cannes jury grid, with more than half of the competition titles now seen by critics.

Six of our ten critics awarded Anderson’s latest a score of two (average), with it receiving a mean score of 2.3 overall. Only The Telegraph (Robbie Collin and Tim Robey) gave it a four (good), with Liberation’s critics Julien Gester and Didier Péron scoring...

‘Compartment No. 6’, ‘Bergman Island’ also land on the grid, which is halfway done.

Ryusuke Hamaguchi’s Drive My Car has motored to the top on Screen’s 2021 Cannes Jury Grid, whilst Sean Penn’s Flag Day has received the lowest score so far this year.

With a mean score of 3.5 from jurors, Drive My Car – an adaptation of Haruki Murakami’s short story – moved ahead of previous grid leader Annette. The film scored at least a three (good) from all our critics, with five scores of four (excellent).

It was not a happy return for Sean Penn on the grid,...

Joachim Trier’s comedy-drama received two scores of four but three ones.

Joachim Trier’s The Worst Person In The World has divided the opinions of Screen’s Cannes jury critics, receiving an average score of 2.4, enough for second place currently.

The comedy-drama about a young woman’s attempts to navigate her troubled love life scored two fours (excellent) from UK-based critics Peter Bradshaw (The Guardian) and Robbie Collin and Tim Robey (The Telegraph), as well as a trio of threes (good). However, threes scores of one (poor) – from Liberation’s Julien Gester and Didier Peron, Le Monde’s Mathieu Macheret...

James Corden’s casting in “The Prom” has come under fire by several film critics and entertainment journalists now that Netflix has screened the star-studded musical for press. Corden stars in the film as Broadway actor Barry Glickman, played on stage by Brooks Ashmanskas in a Tony-nominated performance. Barry is a flamboyant and openly gay Broadway diva, which has led some press to question why Corden was cast in the role.

“Opinions differ on how acceptable it is for straight actors to play gay roles, but few straight actors could get away with a gay character like this, a role that would feel stereotypical in an ’80s sitcom and here feels offensive,” writes Newsweek critic Samuel Spencer, who notes Corden is “offensively miscast” in the role.

“After all, it is not like we have a shortage of actual gay actors who could give the role more pathos,” Spencer adds. “Was Titus Burgess busy?...

Teen romantic comedies can be hard to invest in emotionally, particularly as one sinks further into decrepit, cynical adulthood. Whether or not the guy gets the girl in time for senior prom seems pretty inconsequential when you know they’ll probably be torn asunder by college. The good ones have something a little more lasting and internal at stake: Youthful crushes come and go, but you only truly come of age once. A gentle, bittersweet Irish charmer that’s more thoughtful than its generic title, “Dating Amber” finds such stakes as it follows two closeted teens who pretend to be in love, thus deflecting the speculation of classmates and concerned parents. What we root for isn’t just the kids’ tender (if strictly platonic) relationship, but their threatened senses of self: With light, loving strokes, writer-director David Freyne etches lives on the precipice of ruin.

British critic Tim Robey once...

‘Animals’ (Photo credit: Bernard Walsh).

Sophie Hyde’s Animals opened in UK cinemas last weekend, its first territory, winning plaudits from the critics and sizable audiences.

Picturehouse Entertainment launched the female relationships dramedy adapted from the Emma Jane Unsworth novel, which stars Holliday Grainger and Alia Shawkat, on 73 locations: 38 in greater London and 35 in the regions.

The weekend total including Q&a screenings hosted by Unsworth and a National Girlfriends’ Day promotion was £107,000.

Closer Productions’ Rebecca Summerton, who produced the Irish-Australian co-production with Hyde, Sarah Brocklehurst and Vico Films’ Cormac Fox, tells If she is very pleased with the UK opening and Picturehouse’s marketing campaign.

That augurs well for the September 12 release via Jonathan Page’s Bonsai Films. Page has booked nine screens and aims to have 15 on board at launch.

“It is hard to stand out but I think our uber-cool cast of Alia Shawkat and Holliday...

Quentin Tarantino made a surprise appearance at today’s Palm Dog awards in Cannes, the annual celebration of the best dog performances in the Cannes selection. His film, Once Upon A Time… In Hollywood, features blockbuster bowser Brandy, owned by Brad Pitt’s Cliff Booth character in the film.

First awarded by journalist Toby Rose in 2001, inspired by his own French Fox Terrier Muttley, the Palm Dog has become an annual treat on the penultimate day of the Cannes Film Festival. Now in its 19th year, the award to Tarantino had been long coveted by the director. “I have to say I am so honored to have this,” Tarantino said in a barnstorming speech on stage as he accepted the golden collar bestowed on the winner. “I’ve told everybody, I have no idea if we’re going to win the Palme d’Or. I feel no entitlement. But I...

Regent Street Cinema is partnering with German Films to present the Face To Face With German Talent: The German Film Weekend, which will take place from 21-23 September 2018. To celebrate the special weekend, we are giving one lucky winner two tickets to a film screening of their choice.

The impressive programme of five German festival favourites (including two premieres) is curated by The Daily Telegraph’s film critic Tim Robey and will bring you face to face with some of the hottest talent from Germany, both in front of and behind the camera!

Launched in 2016, the Face To Face With German Films campaign shines a spotlight on the most influential individuals currently working in the German film industry and represents just some of the many dynamic ‘faces’ of German filmmaking today (https://www.german-films.de/home/index.html).

The five films screening during the German Film Weekend are:

3 Days In...

Directed by Paweł PawlikowskiThe Polish filmmaker Pawel Pawlikowski won best director, for ‘Cold War’, which follows two lovers from the end of World War II into the 1960s across countries and shifting political realities. Based on his own parents’ love story, this gorgeously shot, Robert Doisneau-esque (when in Paris) black and white period piece takes a slice of your heart away in its retelling.

Cold War reviews have been stellar as are the stars Joanna Kulig, Tomasz Kot.

“Luminous presence of Joanna Kulig, who on this performance is a powerful enough to become the Jeanne Moreau de nos jours.This film fizzes with a devotional energy and political relevance”

Nick James, Sight & Sound

“Kulig, as effervescent in her way as the young Jeanne Moreau, is the film’s life force”

Tim Robey, Telegraph 4****

“This is a movie of the flesh, not the spirit. Pawlikowski is a lyrical, mysterious filmmaker...

Lee Chang-dong’s Burning set a new record score of 3.8.

Matteo Garrone’s Dogman and Nadine Labaki’s Capernaum are the latest titles to take their places on Screen’s Cannes 2018 jury grid, achieving mid-range scores from most critics. Yesterday, Lee Chang-dong’s Burning set a new record score in jury grid history.

Garrone’s Dogman achieved an average score of 2.3 from the ten critics. The film follows an everyman figure who runs a dog-grooming parlour and dog hotel in a seaside town.

Tim Robey and Robbie Collin from The Telegraph and Meduza’s Anton Dolin awarded it 3 stars, with...

The film takes over from Jean-Luc Godard’s ‘The Image Book’ in the number one spot.

Hirokazu Kore-eda’s Shoplifters has taken the lead in the latest edition of Screen’s Cannes 2018 jury grid, which sees four more Competition films take their place.

The ensemble piece, about an alternative family forced to live on its wits, took top spot with an average of 3.2. It received no lower than a 2 from any critic, with top marks from Tim Robey and Robbie Collin of The Daily Telegraph, Justin Chang of the La Times and Screen’s own critic.

Alice Rohrwacher’s Happy As Lazzaro...

Nine of twenty-one Competition films have now received their scores.

Jafar Panahi’s 3 Faces and Eva Husson’s Girls Of The Sun are the latest films to take their place on Screen’s Cannes 2018 jury grid, with both titles receiving largely consistent scores from the participating critics.

3 Faces, Panahi’s first feature since 2015 Berlinale Golden Bear winner Taxi Tehran, is the first film this year to receive exclusively 2s and 3s, with six of the latter giving it an average of 2.6. The drama set in a small Iranian village was described by Screen‘s critic as ’a casual survey of...

Abu Bakr Shawky’s Yomeddine also added; achieves same score as opener Everybody Knows.

Abu Bakr Shawky’s Yomeddine and Kirill Serebrennikov’s Leto are the next two titles to bed down on Screen’s Cannes 2018 jury grid.

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Yomeddine achieves the same average score as festival opener Everybody Knows of 1.8, with mainly 2s awarded but 1s from Libération’s Julien Gester and Didier Péron, Die Zeit’s Katja Nicodemus and Michel Ciment of Positif and France Culture. The film follows a group of outcasts, including one who is an ex-leper, as they travel across the Egyptian countryside in search of family.

Critics this year include La Times’ Justin Chang, Positif’s Michel Ciment and Sight And Sound’s Nick James.

Screen can reveal its critics for the jury grid that will run throughout Cannes 2018 (May 8-19).

There will be nine submitting entries, composed of ten different critics plus Screen’s own team.

Each member will review the 21 titles in Competition and assign a score of up to four stars, which are aggregated to crown an overall winner. The results will be published in Screen’s Cannes daily magazines as well as here on screendaily.com.

A new addition to the grid...

Isle Of Dogs reigns with a score of 3.3.

Following their Berlinale Competition premieres, Emily Atef’s 3 Days In Quiberon and Erik Poppe’s U – July 22 are the latest titles to register scores on Screen’s Berlin Jury Grid.

Reviewed here, 3 Days In Quiberon achieves middling scores that average at 2.0, with a 3 (good) from The Telegraph’s Tim Robey but 1 (poor) from Meduza’s Anton Dolin and Katja Nicodemus of Die Zeit.

Erik Poppe’s U – July 22, a fictionalised portrayal of the 2011 Utoya attack reviewed here, achieved top scores of 4 (excellent) from both Dagens Nyheter’s Nicholas Wennö and Screen’s own critic, contributing to an average of 2.9, the 3rd highest score so far.

Coming up next are Lav Diaz’s latest Season Of The Devil, and Gus Van Sant’s Don’t Worry, He Won’t Get Far On Foot starring Joaquin Phoenix.

Four years after wowing critics at the Berlin Film Festival with “The Grand Budapest Hotel,” Wes Anderson has done it again with his latest, “Isle of Dogs.” The stop-motion animated movie opened Berlinale on a “scintillating” high, according to the first round of reviews. Critics are also calling the movie “extraordinary” and both Anderson’s most “daring” and “imaginative” film to date.

Featuring the voices of Bryan Cranston, Edward Norton, Greta Gerwig, and Tilda Swinton, “Isle of Dogs” is set in a futuristic Japanese city where dogs have been banned to an island trash dump. A young explorer sets out on a mission to find his missing dog, Spots, but his plane ends up crashing on the eponymous isle. The boy befriends a group of abandoned dogs and sets out on a mission to infiltrate the city and rescue Spots.

Here’s what critics have to say about “Isle of...