Danish director Lone Scherfig spares audiences the trite clichés of a young woman's coming of age, directs a magnificent cast of actors, and defends her film against allegations of inappropriate sexuality.
David Ondaatje's movie offers up a series of potentially interesting meta-texts, concerning the significantly named Manning's obsession and aggression, his professional identity and, of course, masculinity.
Like the sainted sigh of relief that comes after another shriek-filled All Hallow's Eve, November usually means the start of the 'nominate me' process for the proposed prestige pictures of 2008.
There should be room in our collective imagination for a hero who makes mistakes, lots of them, and still saves the day -- these are films that should be owned.
The film does not shy away from the innate unlikability of its leading man and it also explores, cannily, the damage one person’s dishonesty can inflict upon everyone around them.
The play's untidiness -- it's one of Shakespeare's most mischievous -- virtually guarantees a final product distinguished by individual performances rather than dramatic consistency.
While Spider-Man 2.1 may add a few more dollars to the company coffers, it's definitely not doing the Spider Man series – or the digital domain – any real favors.
If religion, to paraphrase Oscar Wilde, is the fashionable substitute for belief, then The Da Vinci Code, judging by author Dan Brown’s quasi religious following, has asserted itself as the fashionable substitute for religion
