Set inside a seminary that is both a sanctuary and a prison, Coppola’s clever southern Gothic melodrama is tense, purposeful and more richly intriguing than Don Siegel’s priapic 1970s adaptation of the same novel, writes Kate Stables.
With great leaps in motion-capture technology, and a brilliant cast including Andy Serkis and Woody Harrelson, the latest instalment in this sprawling franchise is a rich and satisfying film, writes Kim Newman.
A puppet show gives Albert Lewin’s picaresque “history of a scoundrel” its leading metaphor – a symbol of patriarchal privilege, female oppression and sexual energy, writes Brad Stevens.
Ermanno Olmi’s peasant drama is rereleased in cinemas this weekend. On its first appearance in 1979, John Pym praised its haunting imagery and quiet, unsentimental methods.
The spirit of the Summer of Love was revived in Sheffield this year, with films exploring subjects from the bohemian counterculture to revolutionary politics past and present, writes Christina Newland.
Under new chief programmer Luke Moody, Britain’s biggest (and broadest) documentary festival reinforces its interest in documentary cinema’s artistic edge. By Ben Nicholson.
If this really is Michael Bay’s final Transformers film, the director has chosen to finish as he started, with a brash, confusing blockbuster that borrows from everywhere and goes nowhere, writes Anton Bitel.
Spidey returns to the big screen as a teenager endowed with superpowers and sound morals, which he channels into some memorable heroics, thanks to Jon Watts’s smart direction and a seamless script, writes Kim Newman.
While America is ravaged by plague, monstrous forces are unleashed in a besieged family home in Trey Edwards Shults’s expertly handled horror, writes Jason Anderson.