Why I’m Still Here should win the best picture Oscar
The Guardian
··
-
Older >
Source
Time
Score
-
-
Food for Thought review – breezy documentary makes a light meal of vegan debates
The Guardian
··
-
Oscars 2025: best director nominees – reviews, interviews and chances for victory
The Guardian
··
-
The Brutalist is about a great architect. Columbus is a heartfelt tribute to great architecture
The Guardian
··
-
The play that changed my life: Sing Sing’s Clarence Maclin on lessons from Sophocles in prison
The Guardian
··
-
There’s a reason Hugh Grant is the best thing in middling movies: he writes his own lines
The Guardian
··
-
Papa review – Sean Lau is tremendously subtle as a bereaved father and husband
The Guardian
··
-
Why The Substance should win the best picture Oscar
The Guardian
··
-
We Will Not Fade Away review – study of five Ukrainian teens’ brief escape from war
The Guardian
··
-
Cold Wallet review – blackly comic revenge fable goes into crypto’s corrupt heart
The Guardian
··
-
Guy Pearce: ‘I’m not going to win the Oscar – Kieran Culkin will’
The Guardian
··
-
‘Writhing in agony’: how are we only now learning Andrew Scott passed a kidney stone at the 2020 Sags?
The Guardian
··
-
Immediate Family review – insightful account of the unsung heroes of west coast rock
The Guardian
··
-
‘We are very worried’: Conclave cast express concern for Pope Francis in health crisis
The Guardian
··
-
Why Anora should win the best picture Oscar
The Guardian
··
-
The Summer With Carmen review – sexy story of two men and a cute dog
The Guardian
··
-
‘Manic screwball energy’: why The Paper is my feelgood movie
The Guardian
··
-
Nikt Nie Woła (Nobody’s Calling) review – hypnotic passions in postwar Poland
The Guardian
··
-
Patricia Arquette on Trump, communes, art and ageing: ‘When I was growing up the whole world was pretty creepy’
The Guardian
··
-
Sag awards red carpet 2025: Wicked drama and men without ties – in pictures
The Guardian
··
-
Sag awards 2025: Timothée Chalamet, Demi Moore, Kieran Culkin and Zoe Saldaña win major categories
The Guardian
··
-
Schmeichel review – amazing saves but too few insights into the great Dane
The Guardian
··
-
September Says review – a modern gothic take on teenage siblings
The Guardian
··
-
Gugu Mbatha-Raw: ‘It’s good to trust your gut’
The Guardian
··
-
I’m Still Here review – wrenching true-life saga of a Brazilian family torn apart by military rule
The Guardian
··
-
‘I stripped away this caricature that I created’: Pamela Anderson on makeup, activism and gardening
The Guardian
··
-
‘Photography is therapy for me’: Martin Parr on humour, holidaying and life behind the lens
The Guardian
··
-
The week in audio: Facing the Music; Tara and George: Last Rights; Why Is Amy in the Bath? and more – review
The Guardian
··
-
Bong Joon Ho: ‘I wish I had Ken Loach’s energy, but I’m just thinking about nap time’
The Guardian
··
-
Berlin film festival 2025 roundup – a new boss, a flawless fairytale and Ethan Hawke’s finest hour
The Guardian
··
-
From I’m Still Here to Leigh Bowery: a complete guide to this week’s entertainment
The Guardian
··
-
Bond fans shaken over $1bn Amazon franchise takeover
The Guardian
··
-
The name’s Bezos, Jeff Bezos: what can we expect from Amazon’s James Bond?
The Guardian
··
-
Amazon paid more than $1bn to take creative control of James Bond
The Guardian
··
-
Kong gone wrong: the animals misrepresented in movies
The Guardian
··
-
Why Dune: Part Two should win the best picture Oscar
The Guardian
··
-
Oscars 2025: best actor nominees – awards, interviews and what their chances are
The Guardian
··
-
The Banshees of Inisherin to Thelma: the seven best films to watch on TV this week
The Guardian
··
-
This is the year the Oscars found God – but can they keep the faith?
The Guardian
··
-
Nihilistic, anarchic, repugnant: Sam Peckinpah’s 10 best films – ranked!
The Guardian
··
-
‘Tears were running down my face’: why Bridget Jones 4 is the most moving romcom of modern times
The Guardian
··
-
War of words: who is winning the Oscar for best acceptance speech?
The Guardian
··
-
‘Politically, it’s important. It’s important for humanity’: the long-lost civil rights images of Ernest Cole
The Guardian
··
-
Schmeichel review – a spirited celebration of Man United’s great Dane
The Guardian
··
-
Kontinental ’25 review – scattergun satire on a tour of Romania’s social ills
The Guardian
··
-
Beasts unburdened: film course aims to rehabilitate donkeys’ reputation
The Guardian
··
-
Drømmer (Dreams) review – teen’s high romantic hopes throw adults into disarray
The Guardian
··
-
‘You just want to rewind and watch it again and again’: readers choose the most romantic moments in cinema
The Guardian
··
-
Cronos review – Guillermo del Toro’s signature wit and gore on show in 1992 debut
The Guardian
··
-
Bluish review – dancing, mooching and Zooming with a queer-adjacent vibe
The Guardian
··
-
Why A Complete Unknown should win the best picture Oscar
The Guardian
··
-
I’m Still Here review – Fernanda Torres’s stoic maternal mask never slips
The Guardian
··
-
Oscars 2025: best picture nominees – reviews, awards and where to watch
The Guardian
··
-
‘Grow up’: Kevin Spacey responds to Guy Pearce’s allegation that he ‘targeted’ him
The Guardian
··
-
‘History was attempted to be buried’: the true story behind Oscar-nominated Nickel Boys
The Guardian
··
-
Cue the pig squeal! How The Texas Chain Saw Massacre’s score was stitched back together for its first release
The Guardian
··
-
Julian Holloway, Carry On star and father of Sophie Dahl, dies aged 80
The Guardian
··
-
Get Shorty: a madcap, loving spoof of the film biz
The Guardian
··
-
The Brutalist director Brady Corbet says he has made ‘zero dollars’ from the film
The Guardian
··
-
‘No micro transactions, no bullshit’: Josef Fares on Split Fiction and the joy of co-op video games
The Guardian
··
-
Little Bites review – something wicked this way noms in mum-snacking horror
The Guardian
··
-
‘The most important thing was getting to the truth’: how Claude Lanzmann broke all the rules to create Shoah
The Guardian
··
-
Will Dune: Messiah be Villeneuve’s crowning achievement, or the moment the spice runs dry?
The Guardian
··
-
Why Emilia Pérez should win the best picture Oscar
The Guardian
··
-
The Birthday review – cult Corey Feldman movie arrives after 20 years in film wilderness
The Guardian
··
-
What Marielle Knows review – teenager’s telepathic powers reveal parents’ secrets and lies
The Guardian
··
-
People (Ludzie) review – multi-thread epic offers raw tales from the Russia-Ukraine war
The Guardian
··
-
Intercepted review – phone taps are a chilling glimpse into Russian soldiers’ minds in Ukraine
The Guardian
··
-
Why Nickel Boys should win the best picture Oscar
The Guardian
··
-
A Picture to Remember review – memories of a Donetsk happy childhood before the war
The Guardian
··
