‘An embodiment of white fears’: how zombies went from Haitian spiritual tradition to Hollywood monsters
The Guardian
··
-
Older >
Source
Time
Score
-
-
‘Female survival in a terrifying world’: Tilda Swinton’s return in Man to Man
The Guardian
··
-
Two times a charm: Is Sandra Bullock and Nicole Kidman’s agelessness the real trick of Practical Magic 2?
The Guardian
··
-
From Chris Rock to Helen Mirren: 10 films to look out for at the Toronto film festival 2026
The Guardian
··
-
La Femme Infidèle review – Chabrol’s eerie domestic thriller is a brilliant ballet of repression and fear
The Guardian
··
-
Pressure review – stormy weather in tense D-day forecast retelling
The Guardian
··
-
‘He goes to the dark side’: behind the scenes on the Shaun the Sheep horror movie
The Guardian
··
-
The Fire Within You review – overheated family Christmas boils up too many stereotypes
The Guardian
··
-
Union Town review – passionate exposé of US delivery workers’ employment conditions
The Guardian
··
-
John Malkovich cancels Israel trip over fabricated solidarity quote
The Guardian
··
-
DAU review – Ilya Krzhanovsky’s crazed Soviet inferno reaches its central character
The Guardian
··
-
The Uprising review – the peasants are revolting in muddled historical epic
The Guardian
··
-
Call My Agent! The Movie review – the gang get back together and c’est formidable
The Guardian
··
-
Inglourious baristas: why is Brad Pitt making coffee for 16 abusive dogs?
The Guardian
··
-
Blue Film review – polarising sex worker drama is well-acted and deeply disturbing
The Guardian
··
-
Company review – Casey Affleck entertains us with creepy campfire tales
The Guardian
··
-
Bunker review – Cruz and Bardem just can’t dig Florian Zeller’s shallow thriller out of a hole
The Guardian
··
-
Andrew Garfield takes on Sam Altman in creepy first teaser for Artificial
The Guardian
··
-
Practical Magic 2 review – Bullock and KIdman return for odd sequel that still casts a spell
The Guardian
··
-
Elon Musk told ex-girlfriend he needed ‘a legion of children before the civil war’
The Guardian
··
-
State handouts, 10,000 lasers – and Trump’s election: six things we learned from the Elon Musk film
The Guardian
··
-
Musk review – epic study of the world’s richest and most banal man
The Guardian
··
-
Just an Illusion review – Louis Garrel and Camille Cottin sizzle as an 80s couple in crisis
The Guardian
··
-
Runner review – Alan Ritchson and Owen Wilson thriller is serviceable B-movie camp
The Guardian
··
-
Knightfall review – low-rent gender-flipped Bond knock-off swaps Aston Martins for Minis
The Guardian
··
-
‘It’s not good to walk through the world feeling like prey’: Thelma & Louise’s writer on turning a movie classic into a musical
The Guardian
··
-
Contemporary Films had a global impact and influenced my career as a director | Letters
The Guardian
··
-
The Pervert’s Guide to Utopias review – Slavoj Žižek goes in search of paradise
The Guardian
··
-
The Last Bath review – self-mortifying nun struggles with profoundly uneasy sexual awakening
The Guardian
··
-
In the Shadows of Nuremberg review – trial-adjacent thriller aims to be Russian answer to Saving Private Ryan
The Guardian
··
-
Imperium review – Sergei Loznitsa’s archive collage collates everyday life in cold-war Soviet Union
The Guardian
··
-
‘Swiftly enchanted’: why Bedknobs and Broomsticks is my feelgood movie
The Guardian
··
-
Unidentified Murder review – playful sendup of alien abduction and true crime influencers in Hong Kong
The Guardian
··
-
Susan Sarandon says she is losing movie roles because of her support for Palestine
The Guardian
··
-
Woman Unknown review – postwar paranoia with some deliciously dastardly Du Maurier touches
The Guardian
··
-
Cult of male genius holding female film-makers back, says Woman Unknown director
The Guardian
··
-
Wim Wenders clarifies that he does not believe film-makers should stay out of politics
The Guardian
··
-
French thriller Jupiter brings nuclear anxiety to red carpets of Venice
The Guardian
··
-
Robert Pattinson says he had ‘twice as much time’ after birth of first child
The Guardian
··
-
‘I don’t like the term neurodivergence – it sounds like political correctness’: Werner Herzog on fans, fanaticism and baby foxes
The Guardian
··
-
The Guide #259: What to watch this Oscars film season
The Guardian
··
-
Tender Loving Care review – Mike Leigh’s tender and elusive study of love and mortality
The Guardian
··
-
The Basics of Philosophy review – Paul Schrader back to his cool, cruel best
The Guardian
··
-
15/18 A Place to Heal review – heartfelt docu-realist study of a French teen psychiatric facility
The Guardian
··
-
‘Like a tired boxer, battered by applause’: as Andrew Scott’s biopic premieres, Richard Eyre remembers Ian Charleson’s superb, near-death Hamlet
The Guardian
··
-
‘I’m used to doing the impossible’: George Lucas unveils new LA museum – what’s its story?
The Guardian
··
-
‘Many of us in Israel live in a state of shock at the savagery’: veteran director Amos Gitai returns to Gaza
The Guardian
··
-
Gal Gadot’s Wonder Woman was one of DC’s few successes. It’s a mystery why she got the chop
The Guardian
··
-
A remarkable documentary made by blind students: ‘We were stunned by the footage’
The Guardian
··
-
‘If you can’t understand what sex is, it’s irrelevant if you seem to be enjoying it’: how Queen at Sea upended the dementia drama
The Guardian
··
-
Faces of Death review – rework of notorious video nasty turns horror voyeurism into moral panic fable
The Guardian
··
-
Nessun Dolore review – sketchy Roman fable of liberal white guilt
The Guardian
··
-
Wild Horse Nine review: Malkovich and Rockwell head to Easter Island for McDonagh’s acid bromance
The Guardian
··
-
By Any Means review – Mark Wahlberg and Yahya Abdul-Mateen II drama provokes with horror of 1960s racism
The Guardian
··
-
Falling House review – fierce tale of an Iranian prison guard holding his family hostage
The Guardian
··
-
Lomu review – fascinatingly nuanced tribute to rugby’s first superstar
The Guardian
··
-
Ink review – Danny Boyle turns the birth of the Sun into a lurid tabloid frenzy
The Guardian
··
-
Rupert Murdoch ‘very happy’ that Guy Pearce plays him in Fleet Street biopic Ink
The Guardian
··
-
Mayday review – Ryan Reynolds and Kenneth Branagh set cold war bromance alight
The Guardian
··
-
‘He’s a good man’: George Clooney defends Mark Ruffalo in Paramount-Warner Bros merger row
The Guardian
··
-
The Eyes Wide Shut conspiracy theory: did someone cut a crucial 20 minutes from Kubrick’s final movie?
The Guardian
··
-
Was Paul Mescal being ‘not masculine enough’ the reason Gladiator II flopped?
The Guardian
··
-
Maggie Gyllenhaal says film industry has a ‘systemic problem’ with sexism
The Guardian
··
-
Fall 2: Deadpoint review – silly seat-edge sequel can’t reach heights of the original
The Guardian
··
-
Star Wars Zero Company review – joyfully absurd heroics with a tight-knit team of misfits
The Guardian
··
-
Oasis, auteurs and seven hours of Bertolucci: 12 unmissable movies at the Venice film festival
The Guardian
··
-
Ukrainian film-maker criticises EU after it cuts Venice Biennale funding over Russia controversy
The Guardian
··
-
Hungry review – hippo horror sees multi-ton mammal run amok among bayou boat-trippers
The Guardian
··
-
The Runner review – Gal Gadot stumbles through derivative high-speed, low-rent thriller
The Guardian
··
-
Waking Life: Richard Linklater’s genre-defying indie is a kaleidoscopic masterpiece
The Guardian
··
