John Keats is an iconic literary figure, regarded as one of the great romantic writers, so its fitting that Jane Campion's biopic Bright Star is a deeply romantic film: sumptuous, beautiful and sad, writes Luke Buckmaster.
A round-up of the top 10 best -- and a few of the worst (*cough* Alvin and the Chipmunks: The Squeakquel *cough*) -- cinematic masterpieces of 2009.
What movie buffs have to look forward to in 2010: on the upper echelon is new cinematic forays from Robin Hood, Balthazar Blake, Lamuel Gulliver and Gordon Gekko; on decidedly lower terrain, Shrek, the Karate Kid, and The Wog Boy make their way back to the big screen.
Guy Ritchie's new flick, Sherlock Holmes feels like a Choose Your Own Adventure that doesn’t work out quite right, and, worst of all, it bores, says Luke Buckmaster.
Luke Buckmaster reviews the new uber-blockbuster from mega-minded director James Cameron: gorgeously atmospheric and orgies-for-eyeballs good looking.
The first images from the Will Smith-produced remake of '80s classic The Karate Kid have emerged -- and it doesn't look promising, says Luke Buckmaster: Mr Miyagi is Chinese, the "karate" is actually kung fu, and there's nary a Joe Esposito track to be heard.
The long awaited Spike Jonze directed, Dave Eggers penned, adaptation of Maurice Sendak's children classic Where the Wild Things Are is finally here. Let the wild rumpus start! writes Luke Buckmaster.
Luke Buckmaster has one word to describe the second installment of the Twilight films: lame. New Moon is a cheesy soap opera jazzed up by a half-assed supernatural twist.
The plot may be clunky and the science very sketchy, but in strictly visual terms, 2012 is simply the most spectacular disaster picture ever made, says Luke Buckmaster. Full-blown cinematic sadism.
Luke Buckmaster looks at the latest retelling of Dickins' classic A Christmas Carol, starring Jim Carrey (aided by a thick sheen of CGI profiling): one of the best big-screen versions yet, and easily one of the best-looking features of the year.
