Film

.imgHideOnJavaScriptDisabled_ime3zq2du { display: none !important; }

This is Gwar interview: ‘We are the real Spinal Tap’

.imgHideOnJavaScriptDisabled_ime3zq2dv { display: none !important; }

Eddie Redmayne: ‘At the end of lockdown I was looking to explode’

.imgHideOnJavaScriptDisabled_ime3zq2dw { display: none !important; }

Decision to Leave: A romantic tale of death and deceit

.imgHideOnJavaScriptDisabled_ime3zq2dx { display: none !important; }

Jenny Agutter: ‘The Railway Children seems like yesterday’

.imgHideOnJavaScriptDisabled_ime3zq2dy { display: none !important; }

James Bond at 60: 007’s best gadgets

.imgHideOnJavaScriptDisabled_ime3zq2dz { display: none !important; }

London Film Festival

LFF eats the rich: 7 films tackling inequality at the London Film Festival 2022

.imgHideOnJavaScriptDisabled_ime3zq2e0 { display: none !important; }

30 years on, Bram Stoker’s Dracula is still the most beautiful film committed to celluloid

.imgHideOnJavaScriptDisabled_ime3zq2e1 { display: none !important; }

Mrs Harris Goes to Paris review: Lesley Manville swaps drudgery for a dream dress

.imgHideOnJavaScriptDisabled_ime3zq2e2 { display: none !important; }

Crimes of the future: Surgery is the new sex in Cronenberg’s latest ick-flick

.imgHideOnJavaScriptDisabled_ime3zq2e3 { display: none !important; }

Michael Flatley on writing, directing and starring in his spy thriller Blackbird

.imgHideOnJavaScriptDisabled_ime3zq2e4 { display: none !important; }

EIFF highlights: From naked New Zealanders to Korean car chases

.imgHideOnJavaScriptDisabled_ime3zq2e5 { display: none !important; }

Memory: Another outing for Liam Neeson’s cool black coat

.imgHideOnJavaScriptDisabled_ime3zq2e6 { display: none !important; }

Hugh Bonneville: ‘I’m not scary, I’m cuddly’ – how the Downton Abbey star became the villain in new Netflix film I Came By

.imgHideOnJavaScriptDisabled_ime3zq2e7 { display: none !important; }

Gabriel Byrne: ‘Leonard Cohen has been a soundtrack to my life’

.imgHideOnJavaScriptDisabled_ime3zq2e8 { display: none !important; }

This is Gwar review: ‘A goofy, goopy assault on the senses’

.imgHideOnJavaScriptDisabled_ime3zq2e9 { display: none !important; }

Willa Fitzgerald on her Watergate thriller 18½: ‘We live in a very different political atmosphere’

.imgHideOnJavaScriptDisabled_ime3zq2ea { display: none !important; }

Rainn Wilson on the meaning of life, America and the ‘gratifying’ legacy of The Office

.imgHideOnJavaScriptDisabled_ime3zq2eb { display: none !important; }

Elvis review: The paradox of American myth-making

.imgHideOnJavaScriptDisabled_ime3zq2ec { display: none !important; }

Top songs: a guide to Tom Cruise singing cheesy tunes in movies

.imgHideOnJavaScriptDisabled_ime3zq2ed { display: none !important; }

The Lost Girls: ‘This movie represents my own process of growing up’

.css-l0mio9{display:none;visibility:hidden;}