Man with the child in his style

Wes Anderson's films are as formally distinctive as Peter Greenaway's, and sometimes as maddening. They are pictorial things, but less in the way of a film than, say, a graphic novel. Where Greenaway thinks like a painter, Anderson uses the camera like a cartoonist, each frame hyper-composed in colour and composition, an eccentric mini-work of art in itself. What the frames don't have is much sense of physical or emotional movement from one to another. It's the same with the dialogue. People in Wes World don't overlap in their conversation – a character says something, then there's a pause, then another character replies. Again, it's like the thin white lines dividing one box from another in a comic strip. Some find the effect very charming.

Sailor Ainslie starts Olympic torch relay

Three-time Olympic sailing champion Ben Ainslie today kicked off the London 2012 Olympic torch relay, saying it was "one of the more nervous moments of my life".

The 10 Best running events

Not quite up to this month’s London Marathon? Try one of the shorter – or sillier – races in our selection

More headlines