The Shining, once dubbed the "scariest movie ever", is set to provide more chills for British audiences with the release of a previously unseen extended version.
The Shining, once dubbed the "scariest movie ever", is set to provide more chills for British audiences with the release of an extended version never seen before in this country.
It's the human factor in Homeland that makes it thrilling
Simon McBurney brings dazzling technology to his Bulgakov adaptation but little clarity. A Sondheim evergreen, meanwhile, is as fresh as ever
A drama on the terrible issue of child trafficking deserves better than to have as its hero the most characterless TV character this side of Christine Bleakley
Readers review this week's big film
A terrified teenage girl runs for her life; a secretive detective finds herself lumbered with a difficult case as she prepares to leave for a new life; a devastated family struggle to come to terms with their daughter's murder.
If Sarah Lund's Nordic knit sweater in The Killing was a signifier of a certain gentleness and, more particularly, a character who would never stoop so low as to use her sexuality in a clichéd, woman-hell-bent-on-surviving-in-a-man's-world kind of a way, the wardrobe of Laure Berthaud, the lead in Spiral, demonstrates no such politically-correct concerns.
An actor with dark, curly hair and handsome looks, Tony Curtis began his film career playing small roles as gangsters or juvenile delinquents before his popularity with teenagers won him stardom at Universal in swashbuckling fantasies such as The Prince Who Was a Thief (1951) and The Black Shield of Falworth (1954). Elvis Presley is said to have modelled his hairstyle on Curtis, whose marriage to the equally attractive Janet Leigh made the pair a popular subject of fan magazines throughout the Fifties.
Hollywood legend Tony Curtis, whose career spanned more than 60 years, has died at the age of 85.
Gleeful reports in the British press this week regarding Carla Bruni's trials and tribulations on Woody Allen's film set suggest Meryl Streep need not be losing any sleep quite yet. We're told – with maybe a hint of exaggeration – that it took France's First Lady a whopping 35 takes to convincingly exit a grocery store. Apparently the problem was caused by the fact "Madame Fancy Pants" couldn't stop staring at the camera! As the Daily Mail helpfully pointed out, it's not the first time she's tried to "monopolise" the lense. Apparently on a visit to London she shamelessly deployed all her "feline charm" in the direction of hapless snappers "licking her lips seductively" and offering a "husky 'bonjour'." (Glad I missed all that). Still, suggestions Bruni's take-tally could be one for the record books are wide of the mark. According to film historians, that honour still goes to one Shelley Duvall, who was obliged to perform 127 takes of the infamous" baseball-bat" scene with Jack Nicholson in The Shining before director Stanley Kubrick was satisfied. Still time Carla.
A new archive reveals how the novelist Anthony Burgess's polymathic vision went way beyond mere dystopian allegory, says Sophie Morris
A gush of blood from their heads
<i>Lunatic at Large</i>, found by the director's son-in-law, is to be filmed later this year
The Academy has always had its blind spots. Over the years, many films subsequently acknowledged as gilt-edged masterpieces have been completely frozen out of the Oscars. The list of omissions stretches from Howard Hawks' 'The Big Sleep' to Charlie Chaplin's 'Modern Times', from the Marx brothers' 'A Night at the Opera' to Stanley Kubrick's 'Paths of Glory', from Orson Welles's 'Chimes at Midnight' to John Ford's 'The Searchers'. Westerns, comedies and gangster films have been especially unfortunate – and you don't find many horror movies in the mix, either.
As a huge new book is published about Stanley Kubrick's unmade Napoleon film, Rob Sharp speaks to the director's relatives and collaborators, and gets rare insights into his famously assiduous working methods