The debate roughly falls into two camps. Those disappointed when a story feels formulaic and those who say this disappointment comes not from the formula, but the execution. Or to put it another way this is an argument between “the audience” and “writers”.

Fundamentally the one advantage I think living in London gives you is that it robs you of the delusion that not living in London is the reason your career hasn’t taken off.

Expecting your cast to get naked “to prove you are willing” is like demanding your stunt man sets himself on fire the first time you meet.

Tinker, Tailor is a film which garnered the highest acclaim you could hope for, yet only six months down the line it already feels like not the real deal.

With The Artist full of BAFTAs and poised to devour the Oscars like a delicious pudding, there has never been a better time to put your money where your mouth isn’t. This is your chance to support a genuine silent classic and to save a film by one of British Cinema’s greatest ever auteurs.

In “Hugo” Scorsese forgets the lesson taught by “The Artist”. Don’t show, imply. This is where cinema’s third dimension truly lies, in the ability to create a sensation in the viewer which is more than the sum of its parts. That’s the magic.

Perhaps it is purely a result of paying less and less attention to bad science-fiction the older I get but my own sense of the distant present is fixed at a point which is rapidly because the actual present.

Eastman Kodak Co. filed for Chapter 11 bankruptcy protection in New York early Thursday morning, after the struggling photography icon ran short on cash needed to fund a long-sputtering turnaround. The storied former blue chip said it had secured $950 million in financing from Citigroup Inc. to help keep it afloat during bankruptcy proceedings. The company also named Dominic Di Napoli, a vice chairman at FTI Consulting Inc., as its chief restructuring officer to help steer the company through bankruptcy…

No misty eyed plans to create a rain sodden British Hollywood, a Brolly-Wood set out to solve all our problems with the glamourous hammer of production… How I Learned To Love The Smith Report…

By imagining we are locked in an entirely fictional battle with Hollywood we turn ourselves into the drunk outside the tube, still trading blows with an opponent who was never there.